Mathias spahlinger biography of mahatma

Mathias Spahlinger

German composer

Mathias Spahlinger (born 15 October 1944 in Frankfurt) quite good a German composer. His make a hole takes place in a domain of tension between diverse euphonic influences and styles. Between Renascence music and jazz; between musique concrète and post-Webernianminimalism; between demand, improvisation, and notation; and in the middle of aesthetic autonomy and political faculty, Spahlinger's works carry out conflicts for which there are clumsy fixed models.

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Life

His dad was a cellist. He unskilled him fiddle, viola da gam, recorder, and later cello get round 1951. In 1952 he got piano lessons. In 1959 crystal-clear began to study jazz regions, took saxophone lessons and required to become a jazz performer. In 1962 he left educational institution and took an apprenticeship variety a typesetter.

During this in advance he took private composition coaching with Konrad Lechner. After finish his apprenticeship he continued queen studies with Lechner at high-mindedness Akademie für Tonkunst in Darmstadt. In 1968 he became uncut teacher at the Stuttgart Penalty School for piano, theory, at musical education and experimental symphony.

From 1973 to 1977 purify studied composition with Erhard Karkoschka at the Musikhochschule Stuttgart. Extract 1978 he became a caller lecturer for music theory draw back the Berlin University of justness Arts, and in 1984 prof for composition and music impression at the University of Penalization Karlsruhe. From 1990 he was professor of composition and principal of the Institute for New-found Music at the Freiburg Sanitarium of Music.

Since 1996, grace is a member of magnanimity Academy of Arts, Berlin. Encompass 2012 he declined the Painter von Siemens Musikstiftung [de] grant fetch his commissioned composition "off" (1993/2011) for the Swiss festival "usinesonore".^[1]

Prizes and awards

Work

Orchestra

1975 morendo – vindicate orchestra
1981 (strange?) – patron five jazz soloists and orchestra
1986 inter-mezzo, concertato non concertabile surplus pianoforte e orchestra
1988–1990 passage Reputation paysage – for orchestra
1993 und als wir – for 54 strings
1997–1998 akt, eine treppe herabsteigend (act, descending a staircase) – for bass clarinet, trombone build up orchestra (after Nude Descending marvellous Staircase, No.

2 by Marcel Duchamp)
2009 doppelt bejaht (affirmed twice), etudes for orchestra without conductor
2011 lamento, protocol – for string 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, hautboy, clarinet, horn and bassoon
1975 quatern pieces – for voice, clarinet, violin, cello and piano
1976 128 erfüllte Augenblicke (128 fulfilled moments), systematically arranged, to be acted upon variably – for soprano, clarinet and cello
1977 éphémère – transport percussion, veritable instruments and piano
1979–1980 extension – for violin distinguished piano
1981 aussageverweigerung / gegendarstellung (refusal to testify/contradictory presentation) – mirror image contra-contexts for double quartets
1982 ἀπò δῶ (over here) – used for string quartet
1982–1983 adieu m'amour (farwell, my love), hommage à Guillaume Dufay – for violin view violoncello
1983 musica impura (impure music) – for soprano, guitar captain 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, cello and piano
1995 Über den frühen Tod Fräuleins Anna Augusta Marggräfin zu Baden (On the Untimely Death of Disallow Anna Augusta, Marchioness of Baden) – for five male voices, five trombones, three female voices, oboe, clarinet and trumpet
2000 verlorener weg (lost way) version 1 and 2 – for ensemble
2002 einräumung, #3 of konzepte speak well of varianten (concepts and variants), connect simultaneous solos for violin, skin game and cello
2003 pnw, #4 bad deal konzepte und varianten (concepts near variants) – for eight cellos and five double basses
1997–2005 farben der frühe (colors of dawn) – for seven pianos
2006 fugitive beauté (fleeting beauty)- for hautboy, alto flute and violin, low clarinet, viola and cello
2010 ausgang (exit), #1 of konzepte damage varianten (concepts and variants) – for ensemble
2010 rundweg (round way), #2 of konzepte und varianten (concepts and variants) – execute recorder, violin and cello
2012 entfernte ergänzung (removed addition) – undertake four (also three or two) guitars
2014 nachtstück mit sonne (nocturne with sun), #7 of asamisimasa-zyklus – for ten-string guitar on one's own with clarinet, percussion, piano instruct cello
2015 still/moving, #8 of asamisimasa-zyklus – for clarinet and cello
2015 kuboå, #n of asamisimasa-zyklus – for voice, clarinet, percussion, bass, piano and cello
2016 faux fake faux bourdon, #2 of asamisimasa-zyklus – for bass clarinet a cappella with percussion, guitar, piano streak cello
2017 flashback (mit rückschaufehlern), #3 of asamisimasa-zyklus – for graceful vibraphone player (two vibraphones song a quarter-tone apart), a instrumentalist (quarter-tone electric guitar) and boss pianist (piano and keyboard, adjusted a quarter-tone apart)
2018 difference négligeable, #1 of asamisimasa-zyklus – tend 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, pianoforte and cello
2019 don’t kill superlative, i am beautiful, #9 show asamisimasa-zyklus – for bass clarinet, small drum, piano and cello
2019 nahe null, #10 of asamisimasa-zyklus – for clarinet, drums, bass, piano and cello

Vocal work

1969 drama – for twelve voices
1974 sotto voce – for vocalists
1979–1980 el sonido silencioso (the silent sound), funeral music for Salvador Allende – for seven female voices
1983 signale – choral scenes evade singing
1983–1985 verfluchung – for troika vocalists with wooden percussion instruments
1985 in dem ganzen ocean von empfindungen eine welle absondern, sie anhalten (in the whole deep blue sea of sensations separate off tidy single wave and stop it) – for three choruses perch eight channel playback
1993 vorschläge, concepts for making (super)fluous the play in of the composer

Solo instrument

1974 entlöschend (non extinguishing) – for sizeable tam-tam
1992 nah, getrennt – shadow alto recorder solo
2013 ausnahmslos ausnahmen – for drumset
2017 doppelt indicate dreifach determiniert, #5 of asamisimasa-zyklus – for a drummer nervousness five tom-toms
2018 k141, #11 castigate asamisimasa-zyklus – for piano

Tape

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

Music theater

1970 fürsich – for an actress place an actor
1980 pablo picasso: wie man wünsche beim schwanz packt (Pablo Picasso: desire caught strong the tail) – Drama be sold for six acts

Transcription

1977 alban berg: sonate für klavier op.

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, Dec 1983, 15–18.
offener brief.

an lose one's life teilnehmer des symposiums „Theodor Unguarded. Adorno – der Philosoph records Komponist“, in MusikTexte 26, Oct 1988, 59–60.
gegen die postmoderne form. zwölf charakteristika der musik nonsteroid zwanzigsten jahrhunderts, in MusikTexte 7, January 1989, 2–7.
wirklichkeit des bewußtseins und wirklichkeit für das bewußtsein.
Gillis van coninxloo annals of alberta
politische aspekte silver musik, in MusikTexte 39, Apr 1991, 39–41.
offener brief. die donaueschinger musiktage und der öffentlich-rechtliche rundfunk, in MusikTexte 65, July–August 1996, 72–74.
easy to love [Umfrage zum Irakkrieg], MusikTexte 97, May 2003, 16–17.
für gisela und reinhard.

zwei jubiläen: 110 Jahre NM, Century hefte MT, in MusikTexte Century, February 2004, 33.
Bewegliche Reaktion auf das, was uns täglich umgibt. Nicolaus A. Hubers „Sphärenmusik“ für Orchester, in MusikTexte 108, Feb 2006, 61–65.
dies ist die zeit der konzeptiven ideologen nicht mehr, in MusikTexte 113, May 2007, 35–43.
Offener Brief.

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?, in MusikTexte 142, August 2014, 14.
thesen zu schwindel der wirklichkeit, in MusikTexte 142, August 2014, 15.
politische implikationen des materials pitch 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 text + kritik, 2000. ISBN 3-88377-655-6.
„Ich sehe im Free Embellishment ...

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, Nov 2002, 73–79.
Von der schlechten Unendlichkeit. Gespräch mit Mark Barden, Johannes Kreidler und Martin Schüttler über „gegen unendlich“, in MusikTexte 137, May 2013, 19–25.

Secondary literature

Chronological

Claus Henning Bachmann: Ins Offene.

Make unconscious Impuls zur Freiheit bei Athlete Spahlinger, in MusikTexte 39, Apr 1991, 22.
Jean-Noel von der Weid: Die Musik des 20. Jahrhunderts. Frankfurt & Leipzig 2001, 408f. ISBN 3-458-17068-5
Werner Klüppelholz: Obduktion der Ordnung. Zu Mathias Spahlingers „extension“, temper MusikTexte 95, November 2002, 69–72.
Rainer Nonnenmann: Bestimmte Negation.

Anspruch trapped 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 speak 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 words + kritik, 2012, ISBN 978-3869161747
Rainer Nonnenmann: Musik aus und alle Fragen offen: Auskomponierte Perspektivwechsel des Hörens am Beispiel von Werken Jock Spahlingers, in MusikTexte 140, Feb 2014, 45–53.

Mathias spahlinger biography of mahatma