Mathias spahlinger biography of william

Mathias Spahlinger

German composer

Mathias Spahlinger (born 15 October 1944 in Frankfurt) quite good a German composer. His trench takes place in a globe of tension between diverse melodious influences and styles. Between Awakening music and jazz; between musique concrète and post-Webernianminimalism; between clap, improvisation, and notation; and halfway aesthetic autonomy and political cognisance, Spahlinger's works carry out conflicts for which there are clumsy fixed models.

Life

His father was a cellist. He taught him fiddle, viola da gamba, wood, and later cello from 1951. In 1952 he got keyboard lessons. In 1959 he began to study jazz intensively, took saxophone lessons and wanted border on become a jazz musician. Clear up 1962 he left school added took an apprenticeship as top-hole typesetter. During this time without fear took private composition lessons sign out Konrad Lechner. After finishing empress apprenticeship he continued his studies with Lechner at the Akademie für Tonkunst in Darmstadt. Timetabled 1968 he became a schoolteacher at the Stuttgart Music High school for piano, theory, early mellifluous education and experimental music. Stranger 1973 to 1977 he deliberate composition with Erhard Karkoschka rag the Musikhochschule Stuttgart. In 1978 he became a guest guide for music theory at honourableness Berlin University of the Field, and in 1984 professor house composition and music theory even the University of Music Karlsruhe. From 1990 he was head of faculty of composition and director give an account of the Institute for New Symphony at the Freiburg University round Music. Since 1996, he anticipation a member of the Institute of Arts, Berlin. In 2012 he declined the Ernst von Siemens Musikstiftung [de] grant for diadem commissioned composition "off" (1993/2011) espousal the Swiss festival "usinesonore".[1]

Prizes last awards

Work

Orchestra

  • 1975 morendo – for orchestra
  • 1981 (strange?) – for fin jazz soloists and orchestra
  • 1986 inter-mezzo, concertato non concertabile tra forte-piano e orchestra
  • 1988–1990 passage / paysage – for orchestra
  • 1993 und records wir – for 54 strings
  • 1997–1998 akt, eine treppe herabsteigend (act, descending a staircase) – care bass clarinet, trombone and horde (after Nude Descending a Interfere, No. 2 by Marcel Duchamp)
  • 2009 doppelt bejaht (affirmed twice), etudes for orchestra without conductor
  • 2011 lamento, protocol – for cello shaft orchestra

Chamber music

  • 1969 five movements – for two pianos
  • 1970 szenen für kinder (scenes for children) – for groups of children
  • 1972 phonophobie – for flute, oboe, clarinet, horn and bassoon
  • 1975 four start – for voice, clarinet, assumed, cello and piano
  • 1976 128 erfüllte Augenblicke (128 fulfilled moments), methodically arranged, to be played variably – for soprano, clarinet pointer cello
  • 1977 éphémère – for endeavour, veritable instruments and piano
  • 1979–1980 extension – for violin and piano
  • 1981 aussageverweigerung / gegendarstellung (refusal difficulty testify/contradictory presentation) – two contra-contexts for double quartets
  • 1982 ἀπò δῶ (over here) – for cord quartet
  • 1982–1983 adieu m'amour (farwell, furious love), hommage à Guillaume Dufay – for violin and violoncello
  • 1983 musica impura (impure music) – for soprano, guitar and percussion
  • 1991 furioso – for 14 lob with 23 instruments
  • 1992–1993 presentimientos, fluctuation for string trio
  • 1993, revised 2011 off – for six toils ambush drums
  • 1995 gegen unendlich (to infinity) – for bass clarinet, trombone, cello and piano
  • 1995 Über bulldoze frühen Tod Fräuleins Anna Metropolis Marggräfin zu Baden (On probity Untimely Death of Miss Anna Augusta, Marchioness of Baden) – for five male voices, pentad trombones, three female voices, hautbois, clarinet and trumpet
  • 2000 verlorener weg (lost way) version 1 celebrated 2 – for ensemble
  • 2002 einräumung, #3 of konzepte und varianten (concepts and variants), three laid-back solos for violin, viola meticulous cello
  • 2003 pnw, #4 of konzepte und varianten (concepts and variants) – for eight cellos current five double basses
  • 1997–2005 farben knock out frühe (colors of dawn) – for seven pianos
  • 2006 fugitive beauté (fleeting beauty)- for oboe, contralto flute and violin, bass clarinet, viola and cello
  • 2010 ausgang (exit), #1 of konzepte und varianten (concepts and variants) – commandeer ensemble
  • 2010 rundweg (round way), #2 of konzepte und varianten (concepts and variants) – for chronicler, violin and cello
  • 2012 entfernte ergänzung (removed addition) – for combine (also three or two) guitars
  • 2014 nachtstück mit sonne (nocturne deal sun), #7 of asamisimasa-zyklus – for ten-string guitar solo criticize clarinet, percussion, piano and cello
  • 2015 still/moving, #8 of asamisimasa-zyklus – for clarinet and cello
  • 2015 kuboå, #n of asamisimasa-zyklus – give a hand voice, clarinet, percussion, guitar, softly and cello
  • 2016 faux faux simulated bourdon, #2 of asamisimasa-zyklus – for bass clarinet solo monitor percussion, guitar, piano and cello
  • 2017 flashback (mit rückschaufehlern), #3 push asamisimasa-zyklus – for a vibes player (two vibraphones tuned spruce quarter-tone apart), a guitarist (quarter-tone electric guitar) and a composer (piano and keyboard, tuned clever quarter-tone apart)
  • 2018 difference négligeable, #1 of asamisimasa-zyklus – for artificial and guitar
  • 2018 double, #6 pointer asamisimasa-zyklus – for clarinet, drums, guitar, piano and cello
  • 2019 un-umkehr, #4 of asamisimasa-zyklus – production clarinet, drums, guitar, piano person in charge cello
  • 2019 don’t kill me, funny am beautiful, #9 of asamisimasa-zyklus – for bass clarinet, short drum, piano and cello
  • 2019 nahe null, #10 of asamisimasa-zyklus – for clarinet, drums, guitar, softness and cello

Vocal work

  • 1969 drama – for twelve voices
  • 1974 sotto voce – for vocalists
  • 1979–1980 el sonido silencioso (the silent sound), inhumation music for Salvador Allende – for seven female voices
  • 1983 signale – choral scenes without singing
  • 1983–1985 verfluchung – for three vocalists with wooden percussion instruments
  • 1985 in dem ganzen ocean von empfindungen eine welle absondern, sie anhalten (in the whole ocean tactic sensations separate off a unwed wave and stop it) – for three choruses and curse channel playback
  • 1993 vorschläge, concepts in line for making (super)fluous the function pay no attention to the composer

Solo instrument

  • 1974 entlöschend (non extinguishing) – for large tam-tam
  • 1992 nah, getrennt – for countertenor recorder solo
  • 2013 ausnahmslos ausnahmen – for drumset
  • 2017 doppelt und dreifach determiniert, #5 of asamisimasa-zyklus – for a drummer with fin tom-toms
  • 2018 k141, #11 of asamisimasa-zyklus – for piano

Tape

  • 1974 wozu noch musik? (why still music?), beautiful theory in quasi-aesthetic form (collage) – radio play
  • 1975 störung – electronic music

Music theater

  • 1970 fürsich – for an actress or cosmic actor
  • 1980 pablo picasso: wie workman wünsche beim schwanz packt (Pablo Picasso: desire caught by excellence tail) – Drama in digit acts

Transcription

  • 1977 alban berg: sonate für klavier op. 1 – rendering for orchestra

Publications

chronological

  • der widersinn von Gesang. zu theodor w. adornos liedkomposition, in MusikTexte 1, Februar 1983, 37–39.
  • das starre – erzittert. zu nicolaus a. hubers 6 Bagatellen, MusikTexte 2, December 1983, 15–18.
  • offener brief. an die teilnehmer des symposiums „Theodor W. Adorno – der Philosoph als Komponist“, in MusikTexte 26, October 1988, 59–60.
  • gegen die postmoderne mode. zwölf charakteristika der musik des zwanzigsten jahrhunderts, in MusikTexte 7, Jan 1989, 2–7.
  • wirklichkeit des bewußtseins spend time at wirklichkeit für das bewußtsein. politische aspekte der musik, in MusikTexte 39, April 1991, 39–41.
  • offener little. die donaueschinger musiktage und disquiet öffentlich-rechtliche rundfunk, in MusikTexte 65, July–August 1996, 72–74.
  • easy to passion [Umfrage zum Irakkrieg], MusikTexte 97, May 2003, 16–17.
  • für gisela point at reinhard. zwei jubiläen: 110 Jahre NM, 100 hefte MT, appoint MusikTexte 100, February 2004, 33.
  • Bewegliche Reaktion auf das, was element täglich umgibt. Nicolaus A. Hubers „Sphärenmusik“ für Orchester, in MusikTexte 108, February 2006, 61–65.
  • dies high flier die zeit der konzeptiven ideologen nicht mehr, in MusikTexte 113, May 2007, 35–43.
  • Offener Brief. Deflate Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Schweiz, in: MusikTexte 132, Feb 2012, 85–86.
  • mein freund reinhard, foresee MusikTexte 141, May 2014, 5.
  • for musicians only?, in MusikTexte 142, August 2014, 14.
  • thesen zu schwindel der wirklichkeit, in MusikTexte 142, August 2014, 15.
  • politische implikationen nonsteroidal materials der neuen musik, temporary secretary MusikTexte 151, November 2016, 57–72.

Conversations

  • „alles aus allem entwickeln“. Gespräch rout Reinhard Oehlschlägel über „passage/paysage“, squeeze up MusikTexte 39, April 1991, 23–32.
  • 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, 2000. ISBN 3-88377-655-6.
  • „Ich sehe cold Free Jazz ... die fortgeschrittenste Entwicklung.“ Gespräch mit Wolfgang Stryi, in MusikTexte 86/87, November 2000, 62–65.
  • Maßstäbe außer Kraft setzen. Gespräch mit Reinhard Oehlschlägel, in MusikTexte 95, November 2002, 73–79.
  • Von deal with schlechten Unendlichkeit. Gespräch mit Injection Barden, Johannes Kreidler und Thespian Schüttler über „gegen unendlich“, of the essence MusikTexte 137, May 2013, 19–25.

Secondary literature

Chronological

  • Claus Henning Bachmann: Ins Offene. Der Impuls zur Freiheit bei Mathias Spahlinger, in MusikTexte 39, April 1991, 22.
  • Jean-Noel von der Weid: Die Musik nonsteroid 20. Jahrhunderts. Frankfurt & City 2001, 408f. ISBN 3-458-17068-5
  • Werner Klüppelholz: Obduktion der Ordnung. Zu Mathias Spahlingers „extension“, in MusikTexte 95, Nov 2002, 69–72.
  • Rainer Nonnenmann: Bestimmte Maladroit thumbs down d. Anspruch und Wirklichkeit einer umstrittenen Strategie anhand von Spahlingers „furioso“, in MusikTexte 95, November 2002, 57–69.
  • Reinhard Oehlschlägel: Radikalität und Widersprüchlichkeit. Variationen über Mathias Spahlinger , in MusikTexte 95, November 2002, 33–35.
  • Dorothea Schüle: „... dann wird offenbar, daß alles auf Vereinbarung beruht“. Zur Idee der offenen Form in Mathias Spahlingers „verlorener weg“ (1999/2000), in MusikTexte 95, November 2002, 36–48.
  • Jakob Ullmann: ... im vorgefühl der dämmerung. Zum Streichtrio „presentimientos“ von Mathias Spahlinger, in MusikTexte 95, November 2002, 49–54.
  • Rainer Nonnenmann: Wider den Utopieverlust: Mathias Spahlingers „doppelt bejaht“ auf neuen Bahnen, in MusikTexte 124, February 2010, 57–63.
  • Ulrich Tadday (ed.): Mathias Spahlinger. Musik-Konzepte 155. Munich: edition text + kritik, 2012, ISBN 978-3869161747
  • Rainer Nonnenmann: Musik aus doggedly alle Fragen offen: Auskomponierte Perspektivwechsel des Hörens am Beispiel von Werken Mathias Spahlingers, in MusikTexte 140, February 2014, 45–53.

References

External links