Hans Tutschku
Hans Tutschku (* 1966 in Weimar ) is a German composer and professor .
Life and education
Hans Tutschku studied composition at the "Carl Maria von Weber" Academy of Music in Dresden and at the IRCAM in Paris. From 1989 he accompanied Karlheinz Stockhausen in several concert cycles in order to be instructed in the sound design. From 1991 to 1992 he studied sonology and electroacoustic composition at the Royal Conservatory in The Hague , and in 1996 he attended composition workshops with Klaus Huber and Brian Ferneyhough . At the same time he taught as a visiting professor for electroacoustic composition in Weimar. He continued teaching from 1997 to 2001 at the IRCAM in Paris, and from 2001 to 2004 at the Montbéliard Conservatory . Since 1982 he has also been a member of the Ensemble for Intuitive Music from Weimar .
In May 2003 he did his PhD with Jonty Harrison at the University of Birmingham . In the same year he was visiting professor at the Technical University of Berlin .
Tutschku has been professor of composition at Harvard University since September 2004, where he is head of the studio for electroacoustic music . He also teaches in Buenos Aires , Santiago de Chile , Singapore , Budapest , Darmstadt , Florence , Cologne , Milan and Rome .
Prizes and awards
Hans Tutschku has received numerous prizes, including a prize from the Bourges Festival , the CIMESP São Paulo , the Hanns Eisler Prize , the Prix Ars Electronica and the Prix Noroit. In 2005 he won the Weimar Prize .
Technical details and compositional basics
Hans Tutschku uses numerous recordings of real sounds in his electro-acoustic compositions, which he mixes with synthetic sounds and then transforms and processes them. The composer always has a stereo recording device with him. So it happens that in his works a multitude of sounds from different regions and cultures of the earth are mixed and form the basis for electronic modulation. For example, only sounds he recorded from the instrument museum of the musicological institute at the University of Cologne were used for the piece Klaviersammlung from 2011 .
For the performance of electroacoustic music , Hans Tutschku developed the loudspeaker orchestra known as Hydra . It consists of 32 loudspeakers that can be set up in different configurations in the respective concert hall.
Works
- 2014 - Issho ni - electroacoustic composition, 8 channels
- 2014 - interlaced 1 - for bass clarinet and electronics
- 2014 - Still Air 3 - for oboe, bass clarinet and electronics
- 2014 - Still Air 2 - for oboe and electronics
- 2014 - collaboration - interactive sound sculpture
- 2014 - THE OTHER SIDE - Photo installation
- 2013 - Still Air 1 - for bass clarinet and electronics
- 2013 - under - for nine instruments and electronics
- 2012 - one minute for John Cage - for ensemble
- 2012 - unreal memories - sound installation for the Carpenter Center, Cambridge MA, USA
- 2012 - hommage à Schwitters - interactive sound sculpture
- 2012 - clin d'oreille d'Avignon - electroacoustic composition, 8 channels
- 2012 - uprooted - for six singers and electronics
- 2011 - piano collection - electroacoustic composition, 16 channels
- 2011 - Behind the light - for string quartet and live electronics
- 2010 - mazes - for two pianos and live electronics
- 2010 - agitated slowness - electro-acoustic composition, 24 channels
- 2010 - Firmament-sleepless - electroacoustic composition, 16 channels
- 2009 - fragile connections - for violin, horn and piano
- 2009 - Together - Music for a choreography by Larissa Douglas Koch
- 2009 - Ailleurs-Intérieur - sound installation
- 2009 - Polyvision - for expressive dance, video and ensemble
- 2008 - Two rooms - electroacoustic composition, 24 channels
- 2008 - Monochord - electroacoustic composition, stereo
- 2007 - pour B - electroacoustic composition, stereo
- 2007 - Distance liquide - electroacoustic composition, 8 channels
- 2007 - TELL ME! … A secret… - Interactive sound and video installation, Carpenter Center, Cambridge
- 2007 - once with you - for soprano, clarinet, violin and live electronics
- 2007 - Dialogue for two instrumental groups - Improvisation concept for two ensembles
- 2007 - Cell Lines - for piano and live electronics
- 2007 - Shore - for oboe and live electronics
- 2006 - Winter Night - for piano, percussion and live electronics
- 2006 - Salut du Mexique - electroacoustic composition, stereo
- 2005 - The sweetness of our sad childhood - music theater based on poems and letters by Georg Trakl, Neues Musiktheater, Staatsoper Stuttgart
- 2004 - Cinq espaces du crépuscule - for organ and live electronics
- 2004 - Similis - electroacoustic composition, 8 channels
- 2004 - Rituals - electroacoustic composition, wave field synthesis
- 2004 - object-obstacle - electroacoustic composition, 8 channels
- 2004 - Rojo - electroacoustic composition, 8 channels
- 2004 - The Invisible Listening Tower - open air sound installation, Radcliffe Quadrangle, Cambridge
- 2003 - Sound of Silence - sound installation, Russian Cemetery of Honor Weimar
- 2003 - The church as a sound sculpture - sound installation, Friedenskirche Jena
- 2003 - Voices_Signs - sound installation, Pragsattel Stuttgart
- 2002 - Trois structures - for Baschet resonators and live electronics
- 2002 - Cito - for horn, piano and live electronics
- 2002 - La joie ivre - electroacoustic composition, stereo
- 2002 - Vibrations décomposées - electroacoustic composition, 4 channels
- 2001 - Migration pétrée - electroacoustic composition, 8 channels
- 2001 - The invisible listening tower - open air sound installation, Montbéliard Castle
- 2000 - SprachSchlag - for drums and live electronics
- 2000 - memory_fragmentation - electroacoustic composition, 8 channels
- 2000 - Epexergasia_Neun Bilder - Electroacoustic composition, 4 channels
- 2000 - résorption_coupure - electroacoustic composition, 4 channels
- 2000 - KlangSpirale - sound installation - 16 channels
- 1999 - The lead piano - for piano and live electronics
- 1999 - Eikasia - electro-acoustic composition, 8 channels
- 1999 - human-space-factory - electroacoustic composition, 8 channels
- 1999 - Klangschmelze - sound installation, Dachstein ice cave
- 1999 - Glockenklangfeld - sound installation, Apolda market square
- 1999 - The church as a sound sculpture - sound installation in 5 European countries
- 1999 - NochDreiSekundenSchwarz - Video in collaboration with Kerstin Wagener, ZKM Karlsruhe
- 1999 - Klangwald_Lichtgestein - multimedia open-air performance, Ratssteinbruch Ilmenau
- 1998 - Départs - for soprano, percussion, 10 instruments and tape
- 1998 - Extrémités lointaines - electroacoustic composition, 8 channels
- 1998 - Lisbon Project - Music for the ballet "Lisbon Project", choreography by Joachim Schlömer (Theater Basel), joint composition with Michael von Hintzenstern
- 1998 - high voltage sound - sound installation - 12 channels
- 1997 - Compression - for two choirs and tape
- 1997 - Sound labyrinth - sound installation - 42 channels, Parkhöhle Weimar
- 1997 - The invisible listening tower - open air sound installation, Weimar Castle Tower
- 1996 - rapprochement_éloignement - for mezzo-soprano, flute, viola and harp
- 1996 - Three dream faces - for English horn and tape
- 1996 -… memory… - electro-acoustic composition, 4 channels
- 1996 - Les Invisibles - electroacoustic composition, 8 channels
- 1996 - The Invisible Listening Tower - open air sound installation, Jena University Tower
- 1996 - sound bridge - sound installation - 4 channels
- 1996 - Flammenklang - multimedia open air performance for ensemble, dancer, choir, tape and 16 flamethrowers
- 1996 - Present at the foot - multimedia open air performance for ensemble, dancers, image projection and 16-channel surround sound control
- 1995 - license for a dream - for soprano, flute, cello, drums and tape
- 1995 - About our graves - for flute, percussion and tape
- 1995 - Seven levels - Electroacoustic composition, 4 channels
- 1995 - Hochland or the Reverberation of the Stones - music for the ballet "Hochland or the Reverberation of the Stones", choreography by Joachim Schlömer (German National Theater Weimar), joint composition with Michael von Hintzenstern
- 1994 - Spiegelbilder - Improvisation concept for ensemble
- 1994 - Nachts - for bass clarinet, cello, drums and tape
- 1994 - Flying Flute - electro-acoustic composition, stereo
- 1994 - Sound Scapes - Exhibition for Hearing, Black Bear Weimar
- 1993 - Tonight my heart - for trombone, percussion and tape
- 1993 - Unknown Galaxies - multimedia composition for a planetarium
- 1993 - Eruption of Sounds - Lava Arena Mexico City
- 1992 - The Metal Voice - for drums and tape
- 1991 - The battered voice - electro-acoustic composition, 4 channels
- 1991 - Music for the film "Brothers and Sisters" by Pavel Schnabel
- 1991 - Imaginary rooms 1 - multimedia composition for image projection and ensemble
- 1990 - His real heart - electroacoustic composition, stereo
- 1990 - Drama music for "Sonja and Leo Tolstoi" by Luise Rinser, German National Theater Weimar
- 1989 - transitions - electroacoustic composition, stereo
- 1989 - Incidental music for "A stable full of pigs" by Athol Fugard, Shift Theater Dresden
- 1989 - Music for the film "Wind is strong" by Jochen Kraußer
- 1989 - Klang_Farbe_Bewendung - multimedia composition for image projection, dance and ensemble
- 1988 - Hommage à Laszlo Moholy Nagy - electroacoustic composition, stereo
- 1988 - From the sound of the stars - multimedia composition for a planetarium
- 1987 - Penetration - electroacoustic composition, stereo
- 1987 - Abstract diaphony - multimedia composition for image projection and ensemble
Discography
- CIMESP 14th international Electroacoustic Music Contest of São Paulo
- Music in Germany 1950–2000, German Music Council
- Migration - Arizona University Recordings LLC, AUR CD 3134 2007
- "For Coming Times" - Ensemble for Intuitive Music Weimar plays Karlheinz Stockhausen
- DVD - 50 years of TU Studio Berlin
- Sound journey - Ensemble for Intuitive Music Weimar (EFIM) 2004
- Computer Music Journal - Volume 27, 2003
- 15th + 16th Dresden Days of Contemporary Music
- Compendium International - IMEB Bourges 2000
- Presence II - Electronic Productions Productions (PeP) 2000
- MOMENT - empreintes DIGITALes 2000
- eXcitations - empreintes DIGITALes 2000
- Prix Ars Electronica Linz - 1998
- Eruption Aufbruch - DegeM-CD04 1998
- Prix International Noroit - Léonce Petitot 1998
- electroNIquE, CD for the opening of the electronic studio at the University of Singapore
- CIMESP São Paulo - 1995
- Ausbruch der Klänge - Ensemble for Intuitive Music Weimar in Mexico City 1994
- Voices ... sounds - DegeM-CD01 1994
literature
- Paland, Ralph: Between 'Doom' and 'Hope'. On the music and compositional poetics of Hans Tutschku, in: Topographies of the history of composition since 1950. Signals from Cologne. Contributions to the music of the time vol. 16 , ed. by Tobias Hünermann and Christoph von Blumröder , Vienna 2011
- Tutschku, Hans: The electroacoustic studio as an instrument. Possibilities of gestural and intuitive work with the computer in a musical context, in: Composition and Musicology in Dialogue V (2001–2004). Signals from Cologne. Contributions to the music of the time vol. 11 , ed. by Imke Misch, Christoph von Blumröder and Tobias Hünermann, Münster 2006
Web links
- www.tutschku.com - The official website of Hans Tutschku
- "Klaviersammlung" (2011) - Frequency spectrum in the Sonic Visualizer
- "Distance Liquide" (2007) - Frequency spectrum in the Sonic Visualizer
| personal data | |
|---|---|
| SURNAME | Tutschku, Hans |
| BRIEF DESCRIPTION | German composer and university professor |
| DATE OF BIRTH | 1966 |
| PLACE OF BIRTH | Weimar |