Christian Kluttig

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Christian Kluttig (born August 17, 1943 in Dresden ) is a German conductor , pianist and university professor. From 1979 to 1990 he was chief conductor of the Handel Festival Orchestra . Appointed general music director in 1983 , he worked as such at the theaters in Halle (Saale) and Koblenz . The Handel interpreter made particular contributions to the implementation of historical performance practice in the city on the Saale, which made him one of the most important protagonists in this field in the GDR. In addition, he devoted himself to contemporary music , for example, he premiered Reiner Bredemeyer's opera Candide .

Life

Christian Kluttig was born in Dresden in 1943 as the son of the cantor and later church music director Gottfried Kluttig (1913–2004). Kluttig accordingly grew up with the music of Johann Sebastian Bach . In his hometown he attended the Kreuzschule . From 1961 to 1967 he studied conducting with general music directors Rudolf Neuhaus and Horst Förster at the Carl Maria von Weber Academy of Music . He also took conducting courses from Arvīds Jansons and Igor Markevitch in Weimar and Hans Swarowsky and Witold Rowicki in Vienna.

After completing piano training with Ingeborg Finke-Siegmund in Dresden , he got his first engagement as a solo coach with conducting engagements at the Saxon State Opera in 1967 . Here he worked for the first time as an opera conductor with Le postillon de Lonjumeau by Adolphe Adam , Der Freischütz by Carl Maria von Weber and Die Zauberflöte by Wolfgang Amadeus Mozart . In 1969 he also conducted his first Handel opera with Deidamia . In Dresden he learned a lot while working in the orchestra from guest conductors such as Rudolf Kempe and Igor Markevitch.

With his Dresden armament, he moved to Karl-Marx-Stadt (today Chemnitz) in 1969, where he became first conductor at the municipal theater in 1969 . In this role he studied Simone Boccanegra by Giuseppe Verdi and Queen of Spades by Pyotr Tchaikovsky . At the opera house in 1974 he directed the premiere of the Carl Riha production of Wagner's Meistersinger von Nürnberg with Kammersänger Konrad Rupf as Hans Sachs . In a later interview (1985) he stated that his previous Wagner work had turned out to be "a great delight" for him. At the same time he regretted that he hardly had a chance to interpret it. In 1975 he was promoted to musical director. In 1979 he opened the Robert Schumann Days in the town hall with Schumann's oratorio Das Paradies und die Peri . In addition, he devoted himself to the symphonic work of Dmitri Shostakovich and Gustav Mahler in Chemnitz .

Theater des Friedens, Landestheater Halle (1986)

Finally, in 1979, the artistic director Ulf Keyn brought him to the Landestheater Halle as chief musical director . The new management team also included Martin Schneider (opera director), Karin Zauft (chief dramaturge), Peter Sodann (drama director) and Dieter Wardetzki (first director of the spoken theater). He also became chief conductor of the Handel Festival Orchestra and took over all Handel productions in Halle from 1979 to 1990 . He directed Ezio (1979), Agrippina (1980), Poro (1981), Alessandro (1983), Floridante (1984), Il pastor fido and Terpsichore (1985), Partenope (1985), Rinaldo (1987), Oreste (1988) ) and Tamerlano (1990). With 41 performances, the opera Rinaldo was the second most performed Handel production in Halle. Kluttig received support with regard to performance practice from the musicologist Bernd Baselt . Kluttig had to cope with "an immense workload and encrusted structures" in connection with the Georg Friedrich Handel Society , according to the opera director Andreas Baumann . In addition to Baumann, from 1981, he worked closely with Peter Konwitschny in Halle from 1986. Kluttig played his part in opening up the festival to directorial theater . Above all on the recommendation of the singing teacher Helga Forner, Kluttig helped several singers socialized in Leipzig to get engagements in the city of Saale. Among the newly signed up were Annette Markert , Juliane Claus , Hendrikje Wangemann , Jürgen Trekel and Tomas Möwes . He repeatedly invited Simone Kermes as a guest. The first “in-house” countertenor Axel Köhler received special funding . According to Baumann, Kluttig stood for "maintaining Handel's dramaturgy" and had "new translations made based on the original text". Kluttig gave important suggestions for a “New Handel Style Hall”. Halle became an "East German center of historical gaming practice", as the music journalist Michael Struck-Schloen put it. For the music scientist Karin Zauft, Kluttig was "one of the pioneers in historical performance practice in the GDR". The opera ensemble has made guest appearances in the so-called Eastern Bloc (Czechoslovakia, Poland, Hungary) as well as in the Federal Republic of Germany, Austria and Switzerland. After performances in 1985 at the Prague Spring and the Dresden Music Festival , guest performances took him to the Kissinger Sommer (1989–1993, 1995, 2000/01) and the Innsbruck Festival of Early Music even before the fall of the Berlin Wall .

After Gilbert Stöck, he was also responsible for “two nationally acclaimed productions of contemporary and at the same time socially critical operas” in Halle : In 1984, The Prize was staged by Karl Ottomar Treibmann and in 1986 Candide by Reiner Bredemeyer was premiered. On the occasion of the Halle Musiktage he repeatedly premiered works by foreign composers with the Handel Festival Orchestra , for example Awet Terterjan's Symphony No. 5 in 1980 and Primož Ramovš 's Dialogue for piano and orchestra in 1985 (soloist: Bettina Otto ). As Gilbert Stöck noted, Kluttig was also "open to" works by Gerd Domhardt . In 1982 he helped the premiere of his Symphony II. In 1990 he premiered Günter Neubert's orchestral music “Das verschkte Weinen”. In 1990 he was one of the co-founders of the Halle Music Council in the Handel House, and from then on acted as its deputy chairman. The decreasing number of visitors to the Landestheater Halle in the course of the fall of the Wall probably ultimately led to the resignation of the Kluttig and Baumann team.

After a guest performance, he succeeded James Lockhart as chief conductor of the State Orchestra Rheinische Philharmonie and, at the same time, musical director of the Koblenz theater . Here he cultivated both the opera and the concert repertoire, on the one hand conducting the Handel operas Giulio Cesare (1989), Serse (1993), Alcina (1997) and Tamerlano (1999), and on the other hand he performed all Mahler symphonies. On the occasion of the city's 2000th anniversary, he gave a gala concert with Mahler's 8th Symphony in the Oberwerth sports hall . He was responsible for the world premiere of Róbert Wittinger's Sinfonia no. 5 with the orchestra . During Kluttig's tenure, the orchestra received the prize for “Best Concert Program of the Season” 1995/96 from the German Association of Music Publishers .

Kluttig once named Claudio Abbado as his artistic role model. For the music critic Wolf-Eberhard von Lewinski he is “a sovereignly controlling and unpretentiously creative conductor”. The musicologist Peter Gülke attested Kluttig a connection between "modesty [...] with the authority of the highly competent". He had “completed a huge opera repertoire” and was well versed in historical performance practice (Baroque) as well as “the classics and in Mahler scores”. Kluttig's repertoire includes orchestral works and oratorios by Georg Friedrich Händel as well as works by Wolfgang Amadeus Mozart and Gustav Mahler. He also advocated contemporary music , for example in 1972 he performed the piano concerto by Manfred Weiß , a work commissioned by the Staatskapelle Dresden (soloist: Gerhard Berge ), and in 1983 in the Neues Gewandhaus together with the Leipzig Radio Symphony Orchestra Christfried Schmidt's " Munch -Musik" for the premiere. Guest conductors have taken him to the State Operas in Berlin and Dresden as well as the Landestheater Linz ( Serse , 1981) and the Städtische Bühnen Osnabrück ( Alcina , 1997). He also worked a. a. with the Berlin Radio Symphony Orchestra , the Dresden Philharmonic and the Berlin Symphony Orchestra as well as the Leningrad Philharmonic . He presented several radio and record productions.

In 1984, Rector Gustav Schmahl brought him to the University of Music "Felix Mendelssohn Bartholdy" Leipzig as a conducting teacher . He also took over the university symphony orchestra (HSO) there at the end of the 1980s and was a lecturer in its first phase until he left for Koblenz in 1991. After he had already accepted a professorship for orchestral conducting in Dresden in 1998 , he was additionally appointed professor in Leipzig in 2000. In addition, this time he became full-time director of the Leipzig HSO. During his term of office, the opening of the Great Hall and the engagement of well-known guest conductors such as Fabio Luisi , Kurt Masur and Herbert Blomstedt fell . After an interim period with his former assistant Michael Köhler in 2003/04, he took over the management position again until his retirement in 2007. He also led several courses at the Conductors' Forum at the German Music Council (Koblenz 1993, 1996 and 1998, Hilchenbach 2001, Recklinghausen 2011). Until 2015 he was still a lecturer for conducting in Dresden. His students include a. Titus Engel , Stefan Sanderling and Ines Schreiner .

But then Kluttig suffered an irreversible hearing disorder, as a result of which he had to quit his conducting profession in 2002. Since then he has become increasingly involved as a chamber music pianist and accompanist . Kluttig is a founding member of the alumni association and board member of the Society of Friends of the Dresden University of Music. He is married and has three children. His eldest son Roland Kluttig (* 1968) is also a conductor.

Awards

Discography (selection)

literature

  • Andreas Baumann : Christian Kluttig on his 70th birthday . In: Yearbook of the Academy of Music Carl Maria von Weber Dresden (2013).
  • Walter Habel (Ed.): Who is who? The German Who's Who . 46th edition 2007/08, Schmidt-Römhild, Lübeck 2007, ISBN 978-3-7950-2044-6 , p. 688.
  • Alain Pâris : Classical Music in the 20th Century. Instrumentalists, singers, conductors, orchestras, choirs . 2nd, completely revised edition, Deutscher Taschenbuch Verlag, Munich 1997, ISBN 3-423-32501-1 , p. 411.
  • Manfred Rätzer: The Halle Handel opera pioneers should be remembered. Prof. Christian Kluttig on his 70th birthday . In: Announcements of the Friends and Sponsors of the Handel House in Halle eV 1/2014, pp. 33–35.
  • Axel Schiederjürgen (Red.): Kürschner's manual for musicians. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 239.

Web links

Individual evidence

  1. ^ Jens Fritzsche: A musical homecoming. An unusual recital can be experienced in Radeberg on Sunday. And an unusual gramophone . In: Sächsische Zeitung , October 19, 2017, p. 16.
  2. ^ Christian Kluttig, Wolfgang Lange: Prelude. Conversations with conductors: Christian Kluttig in conversation with Wolfgang Lange . In: Theater der Zeit 10/1985, pp. 28–30, here: p. 30.
  3. ↑ a b c d e f g h Peter Gülke : With humility and cordiality - Christian Kluttig turns 70 . In: Music in Dresden , September 3, 2013.
  4. ↑ a b c d e Christian Kluttig, Wolfgang Lange: Auftakt. Conversations with conductors: Christian Kluttig in conversation with Wolfgang Lange . In: Theater der Zeit 10/1985, pp. 28–30, here: p. 28.
  5. ↑ a b c d e f g Axel Schiederjürgen (Red.): Kürschner's Musicians Handbook. Soloists, conductors, composers, university lecturers . 5th edition, Saur, Munich 2006, ISBN 3-598-24212-3 , p. 239.
  6. ↑ a b c d e f g h i j k l m n Andreas Baumann : A decisive source of inspiration - the Dresden-born conductor Christian Kluttig turns 70 . In: Dresdner Latest News , August 17, 2013, p. 9.
  7. ↑ a b c d e f Manfred Rätzer: The Halle Handel opera pioneers should be remembered. Prof. Christian Kluttig on his 70th birthday . In: Announcements of the Friends and Sponsors of the Handel House in Halle eV 1/2014, pp. 33–35, here: p. 34.
  8. ↑ a b c Christian Kluttig, Heike Bronn: Conducting won't let me go - Interview with Prof. Christian Kluttig . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 25 (2008), pp. 44–46, here: p. 45.
  9. ^ "Meistersinger" premiere in Karl-Marx-Stadt . In: Neues Deutschland , October 14, 1974, vol. 29, edition 284, p. 4.
  10. ^ A b Christian Kluttig, Wolfgang Lange: Prelude. Conversations with conductors: Christian Kluttig in conversation with Wolfgang Lange . In: Theater der Zeit 10/1985, pp. 28–30, here: p. 29.
  11. ↑ Günther Wendekamm: Festive concert at the beginning of the Schumann Days . In: Neues Deutschland , June 9, 1979, vol. 34, issue 134, p. 4.
  12. ^ A b Georg Antosch: Suggestions for plays from the stages of the world. Efforts to create sophisticated stage art . In: Neue Zeit , March 1, 1980, vol. 36, issue 52, p. 4.
  13. ↑ Karin Zauft: Handel and the Handel Festival in Halle. Mitteldeutscher Verlag, Halle (Saale) 2001, ISBN 978-3-89812-085-2 , p. 57.
  14. ↑ a b c Manfred Rätzer: The Halle Handel opera pioneers should be remembered. Prof. Christian Kluttig on his 70th birthday . In: Announcements of the Friends and Sponsors of the Handel House in Halle eV 1/2014, pp. 33–35, here: p. 35.
  15. ↑ We congratulate Christian Kluttig . In: Magazine of the Handel Festival (2014), p. 25.
  16. ↑ Johannes Killyen: On the history of the Handel care in Halle rediscovery of the historical sound . In: Mitteldeutsche Zeitung , May 5, 2001.
  17. ↑ Michael Struck-Schloen: All glamor comes from above. Musical quality and scenic routine at the 47th Handel Festival in Halle . In: Süddeutsche Zeitung , July 1, 1998, p. 14.
  18. ↑ Karin Zauft: The search for the authentic sound - balancing act between subjectivity, sense of time and historical knowledge . In: Boje E. Hans Schmuhl (Ed.): Historical performance practice and their perspectives. XXX. scientific workshop, Michaelstein, May 10th to 12th, 2002 (= Michaelsteiner Conference Reports . Vol. 67). Wißner, Augsburg 2007, ISBN 978-3-89639-545-0 , pp. 55–58, here: p. 56.
  19. ↑ With “Flondante” at the Prague Spring . In: Neues Deutschland , May 25, 1985, vol. 40, edition 121, p. 6.
  20. ^ City of Bad Kissingen (Ed.): 25th Kissinger Sommer . Bad Kissingen n.d., p. 75.
  21. ^ A b c Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 269 / fn. 496.
  22. ↑ Nina Noeske: The best of all possible worlds: Bredemeyers Candide (1981/82). In: Michael Berg, Albrecht von Massow, Nina Noeske: Between power and freedom. New music in the GDR . Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 141–156, on p. 142.
  23. ↑ Mantred Meier: Luck for experimentation and imagination in action for new music. Encounter with Union friend Bettina Otto, harpsichordist and pianist . In: Neue Zeit , April 6, 1985, vol. 41, issue 81, p. 10.
  24. ^ Wilhelm Buschkötter, Hansjürgen Schaefer : Handbook of international concert literature. Instrumental and vocal music = Manual of international concert literature . 2nd, revised and expanded edition, de Gruyter, Berlin a. a. 1996, ISBN 3-11-013905-7 , p. 247.
  25. ^ Hallescher Musikrat was founded . In: Mitteldeutsche Zeitung , March 28, 1990, p. 2.
  26. ↑ a b thg .: Met in Zurich . Christian Kluttig - Haendel specialist after the reunification . In: Neue Zürcher Zeitung , April 2, 1993.
  27. ↑ State Orchestra Rheinische Philharmonie , lmr-rp.de, accessed: April 8, 2020.
  28. ↑ Chief conductor from Halle goes to Koblenz . In: Berliner Zeitung , March 21, 1991, vol. 47, issue 68, p. 13.
  29. ↑ Chronicle , musik-institut-koblenz.de, accessed: April 10, 2020.
  30. ↑ Best concert program of the season , dmv-online.com, accessed: April 9, 2020.
  31. ↑ a b Christian Kluttig, Heike Bronn: Conducting won't let me go - Interview with Prof. Christian Kluttig . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 25 (2008), pp. 44–46, here: p. 46.
  32. ^ Wolf-Eberhard von Lewinski : Handel from Halle. Kissingen in summer - the start of the festival . In: Süddeutsche Zeitung , July 7, 1989, p. 12.
  33. ↑ a b comparison and suggestion. Today the GDR Music Days 1988 start a conversation with Union friend Christian Kluttig . In: Neue Zeit , February 19, 1988, vol. 44, issue 42, p. 4.
  34. ↑ Cultural survey . In: Neue Zeit , October 4, 1972, vol. 28, issue 235, p. 4.
  35. ↑ Steffen Lieberwirth (Hrsg.): Mitteldeutscher Rundfunk. The history of the symphony orchestra . On behalf of the Mitteldeutscher Rundfunk, written by Jörg Clemen, Kamprad, Altenburg 1999, ISBN 3-930550-09-1 , p. 187.
  36. ↑ Alain Pâris : Classical Music in the 20th Century. Instrumentalists, singers, conductors, orchestras, choirs . 2nd, completely revised edition, Deutscher Taschenbuch Verlag, Munich 1997, ISBN 3-423-32501-1 , p. 411.
  37. ↑ a b c Christian Kluttig, Heike Bronn: Conducting won't let me go - Interview with Prof. Christian Kluttig . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 25 (2008), pp. 44–46, here: p. 44.
  38. ↑ a b c Christian Fanghänel, Heike Bronn: From the “orchestral school” to the university symphony orchestra . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 26 (2009), supplement, pp. 1–5, here: p. 5.
  39. ^ Christian Kluttig at the "Felix Mendelssohn Bartholdy" University of Music and Theater in Leipzig ( Memento from June 11, 2007 in the Internet Archive )
  40. ^ Artistic director , dirigentenforum.de, accessed April 8, 2020.
  41. ↑ Christian Kluttig at the Carl Maria von Weber Academy of Music Dresden ( Memento from April 22, 2016 in the Internet Archive )
  42. ↑ Meret Forster : Innovations don't have to be radical. The conductor Titus Engel in conversation . In: Neue Zeitschrift für Musik 1/2007, p. 60.
  43. ↑ Livia Neugebauer: After flying high, now a happy landing. Encounter with the conductor Stefan Sanderling . In: Neue Zeit , August 11, 1990, vol. 46, issue 186, p. 11.
  44. ↑ International Working Group on Women and Music Archives (ed.): European Conductor Reader (= series of publications by the International Working Group on Women and Music . Vol. 4). Furore-Verlag, Kassel 2003, ISBN 3-927327-55-7 , p. 161.
  45. ↑ Alumni Association , hfmdd.de, accessed April 8, 2020.
  46. ↑ Friends Society , hfmdd.de, access: April 10, 2020th
  47. ↑ Cultural survey . In: Neue Zeit , July 8, 1969, vol. 25, issue 157, p. 4.
  48. ↑ Cultural survey . In: Neue Zeit , November 18, 1971, vol. 27, edition 273, p. 4.
  49. ↑ Christoph Rink: Chronology of the Handel price . In: Announcements of the Friends and Sponsors of the Handel House in Halle eV 1/2012, pp. 20–25, here: p. 24.
  50. ↑ Honorary title to merited musicians . In: Neue Zeit , October 6, 1983, vol. 39, edition 236, p. 2.
  51. ↑ LF: Wagner Association thanks Kluttig and Stracke . In: Rhein-Zeitung , April 17, 1998.
personal data
SURNAME Kluttig, Christian
BRIEF DESCRIPTION German conductor, pianist and university lecturer
DATE OF BIRTH August 17, 1943
PLACE OF BIRTH Dresden