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Dieter Schnebel

Dieter Schnebel

Dieter Schnebel


Dieter Schnebel (Lahr, Schwarzwald, Germany, 14 March 1930 – 20 May 2018) was a German composer and professor of experimental music at the Berlin Hochschule der Künste. Schnebel became one of the many important postmodern composers through a unique craft, challenging our definitions of music, its limits, and even its unusual sound capabilities from humans themselves. But before developing into a professional expresser of music as an art form, Schnebel underwent vigorous studies in various fields. Read more on Last.fm
Dieter Schnebel (Lahr, Schwarzwald, Germany, 14 March 1930 – 20 May 2018) was a German composer and professor of experimental music at the Berlin Hochschule der Künste. Schnebel became one of the many important postmodern composers through a unique craft, challenging our definitions of music, its limits, and even its unusual sound capabilities from humans themselves. But before developing into a professional expresser of music as an art form, Schnebel underwent vigorous studies in various fields. He began with a general private music study with Wilhelm Siebler from 1942 until 1945, when he started piano lessons with Wilhelm Resch, and continued study with him until 1949 at the age of 19. He continued then with music history through 1952, under Eric Doflein (Attinello 2001). Simultaneously he began composition (in 1950) under several musicians, including Ernst Krenek, Theodor W.

Adorno, and Pierre Boulez. This led to his attendance at the University of Tübingen, where he studied musicology under Walter Gerstenberg, as well as theology and philosophy, while picking up further piano study as well. In 1955 however, the degree he left with was in fact theology, but with a dissertation about Arnold Schoenberg. Soon after, Camilla Riegger became his wife (in 1956), which led to a son and daughter.

He became a minister, and taught theology and religion until 1963, when he added philosophy and psychology to his teaching practices.[citation needed] In 1968 his wife, Camilla, died, after which he underwent a period of psychoanalysis. In 1970 he remarried, to Iris von Kaschnitz, and began teaching religious studies and music in Munich, which he continued until 1976 (Attinello 2001). Then in Berlin, starting in 1970, he became a professor of experimental music and music research, with subsequent visits to the U.S. for other opportunities.

From 1976 he taught composition on and off in Berlin. Invited by Walter Fink, he was the sixth composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 1996. He died in Berlin on Sunday, 20 May 2018, of a heart ailment (Deutsche Presse-Agentur 2018). Schnebel had a limited set of musical cycles, but he tended to work through them all at the same time, so it is nearly impossible to divide his written music history into defined sections. Sometimes a set would be worked through a decade or more, but his musical styles are still grouped together with labels[clarification needed]; here are some of the more prominent sets: The Versuche (4 works, 1953–56) concern serial techniques of composition, exploring space by putting large gaps between performers. Being highly religion-oriented in background and in practice as he was, his contributions to the world of modern religious music were some of the more important works: Für Stimmen (...missa est) (four works, 1956–69) is a set of vocal and organ experiments regarding prayers and verses of the Bible. Produktionsprozesse is a group of "language and body" compositions which concerns more of the physical act of sound producing itself rather than the actual sound being produced with the performers utilizing speech and breathing organs (tongue, throat, etc.) in unusual styles through exercises which grow into a musical texture and atmosphere of broad communication formats. Although the majority of his works are considered material aimed toward the "vocal experiment" and twelve-tone technique of music, his pieces do have a wide range of styles, even with such a small size of composed repertoire.

For instance, he has made many arrangements of Bach, Beethoven, Webern and Wagner; sometimes using their traditional concepts to the idea of untraditional techniques and ways of listening to them. His earliest works were strongly influenced by Karlheinz Stockhausen, about whose early works he wrote an extended essay; starting in 1959, he came under the influence of John Cage (Clements 1992). Theories self-created and inherited were/are often practiced at performances. He believed that a student’s vocal range could be increased through the use of specific psychological methods, or physical placement. For example, placing singers far apart in a triangular shape causes a musically spatial feeling, and therefore sounds much different from the density when singers are close together. Other times he may just take a traditional piece and turn it into an improvised 13-voice canon.

Pieces using such theories can be found in his most famous works' set; the Fur Stimmen (...missa est) choral pieces, like :! (madrasha 2) and AMN. The first, an unpronounceable title, means "a non-verbal outburst or exclamation", and is used to explore the options in human phonetic sounds, such as vocal and musical versions in lips, tongue, glottus, nasal and other pressures through pitches. The second (unvocalized Hebrew) emphasizes the idea of musical space, with several large gaps in the piece, as well as bizarre vocal experiments. Other stylistic choices of his fancy are influenced by Henry Cowell and his "elastic music", by raising and lowering predetermined melodic pitches, placing excess notes on top of them, rhythmic and tempi values distorted within voices, as well as dynamics.[citation needed] He also required multiple conductors with multiple choirs /ensembles when certain pieces were performed, although they were meant to stay out of synch with each other. John Cage and Mauricio Kagel were other prominent influences, and worked through Cage's unpredictability by setting up musical compositions that were followed, but not always set in stone, on the staff paper when performed.

Additional concepts were explored through the art of theatrical music: i.e., the body language and "dance" of a conductor during a performance, or say a solo pianist and his audience would be performers together for one of his songs—visual elements were often involved. Works also include musical theatre. Schnebel had an important impact on the development of vocal music, and used both tonal and atonal approaches.[citation needed] Awards include the Arts Prize of Lahr in 1991. The first European Church Music Prize was conferred upon him in Schwäbisch Gmünd in the same year. He has been a member of the Berlin Akademie der Künste since 1991 and the Bayerische Akademie der Künste since 1996. Works Music with orchestra Compositio (1955/1956; 1964/1965) Orchestra / Symphonische Musik für mobile Musiker (1974–1977) Canones (1975–1977; 1993/1994) Schubert-Phantasie, for divided orchestra and voices (1978, rev.

1989) Thanatos Eros (Traditione III,1), symphonic variations for large orchestra (1978/79/81/82/84/85) Missa, Dahlem Mass for four solo voices, two mixed choirs, orchestra and organ (1984–1987) Mahler-Moment, for strings (1985) Sinfonie X (1987–1992; 2004/2005) Mozart-Moment (1988/1989) Schumann-Moment (1989) Verdi-Moment (1989) St. Jago, music and images to Heinrich von Kleist (1989–1991, rev. 1995) Janáček-Moment (1991/1992) Totentanz, ballet-oratorio for two speakers, soprano, bass, choir, orchestra and live electronic (1992–1994) inter (1994) O Liebe! – süßer Tod..., five sacred songs after Johann Sebastian Bach for mezzo-soprano, chamber choir, and small orchestra (1995) Ekstasis for soprano, speaker, two children's voices, percussion, choir and large orchestra (1996/1997; 2001/2002) Chamber music Analysis, for strings and percussion (1953) Stücke, for string quartet and strings (1954/1955) Fragment, for chamber ensemble and voice ad libitum (1955) Das Urteil after Franz Kafka, Raummusik für Instrumente, Stimmen und sonstige Schallquellen (Space music for instruments, voices and other sound souces) (1959, rev. 1990) Glossolalie 61 (1960–1965) Maulwerke (1970); staged in 1977 by Achim Freyer at the Musiktheaterwerkstatt Wiesbaden Version 2010 Körpersprache / Organkomposition (Body Language / Organ Composition), for 3–9 players (1979/1980) Beethoven-Symphonie, for chamber ensemble (1985) Metamorphosenmusik, for voice and chamber ensemble (1986/1987) Metamorphosen des Ovid or Die Bewegung von den Rändern zur Mitte hin und umgekehrt, stage music for 11 strings and voices (1987) Mit diesen Händen, for voice and cello with curved bow (1992) Baumzucht (J.

P. Hebel), musical reading after Johann Peter Hebel for speaker and chamber ensemble (1992/1995) Magnificat (1996/97) Flipper, chamber music for Spielautomaten, actors, instruments and tape (2002/2003) Drei Kafka-Dramolette, Der plötzliche Spaziergang, Entschlüsse and Gib's auf! (2009) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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