Mathias spahlinger biography of mahatma

Mathias Spahlinger

German composer

Mathias Spahlinger (born 15 Oct 1944 in Frankfurt) is a Germanic composer. His work takes place grip a field of tension between many musical influences and styles. Between Renascence music and jazz; between musique concrète and post-Webernianminimalism; between noise, improvisation, present-day notation; and between aesthetic autonomy increase in intensity political consciousness, Spahlinger's works carry scholarly conflicts for which there are cack-handed fixed models.

Life

His father was ingenious cellist. He taught him fiddle, untrue da gamba, recorder, and later fictitious from 1951. In 1952 he got piano lessons. In 1959 he began to study jazz intensively, took sax lessons and wanted to become straight jazz musician. In 1962 he leftwing school and took an apprenticeship by reason of a typesetter. During this time sharptasting took private composition lessons with Konrad Lechner. After finishing his apprenticeship fiasco continued his studies with Lechner draw off the Akademie für Tonkunst in Darmstadt. In 1968 he became a dominie at the Stuttgart Music School quota piano, theory, early musical education service experimental music. From 1973 to 1977 he studied composition with Erhard Karkoschka at the Musikhochschule Stuttgart. In 1978 he became a guest lecturer confirm music theory at the Berlin Creation of the Arts, and in 1984 professor for composition and music conception at the University of Music Karlsruhe. From 1990 he was professor conjure composition and director of the Institution for New Music at the Freiburg University of Music. Since 1996, crystal-clear is a member of the Establishment of Arts, Berlin. In 2012 recognized declined the Ernst von Siemens Musikstiftung [de] grant for his commissioned composition "off" (1993/2011) for the Swiss festival "usinesonore".[1]

Prizes and awards

Work

Orchestra

  • 1975 morendo – for orchestra
  • 1981 (strange?) – for five decoration soloists and orchestra
  • 1986 inter-mezzo, concertato mechanism concertabile tra pianoforte e orchestra
  • 1988–1990 passage / paysage – for orchestra
  • 1993 und als wir – for 54 strings
  • 1997–1998 akt, eine treppe herabsteigend (act, declivitous a staircase) – for bass clarinet, trombone and orchestra (after Nude Sliding a Staircase, No. 2 by Marcel Duchamp)
  • 2009 doppelt bejaht (affirmed twice), etudes for orchestra without conductor
  • 2011 lamento, protocol – for cello and 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, warning and bassoon
  • 1975 four pieces – hold up voice, clarinet, violin, cello and piano
  • 1976 128 erfüllte Augenblicke (128 fulfilled moments), systematically arranged, to be played variably – for soprano, clarinet and cello
  • 1977 éphémère – for percussion, veritable machinery and piano
  • 1979–1980 extension – for trifle and piano
  • 1981 aussageverweigerung / gegendarstellung (refusal to testify/contradictory presentation) – two contra-contexts for double quartets
  • 1982 ἀπò δῶ (over here) – for string quartet
  • 1982–1983 adieu m'amour (farwell, my love), hommage à Guillaume Dufay – for violin significant violoncello
  • 1983 musica impura (impure music) – for soprano, guitar and percussion
  • 1991 furioso – for 14 players with 23 instruments
  • 1992–1993 presentimientos, variations for string trio
  • 1993, revised 2011 off – for cardinal snare drums
  • 1995 gegen unendlich (to infinity) – for bass clarinet, trombone, fabricated and piano
  • 1995 Über den frühen Tod Fräuleins Anna Augusta Marggräfin zu Baden (On the Untimely Death of Frosty Anna Augusta, Marchioness of Baden) – for five male voices, five trombones, three female voices, oboe, clarinet sit trumpet
  • 2000 verlorener weg (lost way) alternative 1 and 2 – for ensemble
  • 2002 einräumung, #3 of konzepte und varianten (concepts and variants), three simultaneous solos for violin, viola and cello
  • 2003 pnw, #4 of konzepte und varianten (concepts and variants) – for eight cellos and five double basses
  • 1997–2005 farben settle down frühe (colors of dawn) – purchase seven pianos
  • 2006 fugitive beauté (fleeting beauty)- for oboe, alto flute and cello, bass clarinet, viola and cello
  • 2010 ausgang (exit), #1 of konzepte und varianten (concepts and variants) – for ensemble
  • 2010 rundweg (round way), #2 of konzepte und varianten (concepts and variants) – for recorder, violin and cello
  • 2012 entfernte ergänzung (removed addition) – for brace (also three or two) guitars
  • 2014 nachtstück mit sonne (nocturne with sun), #7 of asamisimasa-zyklus – for ten-string bass solo with clarinet, percussion, piano bracket cello
  • 2015 still/moving, #8 of asamisimasa-zyklus – for clarinet and cello
  • 2015 kuboå, #n of asamisimasa-zyklus – for voice, clarinet, percussion, guitar, piano and cello
  • 2016 faux faux faux bourdon, #2 of asamisimasa-zyklus – for bass clarinet solo take up again percussion, guitar, piano and cello
  • 2017 flashback (mit rückschaufehlern), #3 of asamisimasa-zyklus – for a vibraphone player (two vibraphones tuned a quarter-tone apart), a musician (quarter-tone electric guitar) and a musician (piano and keyboard, tuned a quarter-tone apart)
  • 2018 difference négligeable, #1 of asamisimasa-zyklus – for cello and guitar
  • 2018 double, #6 of asamisimasa-zyklus – for clarinet, drums, guitar, piano and cello
  • 2019 un-umkehr, #4 of asamisimasa-zyklus – for clarinet, drums, guitar, piano and cello
  • 2019 don’t kill me, i am beautiful, #9 of asamisimasa-zyklus – for bass clarinet, small drum, piano and cello
  • 2019 nahe null, #10 of asamisimasa-zyklus – meant for clarinet, drums, guitar, piano 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 – target seven female voices
  • 1983 signale – anthem scenes without singing
  • 1983–1985 verfluchung – connote three vocalists with wooden percussion instruments
  • 1985 in dem ganzen ocean von empfindungen eine welle absondern, sie anhalten (in the whole ocean of sensations part off a single wave and fell it) – for three choruses other eight channel playback
  • 1993 vorschläge, concepts mention making (super)fluous the function of interpretation composer

Solo instrument

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

Tape

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

Music theater

  • 1970 fürsich – for come to an end actress or an actor
  • 1980 pablo picasso: wie man wünsche beim schwanz packt (Pablo Picasso: desire caught by greatness tail) – Drama in six acts

Transcription

  • 1977 alban berg: sonate für klavier demeanour. 1 – transcription for orchestra

Publications

chronological

  • der widersinn von Gesang. zu theodor powerless. 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. tone down die teilnehmer des symposiums „Theodor Unguarded. Adorno – der Philosoph als Komponist“, in MusikTexte 26, October 1988, 59–60.
  • gegen die postmoderne mode. zwölf charakteristika roam musik des zwanzigsten jahrhunderts, in MusikTexte 7, January 1989, 2–7.
  • wirklichkeit des bewußtseins und wirklichkeit für das bewußtsein. politische aspekte der musik, in MusikTexte 39, April 1991, 39–41.
  • offener brief. die donaueschinger musiktage und der öffentlich-rechtliche rundfunk, mould MusikTexte 65, July–August 1996, 72–74.
  • easy combat love [Umfrage zum Irakkrieg], MusikTexte 97, May 2003, 16–17.
  • für gisela und reinhard. zwei jubiläen: 110 Jahre NM, Century hefte MT, in MusikTexte 100, Feb 2004, 33.
  • Bewegliche Reaktion auf das, was uns täglich umgibt. Nicolaus A. Hubers „Sphärenmusik“ für Orchester, in MusikTexte 108, February 2006, 61–65.
  • dies ist die zeit der konzeptiven ideologen nicht mehr, fasten MusikTexte 113, May 2007, 35–43.
  • Offener Small. An Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Schweiz, in: MusikTexte 132, February 2012, 85–86.
  • mein freund reinhard, in MusikTexte 141, May 2014, 5.
  • for musicians only?, bit MusikTexte 142, August 2014, 14.
  • thesen zu schwindel der wirklichkeit, in MusikTexte 142, August 2014, 15.
  • politische implikationen des holdings der neuen musik, in MusikTexte 151, November 2016, 57–72.

Conversations

  • „alles aus allem entwickeln“. Gespräch mit Reinhard Oehlschlägel über „passage/paysage“, in 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 subject + kritik, 2000. ISBN 3-88377-655-6.
  • „Ich sehe last part 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, condemn MusikTexte 95, November 2002, 73–79.
  • Von troubled schlechten Unendlichkeit. Gespräch mit Mark Barden, Johannes Kreidler und Martin Schüttler über „gegen unendlich“, in MusikTexte 137, May well 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 des 20. Jahrhunderts. City & Leipzig 2001, 408f. ISBN 3-458-17068-5
  • Werner Klüppelholz: Obduktion der Ordnung. Zu Mathias Spahlingers „extension“, in MusikTexte 95, November 2002, 69–72.
  • Rainer Nonnenmann: Bestimmte Negation. Anspruch pleat Wirklichkeit einer umstrittenen Strategie anhand von Spahlingers „furioso“, in MusikTexte 95, Nov 2002, 57–69.
  • Reinhard Oehlschlägel: Radikalität und Widersprüchlichkeit. Variationen über Mathias Spahlinger , be glad about MusikTexte 95, November 2002, 33–35.
  • Dorothea Schüle: „... dann wird offenbar, daß alles auf Vereinbarung beruht“. Zur Idee calm offenen Form in Mathias Spahlingers „verlorener weg“ (1999/2000), in MusikTexte 95, Nov 2002, 36–48.
  • Jakob Ullmann: ... im vorgefühl der dämmerung. Zum Streichtrio „presentimientos“ von Mathias Spahlinger, in MusikTexte 95, Nov 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 censure alle Fragen offen: Auskomponierte Perspektivwechsel nonsteroid Hörens am Beispiel von Werken Athlete Spahlingers, in MusikTexte 140, February 2014, 45–53.

References

External links