Hans-Christian von Dadelsen

Hans-Christian von Dadelsen (born December 4, 1948 in Berlin ) is a German composer and music writer. He is the son of the musicologist Georg von Dadelsen and the journalist Dorothee von Dadelsen .

Life

Hans-Christian von Dadelsen spent his childhood in Tübingen and Hamburg, where he studied at the Hamburg University of Music after graduating from high school. He learned composition and music theory from Diether de la Motte and György Ligeti, and music education from Hermann Rauhe . At the Darmstadt Summer Courses in 1972, in a lecture entitled “Tendencies towards a New Tonality”, he suggested a thorough change in modernity, also pointing to “Pop Art” and the new “Romanticism”, thereby leading a variety of things that were misunderstood and misunderstood by many other composers took up a change in the style of the 1970s ("neo-romanticism"). As a composer, he himself took on the influences of Pop Art and American stylistics at an early stage and distinguished himself above all in the field of polyrhythmic inventions and changing harmonic concepts.

From 1980 he gradually developed a consistent polyrhythmic style ("flexible beats") together with the composer Babette Koblenz . A series of works for orchestra, music theater and chamber ensemble as well as conceptual solo works (rhythmic studies) were created. As an author, he has published numerous essays in the field of cultural philosophy, as well as analyzes and studies on rhythm theory and studies on the work of Bob Dylan , Steve Reich , György Ligeti and Wilhelm Killmayer . 1986–94 Lecturer at the Darmstadt Summer Courses . 1998–2004 management and conception of the Hamburg chamber music festival “P0P - Pur oder Plus”; 1999 together with Manfred Reichert, conception and management of the Karlsruhe Bob Dylan Festival “Beethoven hears Bob Dylan”. His awards include the Berlin Art Prize in the music category and the Villa Massimo Rome Prize (1979) as well as the scholarship from the International House of Artists Villa Concordia (1998) in Bamberg .

From 2007 until his retirement in 2014, Hans-Christian von Dadelsen worked as a music teacher at the Hegau-Gymnasium Singen , where he also led the big band. Von Dadelsen lives in the Wendland in Clenze .

Works

all works are self-published by Kodasi

• Vocal music
  • Without-Out Songs for gemCh. (1980)
  • Chagall for gemCh. (2005)
• Stage works
  • Ikarus (after García Márquez; with Babette Koblenz; 1989; 1990 Munich)
  • Cinema , music theater / video opera; with B. Koblenz (1999/2001; 2002 Karlsruhe)
• Instrumental music
  • I. Orchestral works
    • Intermediate spaces for large orchestra (1972/73)
    • Plastic melancholy for large orchestra (1975/76)
    • Sentimental Journey for Kam.Orch or 10 Instr. (1978)
    • Salto Mortale for St.Orch and Revolver (1979)
    • Fuga Revuelta for Kam.Orch or 17 Instr. (1991)
    • Eau for Kam.Orch (2002/03)
  • II. Works for ensemble
    • 27 stories as they can happen under blue skies for 5 Instr. (1973)
    • Made in Germany for 6 instr. (1975)
    • Just Birds Flying in an Airplane for 7 Instr. (1981)
    • Camel for 9 instr. (1988) ▫ Donkey for S, B u. 11 Instr. (1989)
    • Zebra for 11 instr. (1992) ▫ suburb, subterranean for Mez and 5 Instr. (2001)
  • III. Chamber music
    • Self-portrait in the supermarket for Viol. and class (1975/77)
    • First Trumpet for Viol. and class (1983/86)
    • Duo for viol. and tromp. (1989)
    • Karakoram for St. Qu (1994)
    • Westsüdwest for alto sax. and class (1996)
    • Blowin ' for St. Qu (1999)
  • IV. Solo works
    • Three piano pieces (1969)
    • Piano pieces I-II (1979, 1990)
    • Studies for Viol. (1988, 1993)
    • North-northeast for alto sax. (1994)

• Audio pieces
  • Blowing through the letters for Akk, Kl, Str.Qu. and tape (1999)
  • From the reality behind the borders (with Manfred Reichert), for Akk., Kl, Str.Qu. and tape (2007)

Publications (selection)

• What is Dionysus doing in matriarchy? Essay on current composing (in: Neue Zeitschrift für Musik, 1/1979)
• A new level of rhythmic interactions (in Aesthetics and Composition, Mainz 1994)
• Entropy and system leaps in the musical organism (in: Aesthetics and Self-Organization, Berlin 1993)
• Rhythmic forces of interaction - musical evidence of chaos theory? (in: Work Processes in Physics and Music, Berlin 1993)
• Bob (D) ylan or the reversal of Bab-Ylon (in MELOS, issue 4/1984)
• Einstein, Dylan and the song of the synagogue (in the cultural magazine "du", May 2001)
• Masked cult and unmasked culture. Steve Reich: Tehillim (in MELOS, issue 1/1987)
• This side and beyond of space and time: Steve Reichs "Different Trains" (in: Nachgedfte Musik der Gegenwart I, 1995, Wolke-Verlag)
• About the musical contours of distance (on “Lontano” in Melos / NZ, 3/1976); On the pathos of the individual and its unmasking (on "San Francisco Polyphony", 1977, Wergo)
• Delimitation and reflection instead of wreaths and determination - Wilhelm Killmayer's Hölderlin cycle (in “Wilhelm Killmayer” edited by Siegfried Mauser , Mainz 1994); Report from the darkroom (lecture Bavarian Academy of Fine Arts of November 11, 1998), published. in the "Yearbook of the Bavarian Academy 1998" and others

Individual evidence

1. ^ "Holidays also mean farewell" Südkurier from July 31, 2014, accessed on April 10, 2016
2. ↑ EJZ : Wie Welten Weg , January 9, 2016, page 5