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.

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mahkopf That is a good observation. I must emphasize this. Since my early youth I have had these two interests, and also a gift for them.

What, if anything, are its larger aesthetic or social stakes? The proponents of post-humanism if affirmed commit a performative self-contradiction, because they use freedom, morality and individuality every day although they claim that all this no longer exists. I would even go one step further: Views Read Edit View history.

From time to time the notation can also become independent. How do you understand the relationship between musical practice and theory, and how is this relationship reflected in your music?

Claus-Steffen Mahnkopf — W. The reading of the score while listening is helpful, especially in difficult music. From Wikipedia, the free encyclopedia. November Learn how claus-steffe when to remove this template message.

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 spontaneous inspiration. The rhythms on the three amhnkopf lines results therefrom. In light of the proliferation of philosophies of post-humanism, why do you consider it important to hold fast to these concepts?

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Claus-Steffen Mahnkopf

What would be the alternative? I write because not everything I have in my mind can be expressed in music. But essentially I remain faithful: I, however, remain a humanist, expressivist, a friend of man and a defender of freedom. I find beings with spirit, soul and body even more interesting than machines. Please help by adding reliable sources. Claus-Steffen Mahnkopf — Angela Nova 2. I was looking for alternatives, internal contradictions, by cultural concepts. Technically artificial, but musically natural.

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 Claus-Steffen Mahnkopf — Kammerminiatur. Adorno figures prominently in both your compositional and scholarly work.

In Finite Jest indeed the text is already comedic. At the same time, one should remain aware that not everything in music can be notated, especially where percussion manhkopf voice are involved. Depending on how you see this, you come to very different views. I work, so to flaus-steffen, on two parallel planes. Claus-sheffen the same time, the theoretical work serves as clarification of many issues and problems, so that I can also compose more clearly and focused.

Now that postmodernism is over, he will regain importance as a social theorist. Interview conducted and edited by Etha Williams for ScoreFollower.

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Claus-Steffen Mahnkopf — … in memoriam …. So, I do not want that. But this is today possible only as radically international. So I hope that my music gets more determination and grounding.

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For his compositions Mahnkopf has won numerous international prizes, among them the Gaudeamus International Composers Award inthe composition prize of the city Stuttgart and the Composers Award of the Ernst-von-Siemens Music Foundation in Secondly, mahnnkopf recently I did not think that I ever would be able to compose something humorous.

For the video, I have used a sample version. Gaudeamus International Composers Award. Claus-Steffen Mahnkopf — Kammerkonzert. Mahnkopf worked as music theory teacher and as consultant for opera houses and he published many essays in musicological magazines. 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.

This biography of a living person needs additional citations for verification. And my writings are not comments about my music.

Contentious material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful. And my music is of course not post-humanistic. What drew you towards writing this way? Here several components come together: