Günter Kochan

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Günter Kochan
Günter Kochan signature.svg

Günter Kochan (born October 2, 1930 in Luckau ; † February 22, 2009 in Neuruppin ) was a German composer . He learned from Boris Blacher and was a master student in composition with Hanns Eisler . From 1967 until his retirement in 1991 he was professor for composition and composition at the Hanns Eisler Music Academy in Berlin . He conducted master classes for composition at the Musikhochschule and the German Academy of Arts in Berlin. He was also secretary of the music section of the Academy of Arts from 1972 to 1974 and vice-president of the GDR's Association of Composers and Musicologists from 1977 to 1982 . Kochan is one of the eleven winners who have been awarded the GDR National Prize four times . He has also received composition awards in the United States and Eastern Europe . He became internationally known for his symphonies as well as the cantata Die Asche von Birkenau (1965) and his music for orchestra No. 2 (1987). His diverse oeuvre included orchestral works, chamber music, choral works, mass songs and film music and is somewhere between socialist realism and avant-garde .

Life

Origin and studies

Günter Kochan was born in 1930 in an employee family in Luckau, Lower Lusatia . He received his first piano lessons at the age of seven from the local piano teacher Elfriede Sommer. Due to his musical talent, he attended the Musische Gymnasium in Leipzig, which was newly founded in 1941, from September 1944 . His classmates included his later musician colleagues Saschko Gawriloff , Eberhard Grünenthal , Siegfried Kurz and Siegfried Stöckigt . After the Musisches Gymnasium closed in 1945, he moved to the Luckau high school in his hometown.

His piano teacher put him in 1946 through the composer and music teacher Siegfried Borris for the entrance exam to the Berlin-Charlottenburg University of Music . After passing the exam, he decided not to take the Abitur and began studying music in the main subjects of composition with Konrad Friedrich Noetel (student of Paul Hindemith ) and Hermann Wunsch (student of Franz Schreker ) and piano with Maria Petersen. His counterpoint teacher Boris Blacher exercised the most important compositional influence on him to date .

German Academy of the Arts 1951 in Berlin (East)

Already during his studies he built up networks with left-wing cultural workers who later supported him. From 1948 to 1951 he worked as a freelancer in the editorial team, Our Song - Our Life , headed by Jean Kurt Forest , in the folk music department of the Berliner Rundfunk . He also directed an FDJ choir. During this time his political views also developed. The composer Andre Asriel , who worked with him on the radio, introduced him to Hanns Eisler in 1949 . As a student, he set Bertolt Brecht's poem The Legend of the Origin of the Book Taoteking on Laotse's Path to Emigration to Music . After graduating in 1950, he moved to East Berlin and, as Eisler's second pupil, began a master's degree in composition at the German Academy of the Arts , which he completed in 1953. He later remarked about Eisler: "In contrast to others, he did not want to impose his perception of music on us, but rather encourage us in our own development." From 1952 until his death he was married to the pianist Inge Kochan, née Schulze, with who he had two children.

Professional beginnings

At the instigation of Rector Georg Knepler , he became a lecturer in composition and composition at the German University of Music in 1950 (since 1964 the Hanns Eisler University of Music ). Along with Andre Asriel, Ruth Zechlin , Werner Scholz and Dieter Zechlin, he was one of the younger teachers at the music academy, which was founded in 1950.

Like other up-and-coming composers, in the course of the formalism-realism discussion in 1951, he was put under considerable pressure by the cultural policy of the GDR to distance himself from the “western decadent art business”. This delayed his own development as a composer. He began his career as a composer with the Violin Concerto op. 1 (1952), which was highly praised by musicologists such as Georg Knepler and Eberhard Rebling and the Soviet composer Anatoli Nowikow . In 1952 he and the music editor Karl Laux represented the Society for German-Soviet Friendship at the Polish Music Festival in Warsaw. In 1953 he was a member of an official friendship delegation of GDR artists in the Soviet Union . In the same year the staunch communist joined the SED . From 1955 to 1963 he was a candidate for the Central Council of the FDJ. During the 1950s he wrote a number of youth and mass songs, which, among other things , were dedicated to the World Festival of Youth and Students . His Signals of the Youth (1951) became an important part of the FDJ's songs.

After the suppression of the Hungarian uprising in 1956 and the findings from the XX. At the CPSU party congress , he briefly thought of leaving the GDR for the west, but was then changed by the cultural officials Georg Knepler and Nathan Notowicz . He initially adapted to the Bitterfeld path taken in 1959 . For example, in 1971 he saw the music of the composer Paul-Heinz Dittrich of the same age as the “ class enemy ”. In 1961 he was proposed by the Culture Department of the Central Committee of the SED for inclusion in the Music Section of the German Academy of the Arts , but this was prevented by the composer Paul Dessau . In the same year Kochan went on a study trip to Cuba and in 1962 became a member of the GDR-Japan friendship committee of the League for Friendship of Peoples . At the invitation of the Soviet Composers' Association, he traveled to Moscow in 1964 with the composer Ernst Hermann Meyer . Regarding his cultural-political ambitions, Kochan later said: "Despite all the difficulties, I have always followed my path, not out of selfish intentions for success, but to make my specific contribution as a composer, comrade and citizen."

In retrospect, in an interview he criticized his work as a film composer for DEFA in the 1950s and 1960s: “I wrote film scores for DEFA - terrible. I still regret it today that I let myself be spread over it. But they were well-paid offers. As a young composer you want to try your hand at many areas. "

Professorship in Berlin

From the mid-1960s he tried to mediate between the old and new generation of composers. In 1967 he was at the Academy of Music "Hanns Eisler" the professor appointed. From 1968 he led a master class for composition at the German Academy of the Arts . In 1972 he also took over a master class at the Berlin Conservatory. In 1973 he received a full professorship in Berlin with the support of Ernst Hermann Meyer , who considered him “the most talented composer of the middle and younger generation”. In addition, he was often a lecturer at the Gera Summer Course for contemporary music, founded in 1974 . His most famous students today were the composers Udo Zimmermann , Lothar Voigtländer and Friedrich Schenker . As a composition teacher, he said that he “never wanted to impose my conception of music, but rather encourage developments”. Kochan worked as a lecturer from 1985 and retired after the fall of the Wall in 1991.

Kochan received the GDR National Prize four times , the last of which he returned, and was a full member of the German Academy of the Arts from 1965 to 1992 (from 1972 Academy of the Arts of the German Democratic Republic ; from 1990 Academy of Arts in Berlin ). It was there from 1972 to 1974 that he succeeded Kurt Schwaen as secretary of the music section . In 1972 he met with other cultural officials on his musical role model Shostakovich , who was visiting Berlin. In addition, he was active on the central and district boards of the Berlin Composers' Association. From 1977 to 1982 he was Vice President of the Association of Composers and Musicologists of the GDR under President Ernst Hermann Meyer .

After his first two symphonies and several vocal works, he dared to approach the opera Karin Lenz in 1971 , the premiere of which was carried out under the conductor Heinz Fricke and the director Erhard Fischer at the German State Opera in Berlin. For the 30th anniversary of the GDR he composed the political oratorio Das Friedensfest or Die Teilhabe (1979). In an interview with the musicologist Ursula Stürzbecher in 1979 he said: “The problems of composing, that is, the question of how to compose, are similar all over the world. It is not a geographical problem, but a question of the ideological location. "

After reunification

Program for the posthumous world premiere of the 6th Symphony in 2011

Kochan supported an open letter from composers to the composers' association in November 1989, which self-critically reflected on the latest work of the organization. In the opening remarks it was said: "In the past few years the Composers' Association [...] has reacted late, hesitantly and tactfully to socio-political challenges." As a consequence, those involved called for the resignation of the loyal chairman Wolfgang Lesser .

The Berliner Sinfonie-Orchester / BSO was his “house orchestra” and premiered its sixth symphony, which was completed between 2003 and 2006, posthumously in 2011 under the current name Konzerthausorchester Berlin . Kochan's works, however, were rarely performed after German reunification; only his chamber music works were heard. Since 1992 he has been living in retreat in Hohen Neuendorf near Berlin.

Günter Kochan died in 2009 of a lung disease in the Ruppiner Clinic. Part of his estate is now in the archive for contemporary composers of the Saxon State Library - Dresden State and University Library .

meaning

Günter Kochan

Günter Kochan's orchestral works were premiered by the leading symphony orchestras in the GDR such as the Staatskapellen Dresden and Berlin , the Radio Symphony Orchestra Leipzig and Berlin and the Berlin Symphony Orchestra. He worked with well-known conductors, including Claus Peter Flor , Herbert Kegel , Kurt Masur and Kurt Sanderling .

Alongside Siegfried Matthus , he was one of the most played composers in the GDR. For example, at the most important festival for contemporary music in the GDR, the Berlin Music Biennale , from 1967 to 1989 no composer was presented more often than Günter Kochan. His works have not only been performed in the so-called Eastern Bloc (in Cuba, Poland, Czechoslovakia and the Soviet Union), but also in other Western European countries. a. in the Federal Republic of Germany, Austria, Scandinavia, Japan, the United States and the United Kingdom. According to Kochan's statements from the 1970s, his violin concerto was played around 40 times, his second symphony around 25 times, and the Ashes of Birkenau were broadcast by a total of seven radio stations.

According to the Berlin music journalist Stefan Amzoll , Kochan advanced "since the 1970s to be one of the first German composers of his generation". The musicologist Friedbert Streller from Dresden counted him - as well as authors of music manuals and columnists of leading German media - "one of the leading composers of the GDR". The Zeit columnist Heinz Josef Herbort counted in particular "his solo concerts and his symphonies [...] to be the best that the DD-Republic could represent outside". The Ashes of Birkenau, on the other hand, is one of the first East German compositions to deal with the Holocaust . Some of his chamber music works were written for renowned performers such as the Gewandhaus Quartet , the pianist Dieter Zechlin and the recorder player Markus Zahnhausen .

According to the Leipzig musicologist Werner Wolf , Kochan was “never a marketer of his music”. Above all, however, his music was considered politically charged after the fall of the Wall.

Audio language

Günter Kochan belonged to the middle generation of composers in the GDR, alongside Gerhard Rosenfeld , Siegfried Thiele , Gerhard Tittel , Manfred Schubert , Manfred Grabs , Hans Jürgen Wenzel and Tilo Medek . But like Ruth Zechlin , unlike the previous ones, he began to compose right after the end of the war. It was based on traditional form models, but occasionally also included methods of the twelve-tone series technique . In the GDR's music scene, Kochan therefore occupied a place between socialist realism and musical avant-garde .

His first valid composition, the first violin concerto, is still very traditional and close to Johannes Brahms . But Kochan soon developed a rather independent style, which initially came from his role models Paul Hindemith and Béla Bartók . He composed in a neoclassical , virtuoso style based on a greatly expanded tonality . He did not like the strict serial orientation that was propagated at the Darmstadt summer courses . Not Boulez , Messiaen or Varèse were valued musically by Kochan, but the moderate Polish composer Witold Lutosławski , who also received a lot of attention in the GDR.

The Dresden musicologist Dieter Härtwig described Kochan's works with “a tendency towards playful relaxation, cheerfulness and optimism.” After a concert at the Warsaw autumn of 1959, the West German music theorist Diether de la Motte compared Kochan's music critically with the “Polish School”:

“What is striking about [...] Kochan [...] is the will to be cheerful, the striving to delight without making special demands on the listener's concentration. 'Cheerful music', 'funny variations' and the like were the names of these chimes that stood between Bach and Mozart and only occasionally ventured as far as Hindemith. More interesting is the older generation of Polish composers who deal with Western European influences. "

In the 1950s he got to know the symphonies and string quartets of Shostakovich and Prokofiev , which had a strong influence on him. As a result, his tonal language became rougher, rougher and more intense. Kochan gradually broke away from neoclassicism and increasingly included newer compositional techniques u. a. Dodecaphony. He achieved his mature style with compositions such as the cantata Die Assche von Birkenau (1965) based on a text by Stephan Hermlin on Auschwitz , and the Second Symphony (1968). A special trademark of his vital, powerful and expressive music are pithy, impetuous drum passages.

Despite the expansion of his compositional techniques with aleatoric or serialism, his works of the following decades are essentially based on the level of these works. He was no longer able to make friends with the consistent departure from tonal reference patterns and neoclassical tendencies of his student Friedrich Schenker. Kochan himself saw his lessons with Hanns Eisler as extremely important. In particular , Eisler's attitude towards the relationship between music and society was decisively shaped. So Kochan never lost sight of the listener, his music should remain understandable despite all modernity .

The cultural journalist Erik Buchheister ascribed Kochan's music an "appellative character" with the humanistic features of Karl Amadeus Hartmann .

student

Awards

Catalog raisonné

Fonts

  • Go to the factories! In: Musik und Gesellschaft , 1 (1951), pp. 49–50.
  • Discussion with listeners. In: Musik und Gesellschaft, 13 (1963), pp. 405–406.
  • Contributing to the big cause. In: Musik und Gesellschaft, 19 (1969), pp. 38–39. (= Ulrich Dibelius (Ed.): New Music in Divided Germany. Volume 2: Documents from the sixties. Henschel, Berlin 1995, ISBN 3-89487-224-1 , pp. 80–81)
  • It is not the technology that is decisive. In: Contributions to musicology, 4 (1976), pp. 345–346. (= Ulrich Dibelius (Ed.): New Music in Divided Germany. Volume 3: Documents from the 1970s. Henschel, Berlin 1997, ISBN 3-89487-248-9 , p. 68)

Discography (selection)

  • Seven miniatures for four tubas, Jim Self (tuba), Summit Records, 1995.
  • Music in the GDR Vol. 1: Music for orchestra No. 2. Berlin Symphony Orchestra , Kurt Sanderling (cond.). Edel Berlin Classics, 1995.
  • Music in the GDR Vol. 2: The ashes of Birkenau. Annelies Burmeister (alto), Rundfunk-Sinfonieorchester Berlin , Kurt Masur (cond.), 1967. Edel Berlin Classics, 1995.
  • Contemporary East - orchestral works: Concerto for piano and orchestra op. 16. Dieter Zechlin (piano), Leipzig Radio Symphony Orchestra , Herbert Kegel (conductor), 1959; Violin Concerto, Egon Morbitzer (violin), Staatskapelle Berlin , Friedrich Goldmann (conductor), 1982; Symphony No. 5, Berlin Symphony Orchestra, Claus Peter Flor (conductor), 1987. Hastedt, 1997.
  • Symphonies: Symphony No. 4. Berliner Sinfonie-Orchester, Claus Peter Flor (conductor), 1987, Edel Berlin Classics, 2000.
  • Music in Germany - Symphonic Music: Symphony No. 5. Berlin Symphony Orchestra, Claus Peter Flor (cond.). RCA Red Seal / BMG Classics, 2000.
  • Music in Germany - music for film and television: Italian capriccio. Estradenorchester des Deutschlandsender, Werner Krumbein (cond.). RCA Red Seal / BMG Classics, 2001.
  • New music for recorder, Vol. 7: Music for treble recorder and harpsichord. Markus Bartholomé (treble recorder), Andreas Skouras (harpsichord). Cadenza / Bayer Records, 2002.
  • Music in Germany - solo singing with orchestra: Die Asche von Birkenau. Annelies Burmeister (alto), Rundfunk-Sinfonieorchester Berlin, Wolf-Dieter Hauschild (lead). 1975; RCA Red Seal / BMG Classics, 2006.
  • Music of the Time 30 - Works II: The Ashes of Birkenau. Annelies Burmeister (alto), Leipzig Radio Symphony Orchestra, Herbert Kegel (cond.), 1975; Sonata for viola and piano, Alfred Lipka (viola), Dieter Zechlin (piano), 1988; Concerto for violin and orchestra, Günter Glaß (violin), Leipzig Radio Symphony Orchestra, Adolf Fritz Guhl (lead), 1976; Music for orchestra No. 2, Robert-Schumann-Philharmonie Chemnitz , Dieter-Gerhardt Worm (conductor), 1989. Hastedt, 2007.

literature

Anthologies

Essays and individual studies

  • Traude Ebert-Obermeier: Orchestral Variations by Günter Kochan. In: Heinz Alfred Brockhaus (Ed.): Edited volumes on the music history of the German Democratic Republic. Volume 4, Berlin 1975, pp. 272-298.
  • Hannelore Gerlach: Five movements for string orchestra by Günter Kochan. In: Musik und Gesellschaft, 1972, Issue 22, pp. 2–7.
  • Hannelore Gerlach: The analysis. Mendelssohn Variations for piano and orchestra. In: Musik und Gesellschaft, 24 (1974), pp. 86-90.
  • Wolfgang Hiller: Günter Kochan on his 50th birthday. In: Musik und Gesellschaft, 30 (1980) 10, pp. 616-618.
  • Udo Klement : Oratorio “The Peace Festival or Participation” by Günter Kochan . In: Musik und Gesellschaft, 31 (1981), pp. 213-216.
  • Eberhard Kneipel: The Symphony of Kochan. Notes on socialist realism in the music of the GDR. In: Scientific journal of the Friedrich Schiller University Jena, 23 (1974), pp. 519-530.
  • Hans-Peter Müller: Revision with consequence (the 2 versions of the symphony with choir) . In: Musik und Gesellschaft, 16 (1966), pp. 263–267.
  • Hans-Peter Müller: “The Ashes of Birkenau” for Günter Kochan's new solo cantata. In: Musik und Gesellschaft, 16 (1966), pp. 553–462.
  • Hans-Peter Müller: "... the time that we began to initiate". Reflections on Günter Kochan's work and his III. Symphony. In: Musik und Gesellschaft, 24 (1974), pp. 596-603.
  • Eberhard Rebling : Günter Kochan's violin concerto. In: Musik und Gesellschaft, 3 (1953), pp. 4–7.
  • Lutz Riechelmann: Music for a new form of the Rügen Festival folk theater. In: Musik und Gesellschaft, 9 (1959), p. 541 ff.
  • Hansjürgen Schaefer: Concerto for piano and orchestra op. 16 by Günter Kochan. In: Musik und Gesellschaft, 9 (1959), pp. 278–281.
  • Hansjürgen Schaefer: wealth of thoughts and feelings. Comments on Günter Kochan's Sinfonietta 1960. In: Musik und Gesellschaft, 12 (1962), pp. 286–289.
  • Hansjürgen Schaefer: Coping with the past in the present (Günter Kochan's first opera). In: Musik und Gesellschaft, 21 (1971), pp. 763–768.
  • Hansjürgen Schaefer: With seriousness and awareness of conflict. Günter Kochan: Symphony No. 5 . In: Musik und Gesellschaft, 38 (1988), p. 375.
  • Frank Schneider : Günter Kochan - Second Symphony (analysis). In: Heinz Alfred Brockhaus (Ed.): Edited volumes on the music history of the German Democratic Republic. Volume 1. Berlin 1969, p. 180 ff.
  • Friedbert Streller: Günter Kochan (1930-2009). Composer. In: Mitteldeutsches Jahrbuch, 16 (2009), pp. 256–257.
  • Werner Wolf : Great “Concerto for Orchestra” by Günter Kochan. In: Musik und Gesellschaft, 13 (1963), pp. 40–42.
  • Werner Wolf: Symphony for large orchestra with choir. In: Musik und Gesellschaft, 14 (1964), pp. 143–146.

Interviews and discussions

  • The audience and the new music. Interview with Günter Kochan [excerpt]. In: Gisela Rüß (ed.): Documents on the art, literature and cultural policy of the SED. 1971-1974. Seewald, Stuttgart 1976, ISBN 3-512-00389-3 , pp. 358-361.
  • Various contributions (interviews). In: Workbook of the Academy of Arts of the GDR Forum: Music in the GDR. Composers Workshop, Berlin 1973, Issue 13, pp. 13 f., 19 ff., 119, 142 f.
  • Hanns Eisler - the model for today's generations of composers. Conversation with Günter Kochan. In: Musik und Gesellschaft, 1986, issue 36, pp. 17-19.
  • From conversations with Günter Kochan. In: Sinn und Form, 1985, issue 37, pp. 323-335.
  • Workshop talk with Günter Kochan. For the 20th anniversary of the GDR. In: Musik und Gesellschaft, 1969, issue 19, pp. 438–441.
  • Günter Kochan in conversation with Ursula Stürzbecher . In: Ursula Stürzbecher: Composers in the GDR. 17 conversations. Gerstenberg, Hildesheim 1979, ISBN 3-8067-0803-7 , pp. 194-217.

Web links

Commons : Günter Kochan  - Collection of images, videos and audio files

Individual evidence

  1. ^ Dietrich Herfurth: The National Prize of the GDR. Berlin 2006, p. 25.
  2. ^ Dietrich Brennecke: Günter Kochan. In: Dietrich Brennecke, Hannelore Gerlach, Mathias Hansen (eds.): Musicians in our time. Members of the music section of the GDR Academy of the Arts. Leipzig 1979, p. 154.
  3. ↑ a b c d Dietrich Brennecke: Günter Kochan. In: Dietrich Brennecke, Hannelore Gerlach, Mathias Hansen (eds.): Musicians in our time. Members of the music section of the GDR Academy of the Arts. Leipzig 1979, p. 155.
  4. ↑ Heiner Timmermann (Ed.): The GDR - Analyzes of an abandoned state. Berlin 2001, p. 491.
  5. ↑ Other employees were: Eberhard Schmidt , Joachim Werzlau and Helmut Koch.
  6. ↑ Daniel Zur Weihen: Instructions and Control - Working Conditions for Young Composers in the GDR in the 1950s and their consequences. In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR. Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 23–37, on p. 32.
  7. ↑ a b c National Prize winner attracted attention with a Topf concert. Bad grades? ( Memento of the original from October 31, 2010 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . Germany on the Internet. @1@ 2Template: Webachiv / IABot / deutschland-im-internet.de
  8. ↑ Herrmann AL Degener , Walter Habel (ed.): Who is who? The German Who's Who 2000/2001 . 39th edition. Schmidt-Römhild, Lübeck 2000, ISBN 978-3-7950-2029-3 , p. 749.
  9. ↑ Heiner Timmermann (Ed.): The GDR - Analyzes of an abandoned state. Berlin 2001, p. 473.
  10. ↑ Daniel Zur Weihen: Instructions and Control - Working Conditions for Young Composers in the GDR in the 1950s and their consequences. In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR. Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 23–37, on p. 34.
  11. ↑ Daniel Zur Weihen: Instructions and Control - Working Conditions for Young Composers in the GDR in the 1950s and their consequences. In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR. Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 23–37, on p. 30.
  12. ^ Karl Laux : Nachklang. Autobiography. Verlag der Nation, Berlin 1977, p. 433.
  13. ↑ Musik und Gesellschaft 35 (1985), p. 236.
  14. ↑ Other delegates were: Franz Konwitschny , Amadeus Webersinke , Dieter Zechlin and Georg Knepler.
  15. ↑ a b c d Bernd-Rainer Barth (Ed.): Who was who in the GDR? Berlin 2010.
  16. ↑ Horst Kunze: Studies on the history of German children's and youth literature. Volumes 6-10. Kinderbuchverlag, Berlin 1975, p. 26.
  17. ↑ Heiner Timmermann (Ed.): The GDR - Analyzes of an abandoned state. Berlin 2001, p. 490.
  18. ↑ Nina Noeske: Musical deconstruction. New instrumental music in the GDR. Böhlau Verlag, Cologne 2007, ISBN 3-412-20045-X , p. 54.
  19. ^ Daniel zur Weihen: Composing in the GDR. Institutions, organizations and the first generation of composers until 1961. Böhlau, Cologne / Weimar / Vienna 1999, ISBN 3-412-09399-8 , p. 120 (= also dissertation, University of Hamburg, 1999).
  20. ↑ Nothing is known about Dessau's motifs; other rejected candidates were: Helmut Koch , Hans Pischner and Wilhelm Weismann ; were elected Kurt Schwaen and Kurt Sanderling .
  21. ↑ Musik und Gesellschaft, 22 (1972), p. 2.
  22. ^ Institute for the history of the peoples of the USSR at the Martin Luther University Halle-Wittenberg (ed.): Kulturelle Zusammenarbeit GDR, USSR. State Publishing House of the German Democratic Republic, Berlin 1967, p. 157.
  23. ↑ The occasion was a concert in the Great Hall of the Moscow Conservatory , where only works by GDR composers were played.
  24. ^ A b Peter Uehling: The composer Günter Kochan died after a long illness. In: Berliner Zeitung of February 24, 2009.
  25. ^ Frank Schneider : "The gaze wanders westward, the ship drifts eastward" - New Music in the GDR in the context of international music history. In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR. Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , SS 89-106, on p. 96.
  26. ^ See Rainer Kunad , Fritz Geißler and Paul Dessau.
  27. ^ Dietrich Brennecke: Günter Kochan. In: Dietrich Brennecke, Hannelore Gerlach, Mathias Hansen (eds.): Musicians in our time. Members of the music section of the GDR Academy of the Arts. Leipzig 1979, p. 369.
  28. ↑ a b Short biography of Günter Kochan at the Academy of Arts
  29. ↑ a b Musik und Gesellschaft, 33 (1983), p. 394.
  30. ^ Christiane Sporn: Music under political auspices. Party rule and instrumental music in the GDR since the Wall was built. Work and context analyzes . Saarbrücken 2006, p. 79.
  31. ^ Hanns-Werner Heister : In a GDR niche - 10 years of holiday courses for contemporary music in Gera. In: Ulrich Dibelius (ed.): New music in divided Germany. Volume 4: Documents from the 1980s. Henschel, Berlin 1999, ISBN 3-89487-316-7 , p. 21.
  32. ↑ a b c d Comprehensibility and warning Hanns Eisler's master class student. On the death of the composer Günter Kochan. In: nmz 03/2009.
  33. ↑ Bernd Klempnow: Note image as an expression of a worldview. In: Sächsische Zeitung of February 24, 2009, p. 8.
  34. ↑ Mediator between socialist realism and avant-garde. Composer Günter Kochan died at the age of 78 . In: Leipziger Volkszeitung of February 24, 2009, p. 9.
  35. ^ Friedbert Streller: Dmitri Schostakowitsch. Deutscher Verlag für Musik, Leipzig 1982, p. 62.
  36. ↑ Shostakovich also met Konrad Wolf , Kurt Sanderling , Joachim Werzlau, Paul Dessau and Jean Kurt Forest at the Akademie der Künste .
  37. ^ Die Weltbühne , 26 (1971), p. 1300.
  38. ↑ Ursula Stürzbecher (Ed.): Composers in the GDR. 17 conversations. Hildesheim 1979, p. 197.
  39. ↑ Lothar Voigtländer : Open letter and application to the 11th meeting of the central board of the VKM on November 2, 1989. In: Ulrich Dibelius (Hrsg.): New music in divided Germany. Volume 4: Documents from the 1980s. Henschel, Berlin 1999, ISBN 3-89487-316-7 , p. 462 f.
  40. ↑ Supporters among others: Reiner Bredemeyer , Paul-Heinz Dittrich , Georg Katzer , Siegfried Matthus , Thomas Müller , Friedrich Schenker , Christfried Schmidt , Hans Jürgen Wenzel , Helmut Zapf and Ruth Zechlin .
  41. ^ Martin Wilkening: A new, old work by Günter Kochan. Posthumous world premiere in the Konzerthaus . In: Berliner Zeitung of February 14, 2011.
  42. ↑ Died. Günter Kochan . In: Der Spiegel of March 2, 2009, p. 166.
  43. ^ Udo Badelt: Concert. Lothar Zagrosek conducts Günter Kochan. Broken promises. In: Der Tagesspiegel from February 10, 2011, p. 12.
  44. ↑ Stefan Amzoll: Smile in the Dark. On the death of the composer Günter Kochan. In: Junge Welt from February 26, 2009, p. 13.
  45. ↑ Jost Hermand : So great hope in a different way. In: Dagmar Ottmann, Markus Symmank (Ed.): Poetry as an order. Festschrift for Alexander von Bormann. Königshausen and Neumann, Würzburg 2001, ISBN 3-8260-2131-2 , p. 204.
  46. ^ Workshop talk with Günter Kochan. For the 20th anniversary of the GDR. In: Musik und Gesellschaft, 1969, issue 19, p. 438.
  47. ↑ a b Ursula Stürzbecher (Ed.): Composers in the GDR. 17 conversations. Hildesheim 1979, p. 195.
  48. ^ Christiane Sporn: Music under political auspices. Party rule and instrumental music in the GDR since the Wall was built. Work and context analyzes. Saarbrücken 2006, p. 236.
  49. ↑ Stefan Amzoll: High honor - posthumously. Günter Kochan's 6th Symphony premiered in the Konzerthaus Berlin . In: Neues Deutschland from February 17, 2011.
  50. ^ Hansjürgen Schaefer , Karl Schönewolf (Ed.): Concert book orchestral music. Volume 2, Leipzig 1988, p. 292.
  51. ↑ Christoph Rueger (ed.): Concert book. Piano music A – Z. Leipzig 1988, p. 397.
  52. ↑ In a tight spot composer Günter Kochan died. In: FAZ of February 24, 2009, p. 34.
  53. ^ Friedbert Streller: Günter Kochan (1930–2009). Composer. In: Mitteldeutsches Jahrbuch 16 (2009), p. 257.
  54. ↑ Heinz Josef Herbort: Time to Listen. In: Die Zeit of October 10, 1997.
  55. ↑ Peter Hayes , John K. Roth (Ed.): The Oxford Handbook of Holocaust Studies. Oxford University Press, Oxford 2010, ISBN 978-0-19-921186-9 , p. 484.
  56. ↑ a b Werner Wolf : Creating in the service of humanism. On the death of the great composer Günter Kochan. In: Neues Deutschland from February 24, 2009.
  57. ↑ Nina Noeske: Musical deconstruction. New instrumental music in the GDR. Böhlau Verlag, Cologne 2007, ISBN 3-412-20045-X , p. 37.
  58. ^ Daniel zur Weihen: Composing in the GDR. Institutions, organizations and the first generation of composers until 1961. Böhlau, Cologne / Weimar / Vienna 1999, ISBN 3-412-09399-8 , p. 465 (= also dissertation, University of Hamburg, 1999).
  59. ^ Günter Kochan, composer (1930–2009) . In: Die Welt, February 24, 2009, p. 46.
  60. ↑ Wanted "Music for Everyone" - GDR composer Günter Kochan died. In: nmz 02/2009.
  61. ↑ Nina Noeske: Musical deconstruction. New instrumental music in the GDR. Böhlau Verlag, Cologne 2007, ISBN 3-412-20045-X , p. 74.
  62. ↑ Dieter Härtwig: Kochan, Günter. In: Friedrich Blume (Hrsg.): Music in past and present (MGG). Volume 16, Bärenreiter, Kassel 1976, p. 1007 f.
  63. ↑ Diether de la Motte: The 'Warsaw Autumn'. 3rd Festival of Contemporary Music in Poland. In: NZJM 120 (1959), No. 11, pp. 580-581.
  64. ^ Dietrich Brennecke: Günter Kochan. In: Dietrich Brennecke, Hannelore Gerlach, Mathias Hansen (eds.): Musicians in our time. Members of the music section of the GDR Academy of the Arts. Leipzig 1979, p. 152.
  65. ↑ Hans Heinrich Eggebrecht (Ed.): Terminology of Music in the 20th Century . Steiner, Wiesbaden 1995, ISBN 3-515-06659-4 , p. 18 (= concise dictionary of musical terminology , special volume 1).
  66. ^ Christiane Sporn: Music under political auspices. Party rule and instrumental music in the GDR since the Wall was built. Work and context analyzes . Saarbrücken 2006, p. 80.
  67. ↑ Neue Zeitschrift für Musik 04/2007, p. 82.
  68. ^ Dietrich Herfurth: The National Prize of the GDR. Berlin 2006, p. 52.
  69. ^ Dietrich Herfurth: The National Prize of the GDR. Berlin 2006, p. 56.
  70. ^ Academy for Social Sciences at the Central Committee of the SED , Institute for Marxist-Leninist Culture and Art Studies (ed.), Collective of authors led by Erika Tschernig: Our culture: DDR-Zeittafel, 1945–1987. Dietz, Berlin 1989, ISBN 3-320-01132-4 , p. 236.
  71. ^ Dietrich Herfurth: The National Prize of the GDR. Berlin 2006, p. 76.
  72. ^ Dietrich Herfurth: The National Prize of the GDR. Berlin 2006, p. 90.
This article was added to the list of articles worth reading on November 12, 2012 in this version .
personal data
SURNAME Kochan, Günter
BRIEF DESCRIPTION German composer
DATE OF BIRTH October 2, 1930
PLACE OF BIRTH Luckau , Brandenburg, German Empire
DATE OF DEATH February 22, 2009
Place of death Neuruppin , Brandenburg, Germany