Enno Poppe
Born 1969 in Hemer, Germany. Studied conducting and composition in Berlin with Friedrich Goldmann and Gösta Neuwirth. Followed this with studies in sound synthesis and algorithmic composition at the Berlin Technical University and at the ZKM Karlsruhe with Heinrich Taube.
1996 Participation in the junior forum of GNM study abroad in Paris, Cité Internationale des Arts 1998 ‘Boris Blacher Award’ for "Gelöschte Lieder"
1999 Invitation to the international composers-seminar Boswil
2001 Award of the city of Stuttgart for "Knochen". Grant for composition of the Berlin Senat (1992/95/98), the MKK (1994) and the Winfried Steinbrenner Foundation (2000). Comissions from ensemble modern, Klangforum Wien, German Symphony Orchestra Berlin (DSO), Westdeutscher Rundfunk (WDR) DeutschlandRadio Berlin. Performances of his works in festivals in Berlin, Munich, Saarbrucken, Vienna, Barcelona, L'viv (Ukraïne). Performances as a pianist and conductor member of ensemble mosaik since 1998.
1996 Participation in the junior forum of GNM study abroad in Paris, Cité Internationale des Arts 1998 ‘Boris Blacher Award’ for "Gelöschte Lieder"
1999 Invitation to the international composers-seminar Boswil
2001 Award of the city of Stuttgart for "Knochen". Grant for composition of the Berlin Senat (1992/95/98), the MKK (1994) and the Winfried Steinbrenner Foundation (2000). Comissions from ensemble modern, Klangforum Wien, German Symphony Orchestra Berlin (DSO), Westdeutscher Rundfunk (WDR) DeutschlandRadio Berlin. Performances of his works in festivals in Berlin, Munich, Saarbrucken, Vienna, Barcelona, L'viv (Ukraïne). Performances as a pianist and conductor member of ensemble mosaik since 1998.
IQ UA
What do we measure when we measure intelligence? In fact: what is intelligence? The history of intelligence started at the end of the 19th century in an environment that included eugenics and so-called racial hygiene. In addition to charting skulls and brains, the measuring of intellectual skills was felt to be of crucial importance to science. Its aim was a classification system for all humans. However, its original purpose, namely to raise intelligence and better mankind, was immediately counteracted by an opposing tendency, which was to disqualify human beings with the help of test procedures. Attaching a number, which is called an IQ, to a person, is a popular and common procedure even today. What it actually amounts to is the possibility of consigning people to charts, thus ranking them as in sports results. The IQ certainly is no indicator of actual intelligence. Instead, different kinds of tests allow one to draw conclusions about the people who invented them. The question of what is relevant for intelligence and therefore should be part of the assessment is critical for the outcome of the tests. Different tests arrive at completely different results even when testing the same person. Who decides on what is to be the norm? And what are the consequences of such choices? For example, IQ tests are used in connection with the death penalty: only people with an IQ of 70 or over can be executed.
What has all this got to do with the operatic stage? The basic idea is very simple. In eight acts, the situation of an intelligence test is repeated again and again from the beginning. The dramaturgy relies on the process of variation; not only the various test procedures, but the music, lighting, costumes and properties are derived from each other like so many variations on a theme. That way, an overall form is created which embraces all levels of the piece. The wealth of different test methods allows for a wealth of small scenes. Since many of the approaches depend on the mindless drill and later retrieval of data which are completely devoid of meaning – the jargon calls it “culture free” – much can be exemplified, from the grotesque to despair, mass-tumult and the tragic. (Enno Poppe)
What do we measure when we measure intelligence? In fact: what is intelligence? The history of intelligence started at the end of the 19th century in an environment that included eugenics and so-called racial hygiene. In addition to charting skulls and brains, the measuring of intellectual skills was felt to be of crucial importance to science. Its aim was a classification system for all humans. However, its original purpose, namely to raise intelligence and better mankind, was immediately counteracted by an opposing tendency, which was to disqualify human beings with the help of test procedures. Attaching a number, which is called an IQ, to a person, is a popular and common procedure even today. What it actually amounts to is the possibility of consigning people to charts, thus ranking them as in sports results. The IQ certainly is no indicator of actual intelligence. Instead, different kinds of tests allow one to draw conclusions about the people who invented them. The question of what is relevant for intelligence and therefore should be part of the assessment is critical for the outcome of the tests. Different tests arrive at completely different results even when testing the same person. Who decides on what is to be the norm? And what are the consequences of such choices? For example, IQ tests are used in connection with the death penalty: only people with an IQ of 70 or over can be executed.
What has all this got to do with the operatic stage? The basic idea is very simple. In eight acts, the situation of an intelligence test is repeated again and again from the beginning. The dramaturgy relies on the process of variation; not only the various test procedures, but the music, lighting, costumes and properties are derived from each other like so many variations on a theme. That way, an overall form is created which embraces all levels of the piece. The wealth of different test methods allows for a wealth of small scenes. Since many of the approaches depend on the mindless drill and later retrieval of data which are completely devoid of meaning – the jargon calls it “culture free” – much can be exemplified, from the grotesque to despair, mass-tumult and the tragic. (Enno Poppe)