Matthias シュパーリンガー
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Matthias シュパーリンガー (Mathias Spahlinger) is a composer of the German contemporary music.
Table of contents
Brief career history
It was born in Frankfurt, Germany and, after childhood, began music under the influence of father of the baroque cellist. I seemed to learn an old musical instrument mainly at first, but I learned a piano, a jazz piano later and learned composition by the cause of Conrad レヒナー. I was registered at "academy フュア トンクンスト" appointed in the meeting place of the current Darmstadt summer course.
Hearing and a manner for the freedom of the composition were established while I studied under air Hald カルコシュカ in シュトットガルト College of Music and taught music theory in Karlsruhe College of Music. As Professor successor of Klaus Hoover of the composition department of Freiburg College of Music, I changed the educational institutions in Germany, but keep now big influence afterwards while living in Potsdam at the present after the retirement.
I am known for thorough manner "to mean the experiment that the contemporary music was separated with any past music". Therefore it is one of the almost unknown composers in the German foreign territory. There was a private exhibition twice in Japan in the past to use a considerably extreme thing for the special way of playing of the piano, and there are few even Asian countries such as Korea or China in a presentation career. It is the existence that I applied a gestalt theory to positively and is considered to be [1] biological parent.
Style
It was the style on the extension line of the post-Japanese parsley L at first, but develops the style that criticized itself in even Serie rhythm being based on incomplete hearing although being quiet. When it leads to "the expansion" for a violin and a piano, from the exchange of innumerable special ways of playing and the masterpiece in the ancient and modern times written to date, I show "the pole of the duet of the limit that it is thought". There is the voice (cf.Tadahiko Nonomura 2005) to point out influence of the American experiment music at a point with much "quotation". In addition, it is famous, and almost normal how to play is denied in an extreme special way of playing as I may injure a musical instrument in piano and "inter-mezzo" of the orchestra, and acoustic continuation having a pain is developed in an ear.
The orchestra work relatively decreases, but the work that it may be said that is a huge monument such as "the passage passage" which is given the first public performance by music festival in the ドナウエッシンゲン present age, and called a topic exists, and pull a next-generation young person with now this work; even if untie it, is not exaggeration. [2]Refer to development of the "passage passage" latter half for において, being called "a pizzicato mikado".
I seem to love the formation that bundled up six snare drums ("off") and seven pianos (this work that it was hard to prepare .7 "early-morning colors" was presented again in the members who were different from a premiere member), same quality musical instrument such as seven woman's voices and his personality is the clearest and appears at the point controlling different formant at the ratio that seems to be a German from same sound repeated blows. This tendency was "a problem product" as an outcome, a commentary by recorder player Jeremiah Schwarzer were performed "separately together" in Darmstadt class by the technique such as the infinite change of the different finger trainer for alto recorders. It was not a trend for the value that is active in the post-vanguard anymore in the 1990s, but the point that still defended a viewpoint of the post-vanguard to the death is evaluated.
In late years I announce the orchestra work "doubleness affirmation" that "you may perform it to listen at pleasure from the performance time for several hours and may hear through all songs" to take four hours by music festival in the ドナウエッシンゲン present age and develop creation for the freedom of the further hearing. Because his manner is very severe, it is 寡作 avoiding imitation of the same formation. However, his music becomes a target of the discussion so that it may be said that left work all songs are problem products. A work is published incidentally by a peel, but all works are not covered all and do not get Brightman glass when some works do not go to Germany. The recording leaves from the col legno, neos, montaigne, wergo others.
Major works
Orchester
- 1975 morendo - für Orchester
- 1981 Rou a GH i FF (strange?) - für 5 Jazzsolisten und Orchester
- 1986 inter-mezzo, concertato non concertabile tra pianoforte e orchestra
- 1988-1990 passage / paysage - für Orchester
- 1993 und als wir - für 54 Streicher
- 1997-1998 akt, eine treppe herabsteigend - für Bassklarinette, Posaune und Orchester (nach Akt, eine Treppe herabsteigend Nr. 2, einem Werk von Marcel Duchamp)
Kammermusik
- 1969 fünf sätze - für zwei klaviere
- 1972 phonophobie - für Flöte, Oboe, Klarinette, Horn und Fagott
- 1975 Vier Stücke - für Stimme, Klarinette, Violine, Violoncello und Klavier
- 1976 128 erfüllte augenblicke systematisch geordnet, variabel zu spielen - für Sopran, Klarinette, Cellos
- 1977éphémère - für Schlagzeug, veritable Instrumente und Klavier
- 1979-1980 extension - für Violine und Klavier
- 1981 aussageverweigerung / gegendarstellung - zwei Kontra-Kontexte für Doppelquartett
- 1982 apo do (von hier) - für Streichquartett
- 1982-1983 adieu m'amour HommageàGuillaume Dufay - für Violine und Violoncello
- 1983 musica impura - für Sopran, Gitarre und Schlagzeug
- 1991 furioso - für Ensemble
- 1992-1993 presentimientos variationen für streichtrio
- 1993 off - für sechs kleine Trommeln
- 1995 gegen unendlich - für Bassklarinette, Posaune, Violoncello und Klavier
- 1995über den frühen tod fräuleins anna augusta marggräfin zu baden - für fünf männerstimmen, fünf posaunen, 3 frauenstimmen und 3 bläser
- 2000 verlorener weg version 1 und 2 - für Ensemble
- 1997-2005 farben der frühe - für sieben klaviere
- 2006 fugitive beauté- für oboe, alt flöte und violine, bassklarinette, viola und cello
Vokalwerke
- 1969 drama - für 12 Solostimmen
- 1974 sotto voce - für Vokalisten
- 1979-1980 el sonido silencioso Trauermusik für Salvador Allende - für 7 Frauenstimmen und Tonband
- 1983 signale - Chorszenen ohne Gesang
- 1983-1985 verfluchung - für drei Vocalisten mit Holzschlaginstrumenten
- 1985 in dem ganzen ocean von empfindungen eine welle absondern, sie anhalten - für Chorgruppen und Playback
- 1993 vorschläge, konzepte zur ver(über)flüssigung der funktion des komponisten
Soloinstrument
- 1974 entlöschend - für großes Tamtam
- 1992 nah, getrennt - für Altblockflöte solo
Tonband
- 1974 wozu noch musik,ästhetische theorie in quasi-ästhetischer gestalt - hörspiel
- 1975 störung
Musiktheater
- 1980 pablo picasso: wie man wünsche beim schwanz packt - ein Drama in 6 Akten
References
- Jean-Noel von der Weid: Die Musik des 20. Jahrhunderts. Frankfurt am Main & Leipzig 2001, S. 408f. ISBN 3-458-17068-5
- Hans Heinrich Eggebrecht: Geschichte der Musik als Gegenwart: Hans Heinrich Eggebrecht und Mathias Spahlinger im Gespräch. Ed. Text und Kritik, München 2000. ISBN 3-88377-655-6.
- Musik-Konzepte 155 mathias Spahlinger Edition Text + Kritik (February 1, 2012) ISBN-13: 978-3,869,161,747
- SWR2-Sendungüber und mit Spahlinger
- About a moment met 128
- Early-morning color
- Solo album liner note of wergo
- It is a liner note col legno "early-morning color"
Footnote
Outside link
This article is taken from the Japanese Wikipedia Matthias シュパーリンガー
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