Stephan Winkler

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Stephan Winkler (born January 25, 1967 in Görlitz ) is a German composer and conductor .

Life

At the age of four, Winkler received his first instrumental and music theory lessons from his father, a church musician. From the age of eleven he learned the cello and attended the composition circle at the Berlin-Weißensee music school. From 1983 to 1985 Winkler completed an apprenticeship as a library worker. From 1985 to 1991 he studied composition (with Ruth Zechlin, among others ) and violoncello at the "Hanns Eisler" Academy of Music in Berlin . In 1990 he graduated with the composition Как слёзы, капли дождевые ... (Like tears, raindrops ...) for mezzo-soprano and eight instruments (based on a poem by Arsenij Tarkovskij , 1989) and a detailed theoretical work on the work. In the same year he founded the university's first ensemble for contemporary music, of which he was artistic and organizational director until 1999. Since 1998 Winkler has also taken on conducting engagements with other important Berlin ensembles for new music.

Winkler works as a freelance composer and conductor as well as a teacher for composition, music theory and ear training. In 1994/95 he lived in New York City and studied at the Music Department of Princeton University (Princeton, New Jersey) with a postgraduate scholarship from the German Academic Exchange Service (DAAD ). In 2000 he founded the SKART producer team together with the composer Michael Beil , which has been realizing audiovisual concert concepts ever since. In 1999/2000 Winkler received a scholarship at the Cité Internationale des Arts in Paris, and in 2008 he received a scholarship from the Deutsche Akademie Villa Massimo in Rome.

Since 2016 he has been Professor of Music Theory and Composition at the Barenboim Said Academy in Berlin.

Compositional creation

Stephan Winkler understands his composing as part of a “contemporary European art music” that arises from the tensions between art-musical demands for structural complexity and strong influences from contemporary culture. An example of this is the productive examination of the stylistic tendencies of popular music (e.g. techno and breakbeat ), such as those in the four-hour "dance party adventure" XenophoniX (1996/97), in the orchestral work comic strip (1998) or in the together with the writer and musician Max Goldt , the pop CD " Nachts im Schwarze Seilbahn nach Waldpotsdam" (1998) was released. Winkler's interest in the idea of remixing his own works and compositions by colleagues (e.g. by Helmut Oehring and Michael Beil ) as well as in the optional inclusion of visual elements (see, for example, Sisu. For oboe and piano, 1993, and Sisu ) was also influenced by Winkler's interest .RMX for oboe, piano, tape and video ad libitum, 2002).

Further important impulses for Winkler's work come from his preoccupation with the art of the “independent comic strip”: For example, the composer designed the formal structure of his orchestral piece comic strip (1998) according to the characteristic nested, cyclical narrative principles of this art form, or even designed picture stories as a basis used for scenic or vocal compositions (e.g. mother's wish for a picture story by Eugen Egner , 2006; The Doubtful Guest based on a picture story by Edward Gorey , 2007). Comic elements also play a major role in the music theater Der Universums-Stulp , which premiered in 2014 at the Wuppertal Opera House . Here, together with Eugen Egner, Winkler adapted the novel of the same name into a “musical picture story in three volumes”.

Works

solo

  • TasteN for piano (1986)
  • Soso , sound labyrinth with solo pieces, tapes and live electronics (collaboration with Juliane Klein , 1990)
  • Grünbein's music for violin and tape based on the poem "Das Ohr in der Uhr" by Durs Grünbein (2002/03/07)

Chamber music

  • NINE! for 9 instruments (1988)
  • Jörmungandr im Traum for 2 cellos, 7 horns and a room with a very long reverb (1991/92)
  • Hrimfaxi for cor anglais , 2 horns, 2 tubas, double bass, harp and percussion (1992/93)
  • Skinfaxi for clarinet, 2 violins, violoncello, piano and percussion (1992/93, revised 1997)
  • Sisu. for oboe, violoncello and piano (1993)
  • ambient music for flugelhorn, electric guitar, trombone, tape and live electronics (1994/95)
  • Huginn and Muninn for viola and piano (1996)
  • zigzag for 6 saxophones, with video by Jesko Marx ad libitum (1999/2000)
  • fling for 2x3 brass instruments, soundtrack and video (by Jesko Marx ) (2000)
  • flung for 2x3 saxophones, soundtrack and video (by Jesko Marx ) (2000)
  • zigzag2death for soprano saxophone and tape (2000)
  • From the thirst for existence. Seven things and one given for viola and seven more for viola and 7 instruments (2000/01)
  • Less Six RMX for sextet and tape (remix by Michael Beils und Sechs , 2001)
  • Sisu.RMX for oboe, violoncello, piano and tape, with video by Frédéric St.-Hilaire ad libitum (2002)
  • Electricity for flute, English horn, violin, violoncello, piano, drum set and five-channel feed, with video by Daniel Kötter ad libitum (remix by Helmut Oehrings Leuchter , 2004)
  • Anesthesia. Five ritardandi for 2 pianists on 3 instruments (2006 -...): No. I for two grand pianos; No. II for grand piano and keyboard; No. III for grand piano four-handed; No. IV for keyboard four hands
  • The ones in the syrup for accordion, guitar and double bass (2012)
  • Quartet on Thirst for Existence for viola, piano, small drum set, double bass (2014)

ensemble

  • Surtur von Sinnen for 15 strings (1990)
  • Gullinkambi for 11 wind instruments (1994/95)
  • XenophoniX , "dance party adventure" in 47 paths for playback, 11 live musicians, multiple video projections (by Jesko Marx ), objects and backing ensembles (1996/97)
  • On the Conscience of Insects for 17 instrumentalists (flute, oboe, clarinet, saxophone, bassoon, horn, trombone, tuba, piano, sampler, 2 percussionists, 2 violins, viola, cello, double bass) (2013)

orchestra

  • for the night for large orchestra with children's choir based on the poem "Mühle lass die arme still" by Stefan George (1992)
  • comic strip for large orchestra in 11 groups (1998)
  • Von der Natur des Menschen for orchestra (2005)
  • The song of the electric wind for orchestra (4.3.4.3 - 4.4.4.1 - timpani, 3 beats - sampler - strings: 12-10-8-7-6 + feeds) and three dozen children (2011)

Vocal music

  • mirlitonnades , 13 miniatures for soprano and violoncello, text: Samuel Beckett (1987)
  • Как слёзы, капли дождевые ... (Like tears, raindrops ...) for mezzo-soprano and eight instruments, text by Arsenij Tarkovskij (1989)
  • Конец навигаций (end of navigation) for mezzo-soprano, violoncello, celesta and piano, text: Arsenij Tarkovskij (1991–96)
  • The Doubtful Guest for five-part mixed choir, tape and video. Text: Edward Gorey based on his own picture story (2006/07)
  • midgard , music for a multimedia project by the painter Rainer Görß for two speakers, trumpet, electric guitar, synthesizer, percussion and cello, texts: Else Gabriel (1989)

Musical theater

  • Mother's wish , tragedy in 2 acts for school choir, orchestra and band. Text: Eugen Egner based on his own picture story (2006)
  • The universe faceplate . Musical picture story in three issues based on the novel of the same name by Eugen Egner. For 9 singers, 1 actor, large ensemble (17 players) and feeds (2012-2014)
  • Tongs & Bones . Music theater without words for soprano, tenor, baritone and nine instruments based on picture stories by Jim Woodring , volumes 1 & 2, episodes 1-5 WP Salzburg 2019

CDs

  • At night in the black cable car to Waldpotsdam , ten songs with Max Goldt (as musician duo NUUK), CD Traumton Records 4445 and as a limited vinyl LP Hidden Records (1998)
  • comic strip , on: Music in Germany 1950–2000 - Sinfonische Musik 2, 1990-2000 , RCA / Sony BMG 74321 73519 2 (CD 2000)
  • Gullinkambi , zigzag (including video zigzag: pi mal r quadrat by Jesko Marx ), On the thirst for existence. Seven things and a given for viola and seven more . Edition contemporary music of the German Music Council, Wergo WER 6556 2 (DualDisc [CD / DVD] 2005)

literature

  • Stephan Winkler: Composition as the pursuit of personal success , in: Polth, Michael / Schwab-Felisch, Oliver / Thorau, Christian (eds.), Individuality in Music , Stuttgart a. a. (Metzler) 2002, pp. 225-234.
  • Else Gabriel: The world as will and wool (for Winkler) , in: Booklet for CD Wergo WER 6556 2, Mainz 2005, pp. 6-10.
  • Christian Thorau: Music for good headphones - On the CD / DVD by Stephan Winkler , in: Booklet for the CD Wergo WER 6556 2, Mainz 2005, pp. 11–17.
  • Anja Kleinmichel: Perfect and yet lively. Stephan Winkler's sound laboratory , in: MusikTexte No. 108, 2006, pp. 87–88.
  • Stephan Winkler: Subversiveness: Friendly Fire on Soft Targets , in: Positions No. 67, 2006, pp. 28–30.
  • Stefan Drees: Article "Winkler, Stephan", in: The music in past and present , 2nd edition, supplement volume, Kassel a. a. 2008, col. 1138-1140.
  • Stefan Drees: Article “Stephan Winkler”, in: Contemporary composers , loose-leaf lexicon, 38th subsequent delivery, May 2009, Munich 2009.

Individual evidence

  1. ↑ Stephan Winkler: Subversiveness: Friendly Fire on Soft Targets , in: Positions No. 67, 2006, p. 28.
  2. ^ Review of the world premiere of the Universums- Forend by Andreas Falentin (Die Deutsche Bühne) . Retrieved July 29, 2015.

Web links


personal data
SURNAME Winkler, Stephan
BRIEF DESCRIPTION German composer
DATE OF BIRTH January 25, 1967
PLACE OF BIRTH Goerlitz