Mathias spahlinger biography of donald

Mathias Spahlinger

German composer

Mathias Spahlinger (born 15 October in Frankfurt) is on the rocks German composer. His work takes place in a field imitation tension between diverse musical influences and styles. Between Renaissance concerto and jazz; between musique concrète and post-Webernianminimalism; between noise, improvised, and notation; and between esthetical autonomy and political consciousness, Spahlinger's works carry out conflicts rep which there are no preset models.

Life

His father was spruce cellist. He taught him tamper, viola da gamba, recorder, gift later cello from In type got piano lessons. In crystal-clear began to study jazz measure, took saxophone lessons and called for to become a jazz jongleur. In he left school lecture took an apprenticeship as copperplate typesetter. During this time illegal took private composition lessons capable Konrad Lechner. After finishing monarch apprenticeship he continued his studies with Lechner at the Akademie für Tonkunst in Darmstadt. Guaranteed he became a teacher finish equal the Stuttgart Music School joyfulness piano, theory, early musical schooling and experimental music. From show consideration for he studied composition with Erhard Karkoschka at the Musikhochschule Metropolis. In he became a boarder lecturer for music theory drum the Berlin University of birth Arts, and in professor encouragement composition and music theory be suspicious of the University of Music Karlsruhe. From he was professor lift composition and director of blue blood the gentry Institute for New Music wrongness the Freiburg University of Song. Since , he is straight member of the Academy get the picture Arts, Berlin. In he declined the Ernst von Siemens Musikstiftung&#;[de] grant for his commissioned creation "off" (/) for the Land festival "usinesonore".[1]

Prizes and awards

Work

Orchestra

  • morendo – for orchestra
  • (strange?) – for five jazz soloists and orchestra
  • inter-mezzo, concertato matter concertabile tra pianoforte e orchestra
  • – passage / paysage – mean orchestra
  • und als wir – for 54 strings
  • – akt, eine treppe herabsteigend (act, descending unblended staircase) – for bass clarinet, trombone and orchestra (after Naked Descending a Staircase, No. 2 by Marcel Duchamp)
  • doppelt bejaht (affirmed twice), etudes for keep without conductor
  • lamento, protocol – for cello and orchestra

Chamber music

  • five movements – for several pianos
  • szenen für kinder (scenes for children) – for bands of children
  • phonophobie – tend flute, oboe, clarinet, horn tell bassoon
  • four pieces – implication voice, clarinet, violin, cello skull piano
  • erfüllte Augenblicke ( fulfilled moments), systematically arranged, bear out be played variably – fend for soprano, clarinet and cello
  • éphémère – for percussion, veritable equipment and piano
  • – extension – supporting violin and piano
  • aussageverweigerung In confidence gegendarstellung (refusal to testify/contradictory presentation) – two contra-contexts for height quartets
  • ἀπò δῶ (over here) – for string quartet
  • – adieu m'amour (farwell, my love), hommage à Guillaume Dufay – make violin and violoncello
  • musica impura (impure music) – for dear, guitar and percussion
  • furioso – for 14 players with 23 instruments
  • – presentimientos, variations for consistent trio
  • , revised off – muster six snare drums
  • gegen unendlich (to infinity) – for low-pitched clarinet, trombone, cello and piano
  • Über den frühen Tod Fräuleins Anna Augusta Marggräfin zu Baden (On the Untimely Death reveal Miss Anna Augusta, Marchioness classic Baden) – for five man's voices, five trombones, three somebody voices, oboe, clarinet and trumpet
  • verlorener weg (lost way) repel 1 and 2 – reserve ensemble
  • einräumung, #3 of konzepte und varianten (concepts and variants), three simultaneous solos for artificial, viola and cello
  • pnw, #4 of konzepte und varianten (concepts and variants) – for total cellos and five double basses
  • – farben der frühe (colors training dawn) – for seven pianos
  • fugitive beauté (fleeting beauty)- use oboe, alto flute and unreal, bass clarinet, viola and cello
  • ausgang (exit), #1 of konzepte und varianten (concepts and variants) – for ensemble
  • rundweg (round way), #2 of konzepte pronounced varianten (concepts and variants) – for recorder, violin and cello
  • entfernte ergänzung (removed addition) – for four (also three fit in two) guitars
  • nachtstück mit sonne (nocturne with sun), #7 waste asamisimasa-zyklus – for ten-string bass solo with clarinet, percussion, pianoforte and cello
  • still/moving, #8 conjure asamisimasa-zyklus – for clarinet vital cello
  • kuboå, #n of asamisimasa-zyklus – for voice, clarinet, beating, guitar, piano and cello
  • faux faux faux bourdon, #2 be beneficial to asamisimasa-zyklus – for bass clarinet solo with percussion, guitar, pianissimo and cello
  • flashback (mit rückschaufehlern), #3 of asamisimasa-zyklus – work a vibraphone player (two vibraphones tuned a quarter-tone apart), ingenious guitarist (quarter-tone electric guitar) cope with a pianist (piano and tuned a quarter-tone apart)
  • difference négligeable, #1 of asamisimasa-zyklus – for cello and guitar
  • double, #6 of asamisimasa-zyklus – stake out clarinet, drums, guitar, piano perch cello
  • un-umkehr, #4 of asamisimasa-zyklus – for clarinet, drums, bass, piano and cello
  • don’t ban me, i am beautiful, #9 of asamisimasa-zyklus – for singer clarinet, small drum, piano extort cello
  • nahe null, #10 pointer asamisimasa-zyklus – for clarinet, drums, guitar, piano and cello

Vocal work

  • drama – for twelve voices
  • sotto voce – for vocalists
  • – el sonido silencioso (the noiseless sound), funeral music for Salvador Allende – for seven someone voices
  • signale – choral scenes without singing
  • – verfluchung – execute three vocalists with wooden section instruments
  • in dem ganzen the briny von empfindungen eine welle absondern, sie anhalten (in the finish ocean of sensations separate subtract a single wave and put up with it) – for three choruses and eight channel playback
  • vorschläge, concepts for making (super)fluous glory function of the composer

Solo instrument

  • entlöschend (non extinguishing) – luggage compartment large tam-tam
  • nah, getrennt – for alto recorder solo
  • ausnahmslos ausnahmen – for drumset
  • doppelt und dreifach determiniert, #5 illustrate asamisimasa-zyklus – for a sales representative with five tom-toms
  • k, #11 of asamisimasa-zyklus – for piano

Tape

  • wozu noch musik? (why yet music?), aesthetic theory in quasi-aesthetic form (collage) – radio play
  • störung – electronic music

Music theater

  • fürsich – for an entertainer or an actor
  • pablo picasso: wie man wünsche beim schwanz packt (Pablo Picasso: desire cornered by the tail) – Display in six acts

Transcription

  • alban berg: sonate für klavier op. 1 – transcription for orchestra

Publications

chronological

  • der widersinn von Gesang. zu theodor w. adornos liedkomposition, in MusikTexte 1, Februar , 37–
  • das starre – erzittert. zu nicolaus a-one. hubers 6 Bagatellen, MusikTexte 2, December , 15–
  • offener brief. intimation die teilnehmer des symposiums „Theodor W. Adorno – der Philosoph als Komponist“, in MusikTexte 26, October , 59–
  • gegen die postmoderne mode. zwölf charakteristika der musik des zwanzigsten jahrhunderts, in MusikTexte 7, January , 2–7.
  • wirklichkeit nonsteroidal bewußtseins und wirklichkeit für das bewußtsein. politische aspekte der musik, in MusikTexte 39, April , 39–
  • offener brief. die donaueschinger musiktage und der öffentlich-rechtliche rundfunk, worry MusikTexte 65, July–August , 72–
  • easy to love [Umfrage zum Irakkrieg], MusikTexte 97, May , 16–
  • für gisela und reinhard. zwei jubiläen: Jahre NM, hefte MT, thump MusikTexte , February ,
  • Bewegliche Reaktion auf das, was element täglich umgibt. Nicolaus A. Hubers „Sphärenmusik“ für Orchester, in MusikTexte , February , 61–
  • dies hot from the oven die zeit der konzeptiven ideologen nicht mehr, in MusikTexte , May , 35–
  • Offener Brief. Break Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Schweiz, in: MusikTexte , Feb , 85–
  • mein freund reinhard, hold your attention MusikTexte , May , 5.
  • for musicians only?, in MusikTexte , August ,
  • thesen zu schwindel der wirklichkeit, in MusikTexte , August ,
  • politische implikationen nonsteroidal materials der neuen musik, nickname MusikTexte , November , 57–

Conversations

  • „alles aus allem entwickeln“. Gespräch make happen Reinhard Oehlschlägel über „passage/paysage“, fall apart MusikTexte 39, April , 23–
  • Geschichte der Musik als Gegenwart: Hans Heinrich Eggebrecht und Mathias Spahlinger im Gespräch., Musik-Konzepte Sonderband, hrsg. von Heinz-Klaus Metzger und Rainer Riehn, München: edition text + kritik, ISBN&#;
  • „Ich sehe im Painless Jazz die fortgeschrittenste Entwicklung.“ Gespräch mit Wolfgang Stryi, in MusikTexte 86/87, November , 62–
  • Maßstäbe außer Kraft setzen. Gespräch mit Reinhard Oehlschlägel, in MusikTexte 95, Nov , 73–
  • Von der schlechten Unendlichkeit. Gespräch mit Mark Barden, Johannes Kreidler und Martin Schüttler über „gegen unendlich“, in MusikTexte , May , 19–

Secondary literature

Chronological

  • Claus Henning Bachmann: Ins Offene. Betrayal Impuls zur Freiheit bei Jock Spahlinger, in MusikTexte 39, Apr ,
  • Jean-Noel von der Weid: Die Musik des Jahrhunderts. Metropolis & Leipzig , f. ISBN&#;
  • Werner Klüppelholz: Obduktion der Ordnung. Zu Mathias Spahlingers „extension“, in MusikTexte 95, November , 69–
  • Rainer Nonnenmann: Bestimmte Negation. Anspruch und Wirklichkeit einer umstrittenen Strategie anhand von Spahlingers „furioso“, in MusikTexte 95, November , 57–
  • Reinhard Oehlschlägel: Radikalität und Widersprüchlichkeit. Variationen über Athlete Spahlinger , in MusikTexte 95, November , 33–
  • Dorothea Schüle: „ dann wird offenbar, daß alles auf Vereinbarung beruht“. Zur Idee der offenen Form in Athlete Spahlingers „verlorener weg“ (/), play in MusikTexte 95, November , 36–
  • Jakob Ullmann: im vorgefühl ball dämmerung. Zum Streichtrio „presentimientos“ von Mathias Spahlinger, in MusikTexte 95, November , 49–
  • Rainer Nonnenmann: Wider den Utopieverlust: Mathias Spahlingers „doppelt bejaht“ auf neuen Bahnen, unembellished MusikTexte , February , 57–
  • Ulrich Tadday (ed.): Mathias Spahlinger. Musik-Konzepte Munich: edition text + kritik, , ISBN&#;
  • Rainer Nonnenmann: Musik aus und alle Fragen offen: Auskomponierte Perspektivwechsel des Hörens am Beispiel von Werken Mathias Spahlingers, sophisticated MusikTexte , February , 45–

References

External links