Claus-Steffen Mahnkopf will be celebrating his 50th birthday on 22 October “I am a composer who always continues working consistently, thereby. Together with the outstanding Australian oboist Peter Veale, Claus-Steffen Mahnkopf spent years working systematically on music for oboe. claus-steffen mahnkopf. FEATURED COMPOSER. Claus-Steffen Mahnkopf — Prospero-Fragmente. Claus-Steffen Mahnkopf — Kammerstück. Claus-Steffen.
|Published (Last):||10 November 2013|
|PDF File Size:||7.73 Mb|
|ePub File Size:||17.87 Mb|
|Price:||Free* [*Free Regsitration Required]|
I must emphasize this. And my writings are not comments about my music. As long as music is played, it must be notated.
In fact, no one can play it perfectly equal. How do you think about the relationship between music writing and musical sound? Views Read Edit View history. What would be the alternative?
In Finite Jest indeed the text is already comedic. I write books and articles, so to speak, on the side. I, however, remain mwhnkopf humanist, expressivist, a friend of man and a defender of freedom.
From Wikipedia, the free encyclopedia. For the video, I have used a sample version.
But this is today possible only as radically international. How do you understand the relationship between musical practice and theory, and how is this relationship reflected in your music? Retrieved from ” https: Claus-Steffen Mahnkopf was born in MannheimWest Germanyand studied composition with Brian FerneyhoughKlaus Huber und Emanuel Nunes and music theory at the music academy in Freiburgwhere he graduated in For his compositions Mahnkopf has won numerous international prizes, among claus-stefcen the Gaudeamus International Composers Award inthe composition prize of the city Stuttgart and the Composers Award of the Ernst-von-Siemens Music Foundation in Gaudeamus International Composers Award.
I find beings with spirit, soul and body even more interesting than machines. From time to time the notation can mankopf become independent. The reading of the score while listening is helpful, especially in difficult music. Interview conducted and edited by Etha Williams for ScoreFollower.
At the same time, one should remain aware that not everything in music can be notated, especially where percussion and voice are involved. And my music is of course not post-humanistic.
Technically artificial, claus-sgeffen musically natural. I was looking for alternatives, internal contradictions, by cultural concepts. November Learn how and when to remove this template message.
CLAUS-STEFFEN MAHNKOPF : Music for Oboe – CD – NEOS – Forced Exposure
The proponents of post-humanism if affirmed mahjkopf a performative self-contradiction, because they use freedom, morality and individuality every day although they claim that all this no longer exists.
Claus-Steffen Mahnkopf — Angela Nova 2. This biography of a living person needs additional citations for verification. And then the idea for the piece for a tuba player came to me very spontaneously, a tubist, who is also an actor, also doing nonsense.
What do you see as the social implications of the increasingly prevalent dissemination of new music on Youtube and other online media? How do you understand the concept of humor in music? Claus-Steffen Mahnkopf — Kammerminiatur. But first and foremost I am a composer.
Perhaps because a humorous piece surprisingly existed in my biography I was able to write a second piece of this kind, also with a very claus-stegfen inspiration. Depending on how you see this, you come to very different views. Claus-Steffen Mahnkopf — … in memoriam …. Claus-Steffen Mahnkopf — W.
I have hardly seen it as a wrong path. Here several components come together: New music is widely consumed through recordings.
This page was last edited on 26 Novemberat For mahnkofp Adorno is less important as a music theorist than as an intellect that permeates the world.