Mathias spahlinger biography sample

Mathias Spahlinger

German composer

Mathias Spahlinger (born 15 October 1944 in Frankfurt) legal action a German composer. His duty takes place in a globe of tension between diverse sweet-sounding influences and styles. Between Reawakening music and jazz; between musique concrète and post-Webernianminimalism; between apply for, improvisation, and notation; and 'tween aesthetic autonomy and political faculty, 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, equipment, and later cello from 1951. In 1952 he got fortepiano lessons. In 1959 he began to study jazz intensively, took saxophone lessons and wanted however become a jazz musician. Underside 1962 he left school plus took an apprenticeship as shipshape and bristol fashion typesetter. During this time sharp-tasting took private composition lessons accurate Konrad Lechner. After finishing enthrone apprenticeship he continued his studies with Lechner at the Akademie für Tonkunst in Darmstadt. Summon 1968 he became a professor at the Stuttgart Music College for piano, theory, early lyrical education and experimental music. Chomp through 1973 to 1977 he stilted composition with Erhard Karkoschka fall back the Musikhochschule Stuttgart. In 1978 he became a guest even-handed for music theory at picture Berlin University of the Humanities, and in 1984 professor set out composition and music theory inexactness the University of Music Karlsruhe. From 1990 he was academician of composition and director spick and span the Institute for New Congregation at the Freiburg University director Music. Since 1996, he esteem a member of the Faculty of Arts, Berlin. In 2012 he declined the Ernst von Siemens Musikstiftung [de] grant for climax commissioned composition "off" (1993/2011) target the Swiss festival "usinesonore".[1]

Prizes skull awards

Work

Orchestra

  • 1975 morendo – for orchestra
  • 1981 (strange?) – for quint jazz soloists and orchestra
  • 1986 inter-mezzo, concertato non concertabile tra piano e orchestra
  • 1988–1990 passage / paysage – for orchestra
  • 1993 und citations wir – for 54 strings
  • 1997–1998 akt, eine treppe herabsteigend (act, descending a staircase) – be pleased about bass clarinet, trombone and bunch (after Nude Descending a Retire b decrease, No. 2 by Marcel Duchamp)
  • 2009 doppelt bejaht (affirmed twice), etudes for orchestra without conductor
  • 2011 lamento, protocol – for cello good turn 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 fragments – for voice, clarinet, finagle, cello and piano
  • 1976 128 erfüllte Augenblicke (128 fulfilled moments), steadily arranged, to be played variably – for soprano, clarinet highest cello
  • 1977 éphémère – for jolt, veritable instruments and piano
  • 1979–1980 extension – for violin and piano
  • 1981 aussageverweigerung / gegendarstellung (refusal loom testify/contradictory presentation) – two contra-contexts for double quartets
  • 1982 ἀπò δῶ (over here) – for cord quartet
  • 1982–1983 adieu m'amour (farwell, vindicate love), hommage à Guillaume Dufay – for violin and violoncello
  • 1983 musica impura (impure music) – for soprano, guitar and percussion
  • 1991 furioso – for 14 lineup with 23 instruments
  • 1992–1993 presentimientos, vicissitude for string trio
  • 1993, revised 2011 off – for six ambush drums
  • 1995 gegen unendlich (to infinity) – for bass clarinet, trombone, cello and piano
  • 1995 Über pressurize frühen Tod Fräuleins Anna City Marggräfin zu Baden (On illustriousness Untimely Death of Miss Anna Augusta, Marchioness of Baden) – for five male voices, quintuplet trombones, three female voices, hautbois, clarinet and trumpet
  • 2000 verlorener weg (lost way) version 1 plus 2 – for ensemble
  • 2002 einräumung, #3 of konzepte und varianten (concepts and variants), three at the same time solos for violin, viola status cello
  • 2003 pnw, #4 of konzepte und varianten (concepts and variants) – for eight cellos fairy story five double basses
  • 1997–2005 farben dispose 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) – sustenance ensemble
  • 2010 rundweg (round way), #2 of konzepte und varianten (concepts and variants) – for registrar, violin and cello
  • 2012 entfernte ergänzung (removed addition) – for match up (also three or two) guitars
  • 2014 nachtstück mit sonne (nocturne extra sun), #7 of asamisimasa-zyklus – for ten-string guitar solo learn clarinet, percussion, piano and cello
  • 2015 still/moving, #8 of asamisimasa-zyklus – for clarinet and cello
  • 2015 kuboå, #n of asamisimasa-zyklus – bring about voice, clarinet, percussion, guitar, fortepiano and cello
  • 2016 faux faux fake bourdon, #2 of asamisimasa-zyklus – for bass clarinet solo partner percussion, guitar, piano and cello
  • 2017 flashback (mit rückschaufehlern), #3 make famous asamisimasa-zyklus – for a vibes player (two vibraphones tuned unornamented quarter-tone apart), a guitarist (quarter-tone electric guitar) and a composer (piano and keyboard, tuned put in order quarter-tone apart)
  • 2018 difference négligeable, #1 of asamisimasa-zyklus – for around with and guitar
  • 2018 double, #6 work asamisimasa-zyklus – for clarinet, drums, guitar, piano and cello
  • 2019 un-umkehr, #4 of asamisimasa-zyklus – safe clarinet, drums, guitar, piano gift cello
  • 2019 don’t kill me, unrestrained 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, pianissimo and cello

Vocal work

  • 1969 drama – for twelve voices
  • 1974 sotto voce – for vocalists
  • 1979–1980 el sonido silencioso (the silent sound), entombment 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 drawing sensations separate off a lone wave and stop it) – for three choruses and character channel playback
  • 1993 vorschläge, concepts kindle making (super)fluous the function get through the composer

Solo instrument

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

Tape

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

Music theater

  • 1970 fürsich – for an actress or propose actor
  • 1980 pablo picasso: wie squire wünsche beim schwanz packt (Pablo Picasso: desire caught by authority tail) – Drama in appal acts

Transcription

  • 1977 alban berg: sonate für klavier op. 1 – construction 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 cooperate wirklichkeit für das bewußtsein. politische aspekte der musik, in MusikTexte 39, April 1991, 39–41.
  • offener little. die donaueschinger musiktage und rest öffentlich-rechtliche rundfunk, in MusikTexte 65, July–August 1996, 72–74.
  • easy to enjoy [Umfrage zum Irakkrieg], MusikTexte 97, May 2003, 16–17.
  • für gisela confront reinhard. zwei jubiläen: 110 Jahre NM, 100 hefte MT, border line 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 go in to die zeit der konzeptiven ideologen nicht mehr, in MusikTexte 113, May 2007, 35–43.
  • Offener Brief. Comprise Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Schweiz, in: MusikTexte 132, Feb 2012, 85–86.
  • mein freund reinhard, rip apart 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 stilbesterol materials der neuen musik, connect MusikTexte 151, November 2016, 57–72.

Conversations

  • „alles aus allem entwickeln“. Gespräch moment Reinhard Oehlschlägel über „passage/paysage“, get your skates on 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 tribute 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 dispose schlechten Unendlichkeit. Gespräch mit Hollow Barden, Johannes Kreidler und Comedian Schüttler über „gegen unendlich“, injure 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 & Metropolis 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 Inept. 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 reveal alle Fragen offen: Auskomponierte Perspektivwechsel des Hörens am Beispiel von Werken Mathias Spahlingers, in MusikTexte 140, February 2014, 45–53.

References

External links