Klaus Hashagen

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Klaus Dietrich Hashagen (born August 31, 1924 in Semarang on Java , Indonesia ; † May 30, 1998 in Nuremberg ) was a German composer .

Life

The son of the shipping merchant Hinrich Diedrich Hashagen (1888–1967) and his wife Anne (born Rau, 1897–1982) from Bremen-Vegesack , Klaus Hashagen grew up in Semarang and attended elementary school in the Netherlands . His mother taught him to play the piano from 1930 . The experience of gamelan music had a lasting influence on his later compositional development . In 1931 he moved to Surabaya with his parents ; In 1935 he came to the Schloss Bischofstein boarding school near Lengenfeld unterm Stein in Thuringia . There he was able to continue his piano training with the pianist Else Ackermann. He learned other instruments, played in an unofficial jazz combo and made his first experiments as a radio tinkerer. In 1943 he was drafted into the Wehrmacht . Wounds in the war prevented a career as a pianist. After doing odd jobs as a bricklayer , draftsman and surveyor , Hashagen began his training in music theory and choral conducting with Gustav Adolf Ravenschlag in 1945 at the Försterling Conservatory in Bad Salzuflen . In 1946 he moved to the newly opened Northwest German Music Academy in Detmold . There he completed his studies as a sound engineer with Erich Thienhaus . His composition teachers were Johannes Driessler , Wilhelm Maler and above all Günter Bialas ; He continued his training as a choir director with Kurt Thomas .

After his first internship at Westdeutscher Rundfunk Köln , Klaus Hashagen was employed as a sound engineer, editor and composer for radio music for Norddeutscher Rundfunk in Hanover from 1951 to 1966 . At the suggestion of the composer Friedrich Leinert and in collaboration with Klaus Bernbacher , he founded a studio for new music , whose open concerts in the Funkhaus from 1958 onwards resulted in the Days for New Music in Hanover . Hashagen took a pluralistic approach. It was important to him to perceive contemporary work in all its breadth and to allow different approaches to apply side by side:

"We deliberately did not specify any topics or prefix a motto, but it was [...] always a sum of the forms and images of the current music scene."

From 1966–89, Klaus Hashagen was head of the music department at Bayerischer Rundfunk  / Studio Franken in Nuremberg. He continued the work of his predecessor Willy Spilling , particularly in the field of musica antiqua , folk song and contemporary music. In 1968 he initiated the establishment of the ars nova ensemble nürnberg (direction: Werner Heider ) and brought the ars nova days to life. He promoted electronic music and art through audiovisual concerts, video and sound installations in the Meistersingerhalle , the Kunsthalle and in Nuremberg churches.

Since the 1950s, Hashagen has been active in numerous cultural bodies, including a. As head of the federal selection for concerts of young artists at the German Music Council , as a board member of the German Music Competition in Bonn and the Bavarian Music Council , as chairman of the cultural council of the city of Nuremberg and as a member of the working committee, later also on the board of the International Organ Week Nuremberg . Together with Klaus Bernbacher, Bernhard Bosse , Fritz Büchtger , Eckart Rohlfs and Josef Anton Riedl , he built up the German section of Jeunesses Musicales and directed their international summer courses at Weikersheim Castle . For 30 years he was editor of new scores at the new music newspaper , founding chairman of the Friends' Association at the Nuremberg Meistersinger Conservatory and - together with Werner Andreas Albert and Wolfgang Graetschel - founder of the Academia Sancta Katharina chamber orchestra in 1977 , a forum for joint concerts and radio productions by lecturers and students.

As a composer, Klaus Hashagen created choral music - including many sacred works , inspired by an encounter with Martin Buber in the early 1950s - as well as concertante pieces for solos and ensemble or orchestra as well as chamber music (with a focus on drums and electronics ). He worked with a variety of stylistic means: Chanson tone stands beside Musique concrète , major - minor - tonality in addition to the serial technique he at René Leibowitz studied and later released abwandelte (such as in the construction of the temple  I , 1959). From the 1960s onwards, he included aleatoric elements in work cycles such as the Mobile Scenes and tried out the possibilities of “instrumental theater”. He was particularly interested in specific music for the radio medium . In his “radiophonic” compositions, he dealt with room sound effects and the current means of sound synthesis , including live electronics .

Hashagen was honorary professor for electronic music and radiophony at the University of Music in Würzburg .

Honors

Compositions

Working for the theater

  • Tragédia (1960). ballet
  • The Tagesschau (1960). Music scene for speakers, ensembles, bands and projections. Duration: ~ 20 '

Incidental music

Electronic music and works for the radio

  • Electronic town hall bell for Salzgitter (1962)
  • do it yourself (1969). Electronic action with audience
  • … Trip in the air… I (original version 1970). Radiophonic suite for shortwave noises, duration: 6'35 ''
  • New versions: … trip in the air… II – VIII
  • Long version (1990): … trip in the air… IX , duration: 24'30 ''. Recording (Colosseum [ Klaus Hashagen - percussion and electronics ]; German Composers Association [composers in Bavaria (42)])
  • ... now and then ... (1971). Musique concrète , duration: 5'05 ''
  • Music lesson (1972). Electronic action with audience
  • Percussion VI (1959–73) for tape , recording (Colosseum [ Klaus Hashagen - percussion and electronics ])
  • Reflections (1975?). Electronic environment (together with Dieter Salbert ), duration: ~ 35 '
  • Process of an Electronic Composition (1975) ~ 18 '
  • Passacaglia (1975) for synthesizer , duration: 13'15 ''
  • Rotation I (1977). Electronic environment, duration: 14'15 ''
  • Electronic Suite (1978)
  • Sebalder Bauhütten Discussion (1979) for synthesizer and tape. Duration: 8'25 ''
  • Rotation II (1980). Electronic environment, duration: 14'35 ''
  • ... alla Scarlatti ... (1982). Radiophonic study for synthesizers and computers, duration: 12'55 ''
  • Tergon I (1984) for speakers on tape and electronics. Text:?. Duration: 14'20 ''
  • Capriccio - Bolero (1985). Radiophonic study for sampled sounds and noises (instrumental and speaking voice), duration: 9'05 ''
  • Europhonia (1989). Environment in Zagreb , duration: ~ 60 '
  • Fantasy for synthesizers and samplers . Duration: 6'35 ''
  • Rhythmica electronica for synthesizers, duration: 13'10 ''
  • Transpositions . Musique concrète, duration: 4'15 ''
  • Keys and Bells
  • Suono del Telajo
  • TV music (3 parts) for electronics and instruments, duration: 6'50 ''

Radio play music

  • zu Turandot (author:?), for ensemble. Duration: 10 '
  • to Walpurgis Night (Author:?). Duration: 6'50 ''
  • zu The earth is flat (Author:?). Duration: 5 '
  • to Romain Rolland (Author:?). Duration: 12'00 ''

Audio music

  • to The Nibelungs. On the trail of a fabulous people (1976; author?), Duration: 24'50 ''
  • to man and the cosmos - in the past and present. A new star gaze from the Nuremberg Planetarium (1977; author?), Duration: 25'30 ''
  • to "Mei Herz eat gräi". Love poems in Franconian dialect (1978 ?; authors: Wilhelm Staudacher, Alfred Völkel ) for flute and synthesizer, duration: 6'25 ''
  • on variations on a travel destination for synthesizers, duration: 6 '
  • to The mountain, the river, the village for synthesizers

Vocal compositions

A cappella

  • Three cheerful choir songs (1955) for mixed choir a cappella. Texts:?
  • Three Psalms of David (1962) for mixed choir. Duration: ~ 10 '
  • Spring song (1966) for male choir. Text:?. Duration: ~ 5 '
  • "... the crooked sundial" (1990). Five sonnets by Francisco de Quevedo and four vocalises for 5-part choir a cappella. Duration: 20'35 ''. Recording ( Studio Franken ; Meistersänger von Nürnberg; Direction: Bernd Dietrich; CD-94C008)
  • Drei Psalmotetten (1996) for mixed choir a cappella. Texts: from the biblical book of prices , German by Martin Buber . Duration: ~ 7–8 '
  • CL. Prize (150th Psalm) (1997) for 12-part vocal ensemble. Text: from the book of awards , German by Martin Buber. Duration: ~ 4 '. Recording 2004 (Saarbrücken Chamber Choir, conductor: Georg Grün)
  • Five Goethe poems for children's choir. Duration: 5'50 ''
  • The kindergarten for children's choir. Text:?. Duration: 12'30 ''
  • The children's dance for children's choir. Text:?. Duration: 14'50 ''
  • Songs by Hoffmann von Fallersleben for children's choir. Duration: 13'30 ''
  • Tragic story for male choir. Text:?. Duration: 1'55 ''

With instrument (s)

  • Hope (1953). Hymn for choir and wind instruments. Text: Johannes R. Becher . Duration: 8 '. Premiere 1954 (Bundessängerfest; Hannoversche Chorgemeinschaft)
  • Songs of a rag (1954) for male choir and instrumental ensemble. Texts:?. Duration: 19'10 ''
  • Four chants from “Distelvolk” (1959; revised 1995) for one voice (mezzo-soprano or baritone) and 6 instrumentalists. Duration: ~ 12 '. Texts: Walter Toman , from the collection of poems Distelvolk (1955)
Instrumental ensemble: flute, viola, harp, vibraphone , drums, double bass
  • The construction of Temple  I (1959). Study for speakers, piano, percussion instruments and electronic sounds. Text:?. Duration: ~ 10 '
  • Manasses prayer (1960; revised 1987) for mixed choir, one soloist, 4 choir soloists and electronics. Text:?. Duration: 9'35 ''. Recording ( Studio Franken )
  • Percussion I (1961) for vocals, drums and tape ad libitum. Text:?. Duration: 13'15 ''
  • Alphabetical Chants (1962) for baritone, male choir, piano and double bass. Text:?. Duration: 21'20 ''
  • The Forgotten Moon (1962) for soprano and ensemble. Text:?
  • Recitations of the black Orpheus (1962) for speaker and ensemble. Texts:?
  • David's song of thanks (1963). Recitation for a speaker, mixed choir (with choir solos) and electronics. Text:?. Duration: ~ 15 '. Recording (Studio Franken)
  • 2nd version (1995) for a speaker, mixed choir (with choir solos) and percussion. Duration: ~ 15 '
  • Small divertimento based on French folk songs (1964) for voices and instrumental ensemble. Duration: 14'50 ''
  • Giorno per Giorno (1965). Cantata for mezzo-soprano, flute, harpsichord and percussion. Texts: Giuseppe Ungaretti . Duration: 17'20 ''
  • 2nd, meter-bound version (1990)
  • 3rd version (1990): Cantata for mezzo-soprano and percussion
  • 4th version (1993): Cantata for mezzo-soprano and chamber ensemble. Duration: 16'40 ''. Admission (German Composers Association [Composers in Bavaria (42)])
  • 5th version (1997): Eleven songs for mezzo-soprano and piano
  • “Die Nacht ist schwarz” (1966) for voice and ensemble. Text:?
  • "Vitrum nostrum". A scene for a German drinking song (1968) for baritone and historical instruments. Text: from the songbook by Georg Forster (Nuremberg 1540). Duration: 7'10 ''
  • The four apostles . Impression after Albrecht Dürer (1970) for 4 female voices, 6 speakers, electronics and orchestra. Text:?. Duration: 25'10 ''
  • "Jan Pieterszoon Sweelinck " (1971). Concert for 2 organs, choir, instruments and electronics ad libitum. Texts:? (Quotes from the Cantiones sacrae ). Duration: 18 '. UA 1971 Bayreuth ( City Church ). Recording (Studio Franken)
  • Collage of the Bach motet " Jesu, Meine Freude " (1981) for choir (with choir soloists), speaker, organ and electronics. Text: after Johann Franck , the letter of Paul to the Romans a . a. Duration: 21'15 ''. Recording (Studio Franken)
  • The Construction of Temple II (1983). Study for speakers, voices and electronics. Text:?. Duration: 10'20 ''. Recording (Studio Franken)
  • The Creation (1984/85). Radiophonic chamber oratorio for vocal ensemble and electronics. Libretto: after Martin Buber . Duration: 17'45 ''. Recording 1985 Nuremberg ( ars nova days )
  • "Save my soul from the sword and bless my people with peace" (1986). Chamber oratorio for 4 vocal soloists and synthesizer. Text: based on Psalm  22. Duration: 16'30 ''
  • New version (1989): Radiophonic Chamber Oratorio for Vocal Ensemble and Electronic Instruments. Duration: 17'10 ''
  • Ruth (1989). Recitation for mezzo-soprano, speaker, percussion and electronics. Libretto: Woty Gollwitzer. Duration: 10'05 ''
  • New version (1991): Chamber oratorio for mezzo-soprano, speaker, choir, wind instruments, harp, percussion and electronics. Libretto: Woty Gollwitzer (including two poems by Else Lasker-Schüler ). Duration: 16'30 ''. WP 1992 Nuremberg ( Sebalduskirche ). Admission ( German Composers Association [Composers in Bavaria (42)])
  • Womans ... cussion (1989). Radiophonic study with voice and percussion. Text:?. Duration: 11'30 ''
  • Reflexes (1991). Four miniatures based on Brahms ' horn trio for 3 players, a speaker and tape ad libitum. Text:?. Duration: 12'35 ''
  • New version (1993): Radiophonic miniatures for 3 players, a speaker and a speaker. Duration: 13'30 ''
  • New version (1993-97): Schmuel . Symphony after Martin Buber and Franz Rosenzweig for vocal soloists, speakers and orchestra. Duration: ~ 45 '
  • I want to sing HIM (1994). Four cantatas for mezzo-soprano, mixed choir, 2 percussionists and organ. Texts: from the Bible, German by Martin Buber and Franz Rosenzweig. Duration: 23'30 ''. Recording (Studio Franken)
1.  Babel - 2.  The Song of Moshe - 3.  Deborah's Song - 4.  Dawid's last speech
  • The Seventh Seal (1994). Concert for organ, 10 brass instruments, 2 percussionists, timpani and a speaker ad libitum. Texts: from the Revelation of John . Duration: ~ 13 '
1.  "... there was a voice in heaven ..." - 2.  "... there came voices and thunder ..." - 3.  "... and heard an angel fly ..."
  • CXXXIV. Prize (134th Psalm) (1995) for choir (up to 8 voices) and tubular bells . Text: from the 5th  book of awards , in German by Martin Buber . Duration: ~ 5 '
  • Lower Saxony Easter cantata for choir and instrumentalists. Text: Konrad Tegtmeier. Broadcast of the performance on April 21, 1957 on NDR. Duration: 27'10 ''
  • Lower Saxony Christmas cantata for choir and instrumentalists. Text: Konrad Tegtmeier. Broadcast of the performance on December 24, 1957 on NDR. Duration: 28'50 ''
  • Songs based on Wilhelm Busch for soprano and piano. Duration: 6'05 ''
  • The allotment garden song for baritone and orchestra. Duration: 3'40 ''

Ensemble / orchestral works

  • Small suite (1960) for strings
  • Revised version: Archon (1986). Suite for string orchestra. Duration: 9'25 ''. Recording ( Studio Franken )
  • Study (1962) for 5 groups (orchestra occupied ad libitum). Duration: 11'15 ''
  • Study (1964) for strings. Duration: 7'50 ''
  • Septalie (1968) for any ensemble. Duration: 9'15 ''. Recording (Studio Franken)
  • Melody I, not in the literal sense, but understood as a tonal gesture (1973/74; revised 1993) for small orchestra. Duration: 14'45 ''. Admission ( German Composers Association [Composers in Bavaria (42)])
  • Melodie II (1974) for chamber ensemble. Duration: 7'50 ''. Recording (Thorofon MTH 253)
  • Akkord I (1974) for orchestra. Duration: 8'40 ''. Recording (Studio Franken)
  • Orkhon (1987-89). Sinfonietta for small orchestra. Duration: 14'05 ''. Recording (Studio Franken)
  • Metamorphoses based on Paul Hindemith's symphony " Mathis der Maler " (1994) for orchestra. Duration: ~ 13–14 '
  • "... and his singing is with me at night" (1994). Four miniatures for chamber ensemble. Duration: ~ 8 '
  • Akkord II (1995) for small orchestra. Duration: ~ 12–13 '. Recording (Studio Franken; ars nova ensemble nürnberg , conductor: Werner Heider )
  • Contur II (1996). Essay for chamber ensemble. Duration: 14'05 ''. Recording (Studio Franken; ars nova ensemble nürnberg)
  • "The stories of ..." (1996). Five miniatures for 5 wind instruments and percussion. Duration: 10'45 ''. Recording (Studio Franken)
  • Small Divertimento (19 ??) for instrumental ensemble. Duration: 16 '

Solos and ensemble / orchestra

  • Mobile Scenes I (1966; revised 1995) for percussion (1 player) and orchestra. Duration: 9'20 ''. Recording ( Siegfried Fink [drums], Nürnberger Symphoniker , conductor: Werner Heider ; Colosseum [ Klaus Hashagen - percussion and electronics ; COL 9014-2.2])
  • Mobile Scenes III (1960–69) for percussion, chamber ensemble and tape. Duration: 6'15 ''. Recording (Studio Franken)
  • Pergiton III (1969) for guitar, drums and orchestra. Duration: 19'35 ''. Recording ( Studio Franken )
  • Tournée III for piano, 6 instruments and electronics (1972). Duration: 13'20 ''. Recording (Studio Franken)
  • Pergiton V (1972) for guitar, drums, plucked orchestra and electronics ad libitum. Duration: 16'20 ''. Recording (Intersound ISPV 156 CD)
  • Pergiton VI (1975) for guitar, 2 percussionists and plucked orchestra. Duration: 13'50 ''
  • Melodie IV (1980–88) for harpsichord and chamber orchestra. Duration: 15 '. Recording (Studio Franken)
  • Perchon (1982) for vibraphone, orchestra and electronics ad libitum. Duration: 23'10 ''. Recording (Andrea Schneider [vibraphone], Klaus Hashagen [synthesizer]; Northwest German Philharmonic , conductor: Klaus Bernbacher)
  • Mobile Scenes V (1966; revised 1995) for percussion and orchestra. Duration: ~ 10–12 '
  • Klaricorn. Rhapsodisches Concertino (1984) for clarinet, string orchestra, piano / celesta and percussion (2 players). Duration: ~ 10–12 '
  • The seventh seal (1994): see under vocal compositions
  • Parade (1995). Suite for wind instruments alone or together and small orchestra. Duration: ~ 20 '. - Includes the following parts that can be combined in any way:
  • Badinerie (1995) for flute and small orchestra. Duration: 5'15 ''
  • Duettino (1995) for clarinet, bassoon and small orchestra. Duration: 3'45 ''
  • Romance (1995) for oboe and small orchestra. Duration: 2'45 ''
  • Legende (3rd version, 1995) for horn and small orchestra. Duration: 4 '
  • Trio (1995) for trumpet, trombone with timpani and small orchestra. Duration: 4 '

Chamber music

Solos

  • Sonatina (before 1950?) For piano
  • Six Inventions (1959) for piano
  • Meditation (1965) for drums. Duration: 7–8 '. Recording: VDMK (German Contemporary Music 1/0654964)
  • New version (1974). Recording ( Siegfried Fink ; Colosseum [ Klaus Hashagen - percussion and electronics ])
  • Timbres (1967) for organ. Duration: 8'45 ''. Admission ( German Composers Association [Composers in Bavaria (42)])
  • Toccata (1968) for piano. Duration: 11'30 ''
  • Curtain Sermon (1969) for soprano / alto / tenor / bass recorder. Duration: 4'10 ''
  • Transposition - Improvisation (~ 1974) for 3  cymbals (or cymbal groups) and tape
  • Synchrony (1978) for guitar ( notated graphically ). Duration: 8'10 ''
  • Etude SCH (1988) for piano. Duration: ~ 2 '
  • Till'fried's Funny Horn Pranks (1990) for horn. WP Nuremberg ( Wilfried Krüger )
  • Version for radiophonically alienated horn sounds and language (1990). Duration: 11'50 ''
  • Two Organ Pieces (1994)
  • 1.  Tombeau . Duration: ~ 10 '- 2.  Toccatina . Duration: ~ 7 '
  • Three short piano pieces (1994). Duration: ~ 6 '
  • Mallon (~ 1995) for percussion ( glockenspiel , vibraphone , marimbaphone ; 1 player). Duration: ~ 7 '
  • Prelude and Fugue (1997) for piano. Duration: ~ 5 '
  • Juventon. Three Little Piano Pieces (1997). Duration: ~ 5 '

Duos

  • Suite (1957) for oboe and harpsichord . Duration: 10'15 ''
  • Sonatina (Small Chamber Music) (1959) for clarinet and harp. Duration: ~ 10 '
  • Cymbalon (1960) for harpsichord and tape. Duration: 8'15 ''
  • Pergiton I (1961) for guitar and drums. Duration: 15 '
  • Pergiton II (1963) for guitar and tape. Duration: 8'50 ''
  • Duocordis (1966) for 2 strings
  • Viocela (1966; revised 1990) for viola and harpsichord. Duration: ~ 2'30 ''
  • Mobile Scenes II (1967) for piano and percussion. Duration: ~ 8 '
  • Gesten (1969) for recorders (6 instruments, 1 player) and tape. Duration: 8'30 ''
  • Pergiton IV / V (1969/70) for guitar and percussion (with voice ad libitum). Duration: 12'15 ''. Recording (IV): Deutsche Grammophon (DGG 2530-034-B)
  • Tournée I (1970) for piano and electronics. Duration: 8'45 '
  • Tournée II (1972) for accordion and electronics. Duration: ~ 9 '
  • Tournée IV (1972) for organ and electronics. Duration: 9 '
  • Me'psalon (1972) for drums and electronics. Duration: 6 '
  • Transposition-Improvisation (1974) for drums and tape. Duration: 4'05 ''
  • Percussion IV (1973) for drums and tape. Duration: 12'15 ''. Recording: Thorofon (CTH 2085)
  • Percussion V (1977) for drums and electronics. Duration: 12'15 ''. Recording: Thorofon (CTH 2085)
  • Toccata I and II (1979) for organ and tape. Duration: 13'30 ''
  • Detron (1991) for (large) bass flute and electronics. Duration: ~ 8-10 '
  • Meridian (1991) for organ and electronics. Duration: 9'40 ''
  • Cornotron (1992) for horn and electronics. Duration: ~ 7 '
  • Six saxiatures (1995) for alto saxophone (in Eb ) and piano. Duration: ~ approx. 5 '
  • Legende (1995) for horn and electronics. Duration: ~ 5–7 '
  • 2nd version (1995) for horn and piano. Duration: ~ 5–7 '. WP Nuremberg ( Wilfried Krüger [horn],? [Piano])
  • Legende II (1995) for violin (or viola) and piano. Duration: ~ 5–7 '
  • Contur III (1997). Essay for Organ and Electronics. Duration: ~ 11-12 '. Recording (Studio Franken; Bernhard Buttmann [organ], Werner Jacob, Antje Dittmar [electronics])

Trios

  • Pan twice (1972, revised 1984). Study for 2 recorder players and electronics. Duration: 5'25 ''
  • Toccata III with chorale (1982) for organ, percussion and electronics. Duration: 7'45 ''. Recording: Christophorus-Verlag (SCGLX 73971; Werner Jacob [organ], Siegfried Fink [drums], Klaus Hashagen, electronics)
  • Race I (1988) for 2 percussionists and electronics. Duration: 13'05 ''. Recording ( Studio Franken ; Andrea Schneider, Gyula Racz [drums], Klaus Hashagen [electronics])
  • Legende III (1996) for piano trio (violin, violoncello and piano). Duration: ~ 5 '

Quartets

  • Scènes fugitives (1963/90) for string quartet . Duration: 10 '
  • Perpetuum mobile (1967) for clarinet quartet . Duration: 6'30 ''
  • Melodie III (1979) for clarinet and piano trio . Duration: ~ 15 '
  • Race II (1990) for 4 percussionists. Duration: 13'25 ''
  • Matinata (1992) for 4 horns (in F). Duration: ~ 10 '

Quintets

  • Rondell (1964) for woodwind quintet
  • Mobile Scenes IV (1968/84) for solo drums, piano and accompanying drums (3 players). Duration: 6'55 ''. Recording (production by the city of Nuremberg)
  • Colloquium (1968) for woodwind quintet. Duration: 10'15 ''
  • Campane e fioriture (before 1970?) For woodwind quintet. Duration: 9'40 ''

Edits

  • Three folk songs (1951) for mixed choir. Duration: ~ 6 '
  • Six Seafarer's Songs (1960) for male voices and piano (or instruments) Duration: ~ 12 '
  • English sailor songs for baritone, male choir and instrumentalists. Duration: 13'10 ''
  • Russian folk songs for soprano and orchestra. Duration: 7'50 ''
  • numerous other arrangements of folk songs and old wind music

Works dedicated to Klaus Hashagen

  • Dario Agazzi: Klaus pour contrebasse (2011, Gérard Billaudot, Paris 2012). Duration: ~ 5 'World premiere June 17, 2013 Genève (Assemblée générale de Contrechamps; Jonathan Haskell).
  • Werner Heider :
    • In der Stille der Zeit (1994; on his 70th birthday) for organ. Duration: ~ 16 '. Recording (Jörg Fuhr; Arpeggio Brioso [Franconian Organ Fantasy])
    • Technophonie (1998; in memoriam) for 7 instrumentalists (flute, clarinet, violin, viola, cello, piano, percussion). Duration: ~ 12 '. WP Nuremberg
    1.  Introduction - 2.  Presentation (of the individual instruments) - 3.  Tutti - 4.  Duo (flute and piano) - 5.  Motifs - 6.  Duo (drums and piano) - 7.  Trio (strings) - 8.  Ten solos - 9th  movements (of the formations: wind instruments, strings, piano and percussion) - 10th  unison - 11th  groups with finals
  • Bertold Hummel : … in honorem… (op. 98a; 1994; on his 70th birthday) for percussion and organ. Duration: ~ 12 '. Premiere September 30, 1994 Nuremberg ( Sebalduskirche ; Hermann Schwander [drums], Werner Jacob [organ]). Recording ( BR , Studio Franken ). - Factory introduction: [1]
1.  Invocation - 2.  Toccata - 3.  Chorale
  • Horst Lohse : Chant à l'amitié ( Song of Friendship ; 1994; on his 70th birthday) for organ. Duration: ~ 8–9 '. Premiere September 30, 1994 Nuremberg (Sebalduskirche; Werner Jacob). Recording (BR, Studio Franken)
  • Lothar Voigtländer : Introitus for organ (for his 65th birthday). Premiere 1989 Nuremberg (Sebalduskirche; Werner Jacob)
  • Ruth Zechlin : Organ study from the cryptogram Klaus Hashagen (WN ​​241; 1994). Duration: ~ 3 '. Premiere 1994 (Nuremberg; Werner Jacob?)

literature

by Klaus Hashagen
  • Composing in the future? The artistic and existential situation of young composers . In: Music of the 20th Century from a European Perspective . Edited by Elisabeth Haselauer and Norbert Linke . Barsbüttel-Hamburg 1980
  • Musical judgment in the press and radio . In: Musica, Vol. 36 (1982), pp. 236-238
  • Radiophony . In: Günther Batel / Günther Kleinen / Dieter Salbert : Radiophonic Music . Moeck Verlag, Celle 1985, pp. 55–59 (= contributions to contemporary music 1)
  • Subjective result: precise work . In: neue musikzeitung , 43rd year (1994), No. 4, p. 4
via Klaus Hashagen
  • Hans-Joachim Dobra: About chance in art. Klaus Hashagen in the composer's portrait . In: Connaisseur. Die Nürnberger Illustrierte, 5th vol. (1986), No. 2, pp. 58-60.
  • Ursula Adamski-Störmer: Do you have sounds? In: Nürnberg Today, No. 61/1996, p. 52f.
  • Klaus Bernbacher: Restless striving for musical life . In: neue musikzeitung , Volume 47 (1998), No. 7–8, p. 6
  • Klaus Bernbacher (Ed.): Klaus Hashagen . Schneider Verlag, Tutzing 2003 (Composers in Bavaria, Volume 42). ISBN 3-7952-1110-7 . - In this:
  • Susette Clausing: Klaus Hashagen: Life and Creation (pp. 13–37)
  • Jörg Krämer: On Klaus Hashagen's compositions (pp. 39–43); The instrumental music by Klaus Hashagen (pp. 63–73)
  • Klaus Bernbacher: ... feel, recognize, act ... (pp. 45–48)
  • Klaus Hinrich Stahmer: Between radio play and "Musique concrète" - Klaus Hashagens radiophonic music (pp. 75–90)
  • Helmut Bieler : The sacred music of Klaus Hashagen and his organ music (p. 91–105)
  • Siegfried Fink : ... find and invent ... - Klaus Hashagens works for percussion instruments (p. 107–120)

Web links

Individual evidence

  1. ^ Susette Clausing: Klaus Hashagen: Life and Creation , in: Klaus Bernbacher (Ed.): Klaus Hashagen . Schneider Verlag, Tutzing 2003, p. 15f.
  2. ↑ Ibid., P. 18
  3. ↑ Ibid., P. 26 (Interview with Klaus Hashagen from the summer of 1995)
  4. ^ Jörg Krämer: On Klaus Hashagen's compositions , in: Klaus Bernbacher (Ed.): Klaus Hashagen . Schneider Verlag, Tutzing 2003, p. 41
personal data
SURNAME Hashages, Klaus
ALTERNATIVE NAMES Hashagen, Klaus Dietrich
BRIEF DESCRIPTION German composer
DATE OF BIRTH August 31, 1924
PLACE OF BIRTH Semarang in Java , Indonesia
DATE OF DEATH May 30, 1998
Place of death Nuremberg