Hans-Jürgen from Bose

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Hans-Jürgen von Bose (born December 24, 1953 in Munich ) is a German composer .

Hans-Jürgen from Bose

Life

He is the son of a doctor from the von Bose family . After a childhood marked by numerous moves and boarding school stays, von Bose received lessons in piano and music theory at the Hoch Conservatory in Frankfurt am Main in 1969 . After graduating from high school, he studied composition ( Hans Ulrich Engelmann ), piano (Klaus Billing) and conducting at the Frankfurt University of Music . His first participation in the Darmstadt Summer Course in 1974 and the world premiere of his 1st String Quartet was followed by several scholarships, such as the Mozart Foundation and the German National Academic Foundation . In 1976 von Bose broke off his studies in Frankfurt and moved to Munich as a freelance artist.

The duo for viola and violoncello "Threnos" received first prize in the composition competition Sommerliche Musiktage Hitzacker in 1976 , his chamber opera Blutbund (1974) premiered in 1977 at the Opera Stabile in Hamburg; from 1977 his compositions are performed internationally. The works that followed were accompanied by grants from the Deutsche Akademie Rome Villa Massimo (1980/1985), such as Morphogenisis (1976), Das Diplom (1976), 63: Dream Palace (1990) and The Night from Blei (1981) as Commissioned by the Deutsche Oper Berlin, which was filmed in 1984 for the WDR. For this he was awarded the Critics' Prize for Music by the Association of German Critics. For the 100th anniversary of the Berliner Philharmoniker he composed the commissioned work Idyllen (1982/83); a year later the Sappho chants for mezzo-soprano and piano as well as a version for chamber orchestra were written, which were premiered at the Donaueschinger Musiktage . In the same year he received the sponsorship award of the Hessian culture award and the sponsorship award for music of the state capital Munich. 1983/84 followed the composition of the opera Die Leiden des Junge Werther after Johann Wolfgang von Goethe by Filippo Sanjust , which was premiered at the Hamburg State Opera and shown at the 1986 Schwetzingen Festival . In the 1980s, von Bose was a member of the jury for the Summer Music Days Hitzacker and a lecturer for youth composers in Weikersheim . After a visiting professorship for composition at the Salzburg Mozarteum , he became Professor of Composition at the University of Music and Theater in Munich in 1992, succeeding Wilhelm Killmayer (until 2007).

After taking early retirement, Hans-Jürgen von Bose lived and worked in Berlin and then in the Uckermark . Since 2011 he has lived in Zorneding , a suburb of Munich .

As it became public in 2018, Bose was charged with multiple rape by the Munich public prosecutor's office .

plant

Hans-Jürgen von Bose's music is characterized in the early works by the juxtaposition and intertwining of structural and sensory elements. Overcoming serial composition and advocating subjective semantics has been referred to as “New Simplicity” since the Darmstadt Summer Course in 1978 (this also applied to other composers such as Wolfgang Rihm and Detlev Müller-Siemens ), whereby the connotation of this term is structural and the could not cover complex time treatment of the compositions. In the 1970s, the trend known under the catchphrase “New Subjectivity” set considerable impulses for a new concept of material that turned away from an objective understanding of material in a consensus against a constructive serial way of thinking. With the opera 63: Dream Palace , written in 1990, von Bose began to work with various, including historical, style elements and references. The heterogeneity of postmodernism is thus reflected through the processing of different style elements. As a culmination of this period, the opera is slaughterhouse V to see (1996), whose libretto on the novel Slaughterhouse 5, or the Children's Crusade of Kurt Vonnegut based.

The building of bridges between modern and postmodern is a significant moment in Bose's work.

Slaughterhouse 5

Bose uses the technique of style copying here in the sense of an expansion of his own musical language, but not in the gesture of giving up artistic idiosyncrasy. This shows a reinterpretation of the postmodern discourse. While the general postmodern attitude was mostly understood as the impossibility of creating new artistic ideas, which is why there would only be the possibility of processing historical material in a post-historical period, Schlachthof 5 presents this processing as a new (positive) artistic attitude. The French post-structuralist Philosophy and its theory of the “death of the author” ( Roland Barthes ) make their influence clear here. Bose describes the "personal style" as a "hopefully soon to be overcome relic of the 19th century". Similarly, the historical allusions in Schlachthof 5 are not collaged, but amalgamated and overlaid. The historical limits of the material are not respected and taken into account. Referring to the term rhizome , which was coined by the philosophers Deleuze and Guattari , von Bose defines in Schlachthof 5 the artistic roots as branched and heterogeneously structured.

The treatment of temporal complexity is significant for Bose's work in general and for Schlachthof 5 in particular. The linear understanding of time is replaced by simultaneity, analogous to the “time-spastic” understanding of the protagonist Billy Pilgrim . In addition, von Bose allows insights from chaos theory, neurobiology and astrophysics to flow into his polymorphic understanding of time, which were implemented beyond the music in the structuring of the libretto. The form of film editing established by Sergej Eisenstein is used here - also compositionally - so that different levels can be "cut quickly and hard against each other" (ibid, p. 353), which are continued in compositional layers and interweaving. In this context, the composer speaks of a "time - palimpsest" (ibid., P. 353).

The opera was commissioned by the Munich State Opera and opened the Munich Opera Festival in 1996 (director: Eike Gramss ).

Selection of works

Vocal music

  • Three songs for tenor and chamber orchestra. (1977)
  • Symphonic fragment (Hölderlin) (1979/80)
  • Guarda el canto (Miguel Angel Bustos) - Four fragments in three movements for soprano and string quartet. (1981)
  • Sappho chants for mezzo-soprano and chamber orchestra. (1983)
  • Sonnet XLII for baritone and string quartet (Shakespeare, 1985)
  • Five nursery rhymes - from “Des Knaben Wunderhorn” for alto and five instruments. (1985)
  • ... spoken in the wind - sacred music for soprano solo, two speakers. (1985)
  • Omega - Five poems by Federico Garcia Lorca for mezzo-soprano and piano. (1986)
  • Death Fugue - Mixed Choir with Baritone solo and Organ. (1989)
  • Love after Love - (D.Walcott) for soprano and orchestra. (1990/91)
  • The excursion into the mountains - Franz Kafka; for countertenor and piano. (2005)
  • Kafka cycle for countertenor and cello, dedicated to Aribert Reimann on his 70th birthday. (2006)
  • Lamento and Dithyrambus (I. Bachmann) for countertenor, keyboard, piano and tubular bells, dedicated to Hans-Werner Henze on the occasion of his 80th birthday. (2006)
  • Bernhard cycle - three songs based on poems by Thomas Bernhard for soprano and piano. (2006)
  • Invocation cycle for countertenor and organ. (2008)

Stage works

  • Blutbund (Ramon del Valle-Inclan) - Opera 1 act. (Comp. 1974)
  • The night made of lead - kinetic plot in six pictures based on Hans Henny Jahnn. (comp. 1981)
  • Chimera - Musical scene by Federico Garcia Lorca. (1986)
  • The Sorrows of Young Werther - Lyrical scenes in two parts and an intermezzo. (comp. 1987/88)
  • Werther scenes - ballet in two parts and an interlude. (comp. 1988)
  • 63: Dream Palace - Opera based on a novella by James Purdy. (comp. 1989 / premiere: May 6, 1990, Munich Biennale )
  • Medea Fragment - music theater based on Hans Henny Jahnn . (comp. 1993)
  • Schlachthof V - opera, libretto by the composer after Kurt Vonnegut. (comp. 1995)
  • K-Projekt 12/14 - Music theater based on Kafka's “The Metamorphosis”. (2002)
  • Traffic with ghosts - music theater based on texts and fragments by Franz Kafka . (2012)

Instrumental music

  • Morphogenisis for large orchestra. (1975)
  • Travesties in a Sad Landscape - Variations for Chamber Orchestra. (1978)
  • Music for a house full of time for a large chamber orchestra. (1978)
  • Idylls - for the 100th anniversary of the Berliner Symphoniker. (1982/83)
  • Symbol for organ and orchestra. (1985)
  • Labyrinth 1 for large orchestra. (1987)
  • Concertino per il HWH for chamber orchestra. (1991)
  • Labyrinth II for piano. (1992)

Chamber music

  • 1st string quartet . (1973)
  • 2nd string quartet . (1976/77)
  • String trio . (1978)
  • Three epitaphs for wind sextet. (1987)
  • Music for cello solo . (2002)
  • Music for K. for violin, violoncello and piano. (2002)
  • String trio - commissioned by the Bavarian State Opera for the 80th birthday of Hans-Werner Henze. (2006)

Piano music

  • 3 small piano pieces . (1982)
  • Labyrinth II . (1987)
  • origami - 2 episodes for piano, 4 hands. (1991)

Fonts

  • Looking for a new ideal of beauty. In: E. Thomas: Ferienkurse '78. (= Darmstadt Contributions to New Music 17.)
  • With leaps in time against boredom. Slaughterhouse 5: A plea for modern opera. In: Hanspeter Krellmann, Jürgen Schläder (Hrsg.): Theater is a dream place. Operas of the 20th century from Janáček to Widmann. Berlin 2005, pp. 350–354.

Awards

literature

  • Siegfried Mauser : Hans-Jürgen von Bose. Edition text + kritik, Munich 2002.
  • S. Schibli: The composer Hans-Jürgen von Bose and his latest compositions. In: Neue Zeitschrift für Musik, 7/8, 1988, pp. 30–39.
  • Aribert Reimann : For example from Bose. In: Neue Zeitschrift für Musik, 7/8, 1988, pp. 32–39.
  • Florian Hauser: Moments or: Time is relative. Some thoughts on Vonnegut's Billy Pilgrim. In: Hanspeter Krellmann, Jürgen Schläder (Hrsg.): Theater is a dream place. Operas of the 20th century from Janáček to Widmann. Berlin 2005, pp. 355-358.

Web links

Individual evidence

  1. ↑ Deutschlandfunk Kultur: #MeToo at the Munich University of Music: Porn to loosen up , May 11, 2018
  2. ↑ Hans-Jürgen von Bose: With time leaps against boredom 2005, p. 353f.
  3. ↑ http://www.copy-us.com/?copus=1366
  4. ↑ http://www.copy-us.com/?copus=1069
  5. ↑ http://www.copy-us.com/?copus=1182
personal data
SURNAME Bose, Hans-Jürgen von
BRIEF DESCRIPTION German composer
DATE OF BIRTH December 24, 1953
PLACE OF BIRTH Munich