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Mathias Spahlinger
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'''Mathias Spahlinger''' (b. 15 October 1944) in [[Frankfurt]] is a German composer. His work takes place in a field of tension between the most diverse musical influences and styles: between [[Renaissance music]] and Jazz, between [[musique concrète]] and [[Anton Webern]] [[minimalism]], between noise, improvisation and notation, between aesthetic autonomy and political consciousness, Spahlinger's works carry out conflicts for which there are no fixed models.
== Life ==
His father was a cellist. He taught him fiddle, viola da gamba, recorder, and later cello from 1951. In 1952 he got piano lessons. In 1959 he began to study jazz intensively, took saxophone lessons and wanted to become a jazz musician. In 1962 he left school and took an apprenticeship as a typesetter. During this time he took private composition lessons with [[Konrad Lechner]]. After finishing his apprenticeship he continued his studies with Lechner at the Akademie für Tonkunst 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 [[Musikhochschule Stuttgart]]. In 1978 he became a guest lecturer for music theory at the Berlin University of the Arts, and in 1984 professor for composition and music theory at the [[University of Music Karlsruhe]]. From 1990 he was professor of composition and director of the Institute for New Music at the Freiburg University of Music. Since 1996 he is a member of the [[Academy of Arts, Berlin]]. In 2012 he declined the grant for his commissioned composition "off"(1993/2011) for the Swiss festival "usinesonore".<ref>https://ift.tt/2JhdMv5>
== Prizes and awards ==
* 2014: Großer [[Berliner Kunstpreis]]
== Work ==
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 ''und als wir'' - for 54 strings
* 1997-1998 act, descending a staircase - for bass clarinet, trombone and orchestra (after [[Nude Descending a Staircase, No. 2]] by [[Marcel Duchamp]])
* 2009 double affirmed. etudes for orchestra without 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 systematically ordered, variable playing - for soprano, clarinet, and violoncello
* 1977 éphémère - for percussion, veritable instruments and piano
* 1979-1980 extension - for violin and piano
* 1981 refusal to testify / counterstatement - two counter 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 percussion
* 1991 furioso - for ensemble
* 1992-1993 presentimientos variations for string trio
* 1993, revised 2011 off - for six small drums
* 1995 towards infinity - for bass clarinet, trombone, violoncello and piano
* 1995 about the early death of fräulein anna augusta marggräfin to bathe - for five male voices, five trombones, 3 female voices and 3 wind instruments
* 2000 lost path version 1 and 2 - for ensemble
* 1997-2005 colours of the early - for seven pianos
* 2006 fugitive beauté - for oboe, alto flute and violin, bass clarinet, viola and violoncello
* 2010 rundweg - for recorder, violin, and cello
* 2012 removed addition - for four (also three or two) guitars
Vocal work
* 1969 drama – for 12 Solo voices
* 1974 sotto voce – für Vokalisten
* 1979–1980 el sonido silencioso Trauermusik für Salvador Allende – für 7 Frauenstimmen und Tonband
* 1983 signale – Chorszenen ohne Gesang
* 1983–1985 verfluchung – für drei Vocalisten mit Holzschlaginstrumenten
* 1985 in dem ganzen ocean von empfindungen eine welle absondern, sie anhalten – für Chorgruppen und Playback
* 1993 vorschläge, konzepte zur ver(über)flüssigung der funktion des komponisten
Solo instrument
* 1974 ''entlöschend'' – for großes Tamtam
* 1992 ''nah, getrennt'' – for alto recorder solo
Tape
* 1974 ''wozu noch musik, ästhetische theorie in quasi-ästhetischer gestalt'' – Hörspiel
* 1975 ''störung''
Music theater
* 1980 pablo picasso: wie man wünsche beim schwanz packt – Drama in 6 acts
== Publications ==
chronological
* ''der widersinn von Gesang. zu theodor w. adornos liedkomposition'', in ''[[MusikTexte]]'' 1, Februar 1983, 37–39.
* ''das starre – erzittert. zu nicolaus a. hubers 6 Bagatellen'', ''MusikTexte'' 2, December 1983, 15–18.
* ''offener brief. an die teilnehmer des symposiums „Theodor W. Adorno – der Philosoph als Komponist"'', in ''MusikTexte'' 26, October 1988, 59–60.
* ''gegen die postmoderne mode. zwölf charakteristika der musik des zwanzigsten jahrhunderts'', in ''MusikTexte'' 7, January 1989, 2–7.
* ''wirklichkeit des bewußtseins und wirklichkeit für das bewußtsein. politische aspekte der musik'', in ''MusikTexte'' 39, April 1991, 39–41.
* ''offener brief. die donaueschinger musiktage und der öffentlich-rechtliche rundfunk'', in ''MusikTexte'' 65, July–August 1996, 72–74.
* ''easy to love [Umfrage zum Irakkrieg]'', ''MusikTexte'' 97, May 2003, 16–17.
* ''für gisela und reinhard. zwei jubiläen: 110 Jahre NM, 100 hefte MT'', in ''MusikTexte'' 100, February 2004, 33.
* ''Bewegliche Reaktion auf das, was uns täglich umgibt. Nicolaus A. Hubers „Sphärenmusik" für Orchester'', in ''MusikTexte'' 108, February 2006, 61–65.
* ''dies ist die zeit der konzeptiven ideologen nicht mehr'', in ''MusikTexte'' 113, May 2007, 35–43.
* ''Offener Brief. An Olivier Membrez, Association Usinesonor, Malleray-Bévilard, Schweiz'', in: ''MusikTexte'' 132, February 2012, 85–86.
* ''mein freund reinhard'', in ''MusikTexte'' 141, May 2014, 5.
* ''for musicians only?'', in ''MusikTexte'' 142, August 2014, 14.
* ''thesen zu schwindel der wirklichkeit'', in ''MusikTexte'' 142, August 2014, 15.
* ''politische implikationen des materials der neuen musik'', in ''MusikTexte'' 151, November 2016, 57–72.
== Conversations ==
* ''„alles aus allem entwickeln". Gespräch mit Reinhard Oehlschlägel über „passage/paysage"'', in ''MusikTexte'' 39, April 1991, 23–32.
* ''Geschichte der Musik als Gegenwart: Hans Heinrich Eggebrecht und Mathias Spahlinger im Gespräch.'', Musik-Konzepte Sonderband, hrsg. von Heinz-Klaus Metzger und Rainer Riehn, München: edition text + kritik, 2000. .
* ''„Ich sehe im Free Jazz ... die fortgeschrittenste Entwicklung." Gespräch mit Wolfgang Stryi'', in ''MusikTexte'' 86/87, November 2000, 62–65.
* ''Maßstäbe außer Kraft setzen. Gespräch mit Reinhard Oehlschlägel'', in ''MusikTexte'' 95, November 2002, 73–79.
* ''Von der schlechten Unendlichkeit. Gespräch mit Mark Barden, Johannes Kreidler und Martin Schüttler über „gegen unendlich"'', in ''MusikTexte'' 137, May 2013, 19–25.
== Secondary literature ==
Chronological
* Claus Henning Bachmann: ''Ins Offene. Der Impuls zur Freiheit bei Mathias Spahlinger'', in ''MusikTexte'' 39, April 1991, 22.
* Jean-Noel von der Weid: ''Die Musik des 20. Jahrhunderts''. Frankfurt & Leipzig 2001, 408f.
* Werner Klüppelholz: ''Obduktion der Ordnung. Zu Mathias Spahlingers „extension"'', in ''MusikTexte'' 95, November 2002, 69–72.
* Rainer Nonnenmann: ''Bestimmte Negation. Anspruch und Wirklichkeit einer umstrittenen Strategie anhand von Spahlingers „furioso"'', in ''MusikTexte'' 95, November 2002, 57–69.
* Reinhard Oehlschlägel: ''Radikalität und Widersprüchlichkeit. Variationen über Mathias Spahlinger '', in ''MusikTexte'' 95, November 2002, 33–35.
* Dorothea Schüle: ''„... dann wird offenbar, daß alles auf Vereinbarung beruht". Zur Idee der offenen Form in Mathias Spahlingers „verlorener weg" (1999/2000)'', in MusikTexte 95, November 2002, 36–48.
* Jakob Ullmann: ''... im vorgefühl der dämmerung. Zum Streichtrio „presentimientos" von Mathias Spahlinger'', in ''MusikTexte'' 95, November 2002, 49–54.
* Rainer Nonnenmann: ''Wider den Utopieverlust: Mathias Spahlingers „doppelt bejaht" auf neuen Bahnen'', in ''MusikTexte'' 124, February 2010, 57–63.
* [[Ulrich Tadday]] (ed.): ''Mathias Spahlinger''. Musik-Konzepte 155. Munich: edition text + kritik, 2012,
* Rainer Nonnenmann: ''Musik aus und alle Fragen offen: Auskomponierte Perspektivwechsel des Hörens am Beispiel von Werken Mathias Spahlingers'', in ''MusikTexte'' 140, February 2014, 45–53.
== References ==
== External links ==
*
* [https://ift.tt/2y8onpW Text by and about Mathias Spahlinger] in the journal ''[[MusikTexte]]''
* [https://ift.tt/2Jm5kL8 Homepage of Mathias Spahlinger]
[[Category:German composers]]
[[Category:20th-century classical composers]]
[[Category:Hochschule für Musik Karlsruhe faculty]]
[[Category:Hochschule für Musik Freiburg faculty]]
[[Category:Members of the Academy of the Arts, Berlin]]
[[Category:1944 births]]
[[Category:Living people]]
[[Category:People from Frankfurt]]
March 28, 2020 at 12:30AM
