Mathias Spahlinger

Mathias Spahlinger (born October 15, 1944 in Frankfurt am Main ) is a German composer. His work takes place in the field of tension between the most varied of musical influences and styles: between renaissance and jazz, between musique concrète and Webern's minimalism, between noise, improvisation and notation, between aesthetic autonomy and political awareness, the works of Spahlinger deal with conflicts for which there are none established role models.

Life

His father was a cellist. From 1951 he taught him fiddle, viol, recorder and later cello. In 1952 he got piano lessons. In 1959 he began to deal intensively with jazz, took saxophone lessons and wanted to become a jazz musician. In 1962 he left school and trained as a typesetter. During this time he took private composition lessons from Konrad Lechner . After completing his apprenticeship, he continued his studies with Lechner at the Academy for Music in Darmstadt. In 1968 he became a teacher at the Stuttgart Music School for piano, theory, early musical education and experimental music. From 1973 to 1977 he studied composition with Erhard Karkoschka at the Stuttgart University of Music . In 1978 he became a guest lecturer for music theory at the University of the Arts in Berlin, and in 1984 professor for composition and music theory at the Karlsruhe University of Music . From 1990 he was Professor of Composition and Head of the Institute for New Music at the Freiburg University of Music. Since 1996 he has been a member of the Berlin Academy of the Arts . In 2012 he turned down the grant from the Ernst von Siemens Music Foundation for his commissioned composition “off” (1993/2011) for the Swiss festival “usinesonore”. Today he lives in Potsdam .

Prizes and awards

• 2014: Great Berlin Art Prize

Works (selection)

orchestra

• 1975 morendo - for orchestra
• 1981 Rou a GH i FF (strange?) - for 5 jazz soloists and orchestra
• 1986 inter-mezzo, concertato non concertabile tra pianoforte e orchestra
• 1988–1990 passage / paysage - for orchestra
• 1993 and as we - for 54 strings
• 1997–1998 act, descending a flight of stairs - for bass clarinet, trombone and orchestra (based on a work by Marcel Duchamp )
• 2009 double affirmative. Etudes for orchestra without a conductor - for orchestra
• 2011 lamento, protocol - for violoncello and orchestra

Chamber music

• 1969 five movements - for two pianos
• 1972 phonophobia - for flute, oboe, clarinet, horn and bassoon
• 1975 Four pieces - for voice, clarinet, violin, violoncello and piano
• 1976 128 fulfilled moments in a systematically arranged, variable manner - for soprano, clarinet and violoncello
• 1977 éphémère - for percussion, veritable instruments and piano
• 1979–1980 extension - for violin and piano
• 1981 refusal to give evidence / reply - two contra-contexts for double quartet
• 1982 apo do (from here) - for string quartet
• 1982–1983 adieu m'amour Hommage à Guillaume Dufay - for violin and violoncello
• 1983 musica impura - for soprano, guitar and drums
• 1991 furioso - for ensemble
• 1992–1993 presentimientos variations for string trio
• 1993, revised off in 2011 - for six small drums
• 1995 against infinity - for bass clarinet, trombone, violoncello and piano
• 1995 to bathe about the early death of fräuleins anna augusta marggräfin - for five male voices, five trombones, 3 female voices and 3 wind instruments
• 2000 lost way version 1 and 2 - for ensemble
• 1997–2005 Colors of the Early - for seven pianos
• 2006 fugitive beauté - for oboe, alto flute and violin, bass clarinet, viola and violoncello
• 2010 round way - for recorder, violin and violoncello
• 2012 removed addition - for four (also three or two) guitars

Vocal works

• 1969 drama - for 12 solo voices
• 1974 sotto voce - for vocalists
• 1979–1980 el sonido silencioso funeral music for Salvador Allende - for 7 female voices and tape
• 1983 signals - choir scenes without singing
• 1983–1985 curse - for three vocalists with wooden percussion instruments
• 1985 a wave of sensations was emitted in the whole ocean, it stopped - for choir groups and playback
• 1993 proposals, concepts to obsolete the function of the composer

Solo instrument

• 1974 deleting - for great fanfare
• 1992 close, separated - for alto recorder solo

tape

• 1974 add music, aesthetic theory in a quasi-aesthetic form - radio play
• 1975 malfunction

Musical theater

• 1980 pablo picasso: how to grab wishes by the tail - a drama in 6 acts

Fonts

chronologically

• the nonsense of song. to theodor w. adornos song composition , in: MusikTexte 1, February 1983, 37–39.
• the rigid - trembles. to nicolaus a. Hubert's 6 Bagatelles , MusikTexte 2, December 1983, 15-18.
• open letter. To the participants of the symposium “Theodor W. Adorno - the philosopher as composer” , in: MusikTexte 26, October 1988, 59–60.
• against postmodern fashion. twelve characteristics of the music of the twentieth century , in: MusikTexte 7, January 1989, 2–7.
• reality of consciousness and reality for consciousness. political aspects of music , in: MusikTexte 39, April 1991, 39–41.
• open letter. the donaueschinger musiktage and the public broadcasting , in: MusikTexte 65, July – August 1996, 72–74.
• easy to love [survey on the Iraq war] , MusikTexte 97, May 2003, 16-17.
• for gisela and reinhard. two anniversaries: 110 years of NM, 100 issues MT , in: MusikTexte 100, February 2004, 33.
• Agile reaction to what surrounds us every day. Nicolaus A. Huber's “Sphärenmusik” for orchestra , in: MusikTexte 108, February 2006, 61–65.
• this is no longer the time of the conceptual ideologues , in: MusikTexte 113, May 2007, 35–43.
• Open letter. To Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Switzerland , in: MusikTexte 132, February 2012, 85–86.
• my friend reinhard , in: MusikTexte 141, May 2014, 5.
• for musicians only? , in: MusikTexte 142, August 2014, 14.
• theses on the vertigo of reality , in: MusikTexte 142, August 2014, 15.
• political implications of the material of new music , in: MusikTexte 151, November 2016, 57–72.

conversations

• "Develop everything from everything". Conversation with Reinhard Oehlschlägel about “passage / paysage” , in: MusikTexte 39, April 1991, 23–32.
• History of music as the present: an interview with Hans Heinrich Eggebrecht and Mathias Spahlinger. , Music Concepts Special Volume, ed. by Heinz-Klaus Metzger and Rainer Riehn, Munich: edition text + kritik, 2000. ISBN 3-88377-655-6 .
• “I see the most advanced development in free jazz.” Conversation with Wolfgang Stryi , in: MusikTexte 86/87, November 2000, 62–65.
• Override standards. Conversation with Reinhard Oehlschlägel , in: MusikTexte 95, November 2002, 73–79.
• From bad infinity. Conversation with Mark Barden, Johannes Kreidler and Martin Schüttler about “against infinity” , in: MusikTexte 137, May 2013, 19–25.

Secondary literature

chronologically

• Claus Henning Bachmann: Into the open. The impulse for freedom with Mathias Spahlinger , in: MusikTexte 39, April 1991, 22.
• Jean-Noel von der Weid: The music of the 20th century . Frankfurt am Main & Leipzig 2001, 408f. ISBN 3-458-17068-5
• Werner Klüppelholz: Autopsy of order. On Mathias Spahlinger's “extension” , in: MusikTexte 95, November 2002, 69–72.
• Rainer Nonnenmann: Certain negation. Claim and reality of a controversial strategy based on Spahlinger's “furioso” , in: MusikTexte 95, November 2002, 57–69.
• Reinhard Oehlschlägel: radicalism and contradictions. Variations on Mathias Spahlinger , in: MusikTexte 95, November 2002, 33–35.
• Dorothea Schüle: "... then it becomes apparent that everything is based on agreement". On the idea of ​​open form in Mathias Spahlinger's “Lost Way” (1999/2000) , in: MusikTexte 95, November 2002, 36–48.
• Jakob Ullmann: ... in anticipation of twilight. On the string trio “presentimientos” by Mathias Spahlinger , in: MusikTexte 95, November 2002, 49–54.
• Rainer Nonnenmann: Against the loss of utopia: Mathias Spahlinger's “double affirmation” on a new path , in: MusikTexte 124, February 2010, 57–63.
• Ulrich Tadday (ed.): Mathias Spahlinger . Music concepts 155. Munich: edition text + kritik, 2012, ISBN 978-3869161747
• Rainer Nonnenmann: Music from and all questions unanswered: Composed change of perspective of hearing using the example of works by Mathias Spahlinger , in: MusikTexte 140, February 2014, 45–53.

Individual evidence

1. ↑ http://www.nmz.de/online/direkter-angriff-auf-meine-selbstektiven-matthias-spahlinger-lehnt-foerderung-durch-die-ernst

Web links

• Literature by and about Mathias Spahlinger in the catalog of the German National Library
• Texts by and about Mathias Spahlinger in the magazine MusikTexte
• Homepage of Mathias Spahlinger