Vinko Globokar

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Vinko Globokar (born July 7, 1934 in Anderny , France ) is a Slovenian trombonist and composer .

Live and act

Vinko Globokar grew up in Tucqueugnieux, a village in the Lorraine mining area characterized by Slovenian emigrants. The parents were Slovenes. The father worked as a miner and sang in the Slovenian village choir. Globokar listened to Slovenian folk music, took piano lessons from a Slovenian teacher - and became familiar with the French language and culture at school: The tension between two cultures shaped his childhood. Globokar lived in Ljubljana ( Slovenia ) from the age of 13 to 21 , where he made his debut as a jazz musician under Bojan Adamič . From 1949 Globokar studied trombone at the local conservatory and one year later became a member of the radio jazz orchestra. From 1955 to 1959 Globokar continued his trombone studies at the Conservatoire de Paris with André Lafosse . In those years he played music of various styles in a number of ensembles and studio orchestras, from jazz to symphony. 1960–63 he followed a four-year private study of composition and conducting with René Leibowitz . Through Leibowitz and his circle Globokar became aware of the anthropologist Claude Lévi-Strauss , Jean-Paul Sartre and others, whose thinking stimulated him in many ways.

His acquaintance with Luciano Berio led Globokar to Berlin in 1964, where he initially continued his studies with Berio. After a year as a member of the Center for Creative and Performing Arts in Buffalo / USA (1965/66) he divided his time between composing and performing. Globokar has been teaching trombone at the Cologne University of Music since 1968 and moved to Cologne in 1969 . In the same year he founded the free improvisation ensemble New Phonic Art with Michel Portal , Carlos Roqué Alsina and Jean-Pierre Drouet , which set standards with its playing. Towards the end of the 1960s, Globokar became increasingly known and particularly valued for the interplay of his skills as a composer and interpreter. In 1973 he was appointed to the Institute for Acoustic Research and Coordination (IRCAM) as head of the vocal / instrumental research department, and when he began his work in 1976, Globokar moved back to Paris. In 1979 he left the institute and has since lived in Paris as a freelance composer and trombonist.

He has taught composition at various institutes and universities in Europe and the USA. At the same time he is considered a leading trombonist in contemporary music. From 1983 to 1999 Globokar was professor of chamber music at the Scuola di musica di Fiesole (near Florence ). The originality of Globokar's work lies on the one hand in his dual role as composer and interpreter - the composer is encouraged by the interpreter to make sound and technical innovations or is made aware of psychological issues that affect the behavior of the musicians.

Globokar composes works for orchestra, for chamber music and choral music. In addition to his extraordinary skills as a trombonist, which influenced many contemporary composers (he premiered works by Luciano Berio , Mauricio Kagel , Karlheinz Stockhausen , René Leibowitz and Louis Andriessen ), he is also a theoretician of the avant-garde .

Globokar performed numerous works for trombone and developed new playing techniques on the instrument.



Stage works

  • L'idôle musical theater for girls' choir and four percussionists. Text: Georges Lewkowicz
  • L'armonia drammatica , musical drama for orchestra, mixed choir, 7 singers and tenor saxophone. Text: Edoardo Sanguineti
  • Les Émigrés triptych, consisting of: Part 1: Miserere for 5 storytellers, jazz trio and orchestra. Part 2: Réalités / moments for 5 singers and tape. Part 3: Constellation of the border for 5 singers (sat bar. B), mezzo-soprano, baritone and 18 musicians

Orchestral works

  • Exil 3 (Das Leben des Emigranten Edvard) for orchestra, choir, soprano, narrator, double bass clarinet and improviser based on a text by Vinko Globokar, translated into German by Peter Handke
  • Radiographie d'un roman for mixed choir (and 7 soloists), accordion, percussion, 30 instrumentalists and live electronics. Text: Vinko Globokar
  • Mutation for a singing orchestra. Text: Michael Gielen
  • The Angel of History Part 1: Decay for two orchestral groups and tape. Part 2: Mars for two orchestral groups, tape and live electronics. Part 3: Hope for two orchestral groups and sampler
  • Les otages for orchestra and sampler
  • Les chemins de la liberté for orchestra without a conductor
  • Anti-zapping for orchestra
  • Mass Power and Individual for orchestra and 4 soloists
  • Labor for large orchestra
  • Eisenberg orchestral version
  • Vioe for choirs and three orchestras
  • Etude II for orchestra
  • Viewpoints for soprano, choir and orchestra with multimedia presentation

Ensemble works and vocal music

  • Kaleidoscope in the fog for chamber ensemble
  • L'Exil N ° 1 for soprano (or tenor) and 5 instrumentalists. Text montage by Vinko Globokar in seven languages, consisting of poem fragments from 49 poems by various authors from Homer to the present on the subject of exile
  • L'Éxil N ° 2 for soprano (or tenor) and 13 instrumentalists. Text: A text montage in seven languages ​​consisting of poem fragments from 49 poems by various authors from Homer to the present on the subject of exile by Vinko Globokar
  • Eppure si muove for conducting trombonists and eleven instrumentalists
  • La Prison for eight instruments
  • La ronde for instruments
  • Broadcasts for soloists and twenty musicians
  • Fluids for brass and percussion
  • Etude I for nineteen soloists
  • Caroussel for four singers and sixteen instruments
  • Vendre le Vent for piano, percussion, five woodwinds and four brass instruments
  • Accord for soprano, trombone, cello, flute, organ and percussion
  • Dream interpretation for four choirs, celesta, harp, vibraphone and guitar
  • Airs for eight voices, trombone, clarinet and two assistants

Chamber music

  • Avgustin, dober je vin for wind quintet
  • Discours IX for 2 pianos
  • Élégie balkanique for flute, guitar and drums
  • Discours VIII for quintet
  • Discours II for five trombones
  • Discours III for five oboes
  • Discours IV for three clarinets
  • Discours V for four saxophones
  • Drama for piano and percussion
  • Rêve enigmatique No. 135 for guitar quartet and live sampler

Solo works

  • Breath study for oboe
  • Toucher for solo drums
  • Dialogue about air for the accordion
  • Dialogue about earth for percussion solo
  • Notes for a pianist
  • Limits for a violinist


Web links

Individual evidence

  1. Honorary Members ,, accessed June 30, 2020.