Nicolaus A. Huber

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Nicolaus Anton Huber (born December 15, 1939 in Passau ) is a German composer .

Life

Nicolaus A. Huber grew up in Waldkirchen . After graduating from the Humanist Gymnasium in Passau, he studied school music at the Munich University of Music from 1958 to 1962 , including piano with Oskar Koebel , then composition with Franz Xaver Lehner there until 1964 and with Günter Bialas from 1964 to 1967 . From 1965 to 1966 he worked with Josef Anton Riedl in the Siemens studio for electronic music in Munich. He then studied with Karlheinz Stockhausen ( Darmstadt Summer Course “Ensemble” 1967) and especially with Luigi Nono in Venice from 1967–68 . 1969–71 he was a member of J. A. Riedl's ensemble, 1970/71 he received a scholarship at the Cité Internationale des Arts Paris . From 1975-80 he worked with Peter Maiwald, Therese Angeloff and a free theater group and made tours with political reviews and cultural programs through West Germany. From 1974 until his retirement in 2003, Huber was Professor of Composition at the Folkwang University in Essen. His students included u. a. Max E. Keller , Martin Schüttler , Robin Hoffmann , Gerald Eckert , Daniel Ott , Ludger Brümmer , Kunsu Shim , Gerhard Stäbler and Jörg Birkenkötter . He has been a member of the Berlin and Leipzig Academy of the Arts since 1993 and an honorary member of the Bavarian Academy of Fine Arts in Munich since 2019.

style

Nicolaus A. Huber invented the technique of "conceptual rhythm composition" and above all that of rhythmic modulation, with the help of which independent durations and metric models can be modulated and interlaced in every direction. From 1994 he worked again with “repetition” (as scattered, fractal, disjointed, as multiple representation, as multifocal hearing). After blurring the musical shapes (thalassal regression) and their margins, he addresses concepts derived from quantum theory such as non-locality, probability wave, which-way information and the like. as a harmonic double nature of tones (particle and wave character) with harmonic ranges over a whole piece (since about 2002).

Works (selection)

  • Parousia - Approach and Distance for large orchestra and tape (1967)
  • Dream mechanics for percussion and piano (1967)
  • Experiment on language for sixteen solo voices, Chinese cymbal, Hammond organ, double bass and two-channel tape on texts by Alkaios, Johann Wolfgang von Goethe, Friedrich Hölderlin and Karl Marx (1969)
  • Aion for four-channel tape and smells (1968–72)
  • Harakiri for small orchestra and tape (1971)
  • Ghosts for large orchestra, singer / speaker and tape with texts by Bertolt Brecht and Peter Maiwald (1976)
  • Darabukka for piano (1976)
  • the same is not the same for snare drum (1978)
  • Morning song for large orchestra (1980)
  • Back and forth for oboe (1981)
  • Six Bagatelles for chamber ensemble and tape (1981)
  • From pain and grief for alto saxophone or clarinet in Bb (or basset horn) (1982)
  • The Crier climbs inside for violoncello (1984)
  • Demijour for oboe, violoncello and piano (1985–86)
  • Doubles, with a moving tone for string quartet (1987)
  • Go ahead. Music for orchestra with shrugs (1988)
  • Autumn festival for four percussionists (1989)
  • Three pieces for orchestra with breath / singer and obbligato piano (1990–91)
  • "With some extremism" and a muscle coda (1991)
  • Open fragment for soprano, flute, guitar and drums (1991)
  • On Hölderlins derision for chamber ensemble (1992)
  • First play Mozart for flute solo (1993)
  • Don't fence me in for flute, oboe and clarinet (1994)
  • Disappearances for piano (1995)
  • As a prospect far ... for flute, viola and harp (1996)
  • Covered with music for soprano, flute, accordion, percussion and double bass (1997)
  • Model in the rearview mirror for orchestra (1998)
  • Oh, the sublime ... (G. Benn) numbed fragments for two entangled choirs of 36 voices (1999)
  • The Escaped Orpheus for four guitars (2001)
  • O this light! (G. Benn) for flute, violoncello and piano (2002)
  • Pour les Enfants du Paradis for piano (2003)
  • Do fish ever get tired of the water? (Ch.Bukowski) Music with Neglect Syndrome for Soprano and Instrumentalists (2003)
  • doux et scintillant for trumpet (2004)
  • schwirren flu: xs (and self-portrait) for orchestra (2005)
  • White etching (2006) for orchestra
  • Silver Silence for violin, violoncello and piano (2006)
  • EN for viola solo (2006)
  • Interaction for cello solo (2007)
  • leggiero mit weissglut for bass / piccolo flute, piano and percussion (2007)
  • fingercapriccio for two percussionists (2007)
  • Concert for nature-modulated solos and ensemble (2008)
  • Angel Dust for trombone and accordion (2008)
  • Titty Twister for viola and accordion (2009)
  • Me and Me for soprano, instrumentalists and video ad lib. (2010)
  • Póthos for 1 percussionist (2010)
  • Hímeros for harp and percussion and CD playback (2011)
  • For example: billowing branches for ensemble and CD playback (2011)
  • Erosfragmente , solo for 18 singing bowls , toy piano, Knackfrosch, Kwängwari, Rainmaker (2012)
  • Sister Sounds Solo for glissando flute and 4 singing bowls (2012)
  • L'inframince - extended 3 movements for ensemble playback and video with a Frankfurt coda ad lib. (2014)
  • No Exit - enchanted fixation for ensemble, audio and video feed (2014)
  • with ego amplitudes for violin and piano (2016) WP Toronto 2016
  • Disappearances for 24 hours. Choir, 2 percussionists and tapes (2016) WP Stuttgart / ECLAT 2017
  • SPLIT BRAIN preceded by a solo shrug for orchestra (2016) WP Witten 2017
  • ... the Arabic 4 for orchestra with playbacks (2017) UA Wien modern 2018
  • Algol - Follow-up to Aion for piano (2019) WP Hannover 2019

Political revues :

  • Don Quichotte and Sancho Panza in the trials and tribulations of Western democracy (1976, Düsseldorf)
  • Hanna and Paul or: Socialism Seldom Comes Alone (1977, Düsseldorf)
  • Faust, the unknown part of tragedy (1978-79, Bochum)
  • State Circus (1980, Nuremberg)

Prices

Fonts

  • Nicolaus A. Huber. Fluoroscopy. Texts on music 1964–1999 , ed. by Josef Häusler, Breitkopf & Härtel, Wiesbaden 2000, ISBN 3-7651-0328-4 .
  • “Time is precise to the letter and merciful”. On Hölderlin in my compositions , in: Dissonanz , 2002, H. 76, pp. 4–13; H. 77, pp. 4-15.
  • Pour les enfants du paradis. Short Character Pieces for PianoPlus (2003) , in: Hearing and Seeing - Music Audiovisual. Changing perception. Production - Reception - Analysis - Mediation , = publications by the Institute for New Music and Music Education, Volume 45, Schott, Mainz 2005, pp. 57–61, ISBN 3-7957-1835-X .

Literature (selection)

chronologically

  • Ulrich Dibelius : Society as a partner and model. For composing by Nicolaus A. Huber. In: Musica 26 , 1972, pp. 338-341.
  • Monika Tibbe: Nicolaus A. Huber. In: Neue Zeitschrift für Musik , 1974, pp. 167–169.
  • Wolfgang Hufschmidt : Music about music. III. Nicolaus A. Huber “Gespenster” (1976) for large orchestra, singer / speaker and tape. In: Reflections on Music Today. Edited by Wilfried Gruhn, Schott, Mainz 1981, pp. 278–289, ISBN 3-7957-2648-4 .
  • Mathias Spahlinger : the rigid - trembles. to nicolaus a. Huber's “6 trivia”. In: MusikTexte 2. 1983, pp. 15-18.
  • Hanns-Werner Heister: Conspiracy and agitation. An attempt on the “Six Bagatelles” for chamber ensemble by Nicolaus A. Huber , in: Melos 46 , 1984, no. 2, pp. 37–83.
  • Frank Hilberg: "With feeling, with expression, with ecstasy". About Nicolaus A. Huber , in: Neue Zeitschrift für Musik , 1992, no. 6, pp. 28–33.
  • Frank Sielecki: Drumming for a different reason. “The same is not the same” by Nicolaus A. Huber in the classroom , in: Musik und Bildung 31 , 1999, no . 2, pp. 20-25.
  • Frank Sielecki: The political in the compositions of Helmut Lachenmann and Nicolaus A. Huber , Pfau-Verlag, Saarbrücken 2000, ISBN 3-89727-033-1 .
  • Nicolaus A. Huber, Frank Sielecki: Political composing. A conversation , = fragmen 35. Contributions, opinions and analyzes on new music, ed. by Stefan Fricke, Pfau-Verlag, Saarbrücken 2000, ISBN 3-89727-095-1 .
  • K. Rainer Nonnenmann: Working on the Myth. Studies of the music by Nicolaus A. Huber , Pfau-Verlag, Saarbrücken 2002, ISBN 3-89727-179-6 .
  • K. Rainer Nonnenmann: Nicolaus A. Huber , in: Composers of the Present , 24th supplement October 2002 and 32nd edition. November 2006. (with catalog raisonné, selection discography and selection bibliography)
  • Stefan Orgass: Nicolaus A. Huber , in: Composers Lexicon. 350 historical portraits , ed. by Horst Weber, Metzler and Bärenreiter, Stuttgart and Kassel ²2003, pp. 280–282, ISBN 3-476-01966-7 .
  • Sascha Jouini: Nicolaus A. Huber. "Go ahead. Music for orchestra with shrugs ”(1988) , = fragmen 48, ed. by Stefan Fricke, Pfau-Verlag, Saarbrücken 2006, ISBN 3-89727-315-2 .
  • MusikTexte 108 , 2006, pp. 3–7 and 27–70. (Journal issue with Huber thematic focus and catalog raisonné)
  • Ulrich Tadday (Ed.): Music Concepts 168 / 169. Nicolaus A. Huber , edition text + kritik, Munich 2015, ISBN 978-3-86916-394-9 .

Web links

Individual evidence

  1. ↑ Nicolaus A. Huber at the Darmstadt Summer Courses | MusikTexte 154 - August 2017. Accessed June 30, 2020 .
  2. ↑ Biography at the Berlin Academy of the Arts
  3. ↑ a b curriculum vitae with his music publisher Breitkopf
  4. ↑ Biography from the former publisher Bärenreiter
personal data
SURNAME Huber, Nicolaus A.
ALTERNATIVE NAMES Huber, Nicolaus Anton (full name)
BRIEF DESCRIPTION German composer
DATE OF BIRTH December 15, 1939
PLACE OF BIRTH Passau