René Wohlhauser
Encyclopedia
René Wohlhauser is a Swiss composer, pianist, singer, improviser, conductor and music teacher.
, Mauricio Kagel
, Herbert Brün
and Heinz Holliger
, and for several years studied with Klaus Huber
and Brian Ferneyhough
. The latter had a decisive influence on Wohlhauser’s work.
Wohlhauser currently teaches composition, improvisation and music theory at the Basle Music Academy. As a performer of contemporary music, he is heard all over Europe, recently mostly with his ensemble «Ensemble Polysono», as well as with soprano Christine Simolka. Wohlhauser has published several writings on music.
Life
From 1975 to 1979 Wohlhauser studied counterpoint, harmony, music analysis, score reading, orchestration and composition with Thomas Kessler, Robert Suter, Jacques Wildberger and Jürg Wyttenbach at the Basle Music Academy, earning a diploma in music theory. He went on to study composition with Kazimierz SerockiKazimierz Serocki
Kazimierz Serocki was a Polish composer and one of the founders of the Warsaw Autumn contemporary music festival.-Life:...
, Mauricio Kagel
Mauricio Kagel
Mauricio Kagel was a German-Argentine composer. He was notable for his interest in developing the theatrical side of musical performance .-Biography:...
, Herbert Brün
Herbert Brun
Herbert Brün was a composer and pioneer of electronic and computer music. Born in Berlin, Germany, he taught at the University of Illinois at Urbana-Champaign from 1962 until he retired, several years before his death.-Career:...
and Heinz Holliger
Heinz Holliger
Heinz Holliger Heinz Holliger Heinz Holliger (born 21 May 1939 is a Swiss oboist, composer and conductor.-Biography:He was born in Langenthal, Switzerland, and began his musical education at the conservatories of Bern and Basel. He studied composition with Sándor Veress and Pierre Boulez...
, and for several years studied with Klaus Huber
Klaus Huber
Klaus Huber is a Swiss composer.Huber was born in Bern, Switzerland. One of the leading figures of his generation in Europe, he has written extensively for chamber ensembles, choirs, soloists and the orchestra as well as the theater...
and Brian Ferneyhough
Brian Ferneyhough
Brian John Peter Ferneyhough is an English composer. His music is characterized by the extensive use of complex rhythmic tuplet notation which features in all his works...
. The latter had a decisive influence on Wohlhauser’s work.
Wohlhauser currently teaches composition, improvisation and music theory at the Basle Music Academy. As a performer of contemporary music, he is heard all over Europe, recently mostly with his ensemble «Ensemble Polysono», as well as with soprano Christine Simolka. Wohlhauser has published several writings on music.
Music
Wohlhauser’s prolific output covers many musical genres. His compositions include solo, chamber, orchestral, organ and stage works. In his early works, Wohlhauser also made use of electro-acoustic techniques. In his works, extra-musical impulses are often the starting point for a composition. References to philosophical, linguistic and scientific themes are particularly prominent. Wohlhauser is a composer who is tirelessly looking for new compositional strategies and puts established compositional systems into question. The consistent way in which he works out his compositional concepts often results in a dense and complex musical language that challenges performers as well as audiences.Compositions
- Lemuria for 2 flutes and tape (1977)
- Nesut for piano solo (1977)
- cemaltorz for soprano (also mezzo-soprano) and piano (1977)
- Souvenirs de l’Occitanie for clarinet solo (1978)
- Modulaltica für alto flute and synthesizer (1978). Also: Modulaltica-Variationen for alto flute solo (1978)
- Fragmente for orchestra (1979)
- flautando for 2 flutes (1980/81, rev. 1987)
- Musica Assoluta e Determinata for voice and chamber orchestra (1981)
- Largo elettrificato for voice and chamber orchestra with electronic sound modulation (1981)
- Klavierquartett for string trio (Violin, viola, cello) and piano (1979/83-84, rev. 1987)
- Schlagzeugtrio (1984/85). Additional version Sarktirko (2008) for percussion solo
- CI-IC for flute and viola (1985)
- Duometrie for flute and bass clarinet (1985/86)
- Orgelstück for organ (1986)
- Drei Stücke for piano (1986/87)
- Klarinettentrio «Metamusik» for 3 clarinets in B flat (1986/87)
- Adagio assai for string quartet (1982/83/85/87/88)
- Atemlinie for horn solo (and tam-tam, same player) (1988)
- Lumière(s) for organ (1989)
- in statu mutandi for orchestra (1991-93)
- vocis imago for flute, clarinet, percussion, piano, violin and cello (1993-95). 62 additional versions from solo to quintet.
- Gedankenflucht for cello and piano (1995)
- Quantenströmung for flute, viola and harp (harp trio) (1996)
- Quantenströmung – version for flute, cello and piano (1996–97)
- Entropía for solo cello (1997/98)
- carpe diem in beschleunigter Zeit for string quartet (1998/99)
- Die Auflösung der Zeit in Raum for saxophone, percussion and piano (2000–01). Additional version: Saró (2008) for solo saxophone
- Meditation über die Zeit für die linke Hand am Klavier for piano (2001)
- Klänge in der Zeit for piano (2000)
- Manía for piano (2001/02)
- Musik für Flöte solo for solo flute (2002)
- Gantenbein, Musiktheater für 4 Solisten und Orchester (2002–2004), text after Max Frisch
- Rachearie from the opera Gantenbein, transcription for soprano and piano (2004)
- Sulawedische Lieder, songs and vocal pieces, a cycle on onomatopoetic texts by the composer for soprano (also mezzo-soprano), baritone, 1 to 2 voices and piano (2 to 5 players) (2005/06/08)
- Drei andere Stücke for piano (2005/06)
- mira schinak, trio for soprano, flute and piano. Based on an onomatopoetic text by the composer (2006)
- mikka resna for tenor and guitar. Based on an onomatopoetic text by the composer (2006)
- Studie über Zustände und Zeitprozesse for flute and piano (2007)
- ‘Srang for soprano, flute, clarinet and cello. Based on an onomatopoetic text by the composer (2007)
- Streichtrio for string trio (2007)
- Sarktirko (2008) for solo percussion
- Saró (2008) for solo saxophone
- Ly-Gue-Tin, eine augenzwinkernd-klingende, halbszenische Werkmonographie für Stimme(n) und Klavierklänge auf eigene lautpoetische Texte for voice(s) and piano (1988)
- Sokrak for soprano, flute, clarinet, cello and piano. Based on an onomatopoetic text by the composer (2008)
- Iguur – Blay –Luup, triptych for solo soprano, duet soprano-baritone, soprano and chamber ensemble. Based on an onomatopoetic text by the composer (2009). Several additional versions.
- Masona for 16-voice mixed chorus. Based on onomatopoetic texts by the composer (2009–10)
Awards
- 1978 Valentino Bucchi composition prize, Rome
- 1981 Association of German music schools, Bonn: composition prize
- 1983 Association of Zurich music schools, Switzerland: composition prize
- 1984 City and canton of Fribourg, Switzerland: composition prize
- 1987 Salzburg chapter: composition prize
- 1988 Darmstadt International Summer Courses for New Music: Kranichstein grant
- 1990 Foundation for Music and Theatre, St Gallen, Switzerland: Composition prize
- 1991 Culture award, canton of Lucerne, Switzerland
- 1992 Complimentary award, Schweizer Gesellschaft für musikpädagogische Forschung, Zurich
- 1996 «Selection» award, Swiss Radio International
- 1998 Culture award, canton of Basel-Landschaft, Switzerland
Discography
- René Wohlhauser «in statu mutandi» (Creative Works Records CW 1026, © 1996)
- René Wohlhauser, composer's portrait (Grammont Portrait CTS-M 117, © 2009)
- Ensemble polysono plays compositions by René Wohlhauser and Ursula Seiler Kombaratov, Vol. 1 (Polysono Records 2008-1, © 2008)
- Ensemble polysono plays compositions by René Wohlhauser and Ursula Seiler Kombaratov, Vol. 2 (Polysono Records 2009-1, © 2009)
Sources
This article is a translation from René Wohlhauser on the German Wikipedia, where the following sources were given:- Hanns-Werner Heister and Walter Wolfgang Sparrer, Komponisten der Gegenwart. München, text + kritik (24) 2002.
- Ulrich Mosch, article René Wohlhauser, in: Ludwig Finscher, Die Musik in Geschichte und Gegenwart. Bärenreiter, Kassel 1994, supplement, p. 1146.
- Helga de la Motte-Haber, Geschichte der Musik im 20. Jahrhundert: 1975-2000. Laaber-Verlag, Laaber 2000, p. 337 (Handbuch der Musik im 20. Jahrhundert, 4).
- Jean-Noël von der Weid, Die Musik des 20. Jahrhunderts. Insel, Frankfurt am Main 2001, p. 167.
- René Wohlhauser, Über kompositorische, ästhetische und philosophische Aspekte eigener Werke, in: Komposition und Ästhetik. Schott, Mainz 1994, p. 98-107 (Darmstädter Beiträge zur Neuen Musik, 20).
- René Wohlhauser, in statu mutandi – a work analysis, in: Claus-Steffen Mahnkopf, Frank Cox, Wolfram Schurig, Polyphony & Complexity Wolke Verlag, Hofheim 2002, p. 314-324 (New Music and Aesthetics in the 21st Century, 1).
- René Wohlhauser, Ein Psychodrama der Seelenspiegelungen. Über die Oper «Gantenbein»., in: Dissonanz. No. 87 (9/2004), Zürich 2004.
- René Wohlhauser, Der notwendige Anachronismus der Kunst. Essay for the composer's portrait CD Grammont-CD 2009.
- Schweizer Komponisten unserer Zeit. Amadeus, Winterthur 1993, p. 447.
- Anne-Lise Delacrétaz, Schriftstellerinnen und Schriftsteller der Gegenwart. Sauerländer, Aarau 2002, p. 433.
- Au carrefour des mondes: Komponieren in der Schweiz – ein Kompendium in Essays, Analysen, Portraits und Gesprächen. Pfau, Saarbrücken 2008, p. 562-569.