Globokar, Vinko
Globokar, Vinko
Globokar, Vinko, French composer, trombonist, conductor, and teacher; b. Anderny (of Slovenian de-scent), July 7, 1934. He studied at the Ljubljana Academy of Music (1949-54) and at the Paris Cons. (1955-59), where he received diplomas in trombone and chamber music. He pursued private instruction with Rene Leibowitz (composition and conducting, 1960-63), Andre Hodier (counterpoint), and Luciano Berio (composition, 1965). In 1965-66 he was active at the Center for Creative and Performing Arts at the State Univ. of N.Y. at Buffalo. From 1967 to 1976 he was a prof, at the Cologne Hochschule fur Musik. He was head of vocal and instrumental research at IRC AM in Paris from 1973 to 1979. In 1983 he became a teacher and conductor in Florence, where he conducted programs of contemporary music with the Orch. Giovanile Italiana. A vol. of his writings was publ. as Laboratorium: Texte zur Musik 1967-1997 (Saarbriicken, 1997). Globokar’s mastery of improvisation as a trombonist has been reflected in his output as a composer. He has embraced a utilitarian view in which nothing is off limits in the compositional process or the means of expression.
Works
ORCH Ètude pour Folklora I for 19 Instruments (1968) and II for Orch. (Frankfurt am Main, Aug. 26, 1968); La ronde for 4 Melody Instruments (1970); La tromba e mobile for Harmony Orch. (1970; Zagreb, May 17, 1979); Ausstrahlungen for 20 Players and Reed Soloist (Royan, April 8, 1971); Das orchester for Orch. (Bonn, Dec. 1, 1974); Standpunke for Orch. and Chorus (Donaueschingen, Oct. 22, 1977); Der Kafig for 36 Players and Improvising Soloist (Lugano, Feb. 7, 1980); Miserere for Orch., 5 Narrators, and Jazz Trio (WDR, Cologne, Nov. 27, 1982); Hallo? Do you hear me? for Orch., Chorus, Jazz Quintet, and Tape (1986; simultaneous radio broadcast, Helsinki, Stock-holm, and Oslo, March 9, 1987); L’Armonia drammatica for Orch., Chorus, Vocal Soloists, and Tenor Saxophone (1987-90; Berlin, March 11, 1995); Labour for Orch. (1992; Cologne, Feb. 12, 1993); Masse, Macht und Individuum for Orch. and 4 Instrumental Soloists (Donaueschingen, Oct. 20, 1995); Zlom for 26 Players (1997; Saarbriicken, May 23, 1998). CHAMBER: Fluide for 9 Winds and 3 Percussion (1967); Discours I for Trombone and 4 Percussion (1967), 71 for 5 Trombones or Trombone and Tape (1967-68), III for 5 Oboes or Oboe and Tape (1969), IV for 3 Clarinets (1973-74), V for 4 Saxophones (1981), VI for String Quartet (1982), VII for Brass Quintet (1987; Florence, Nov. 14, 1988), VTIJ for Wind Quintet (1989-90; Metz, Nov. 18, 1990) and IX for 2 Pianos (Saarbriicken, May 21, 1993); Correspondences for 4 Players (1969); Atemstudie for Oboe (1972); Notes for Piano (1972); Vendre le vent for Piano, Percussion, and 9 Winds (1972); Limites for Violin or Viola (1973); Res/as/ex/ins- pirer for Wind Instrument (1973); Voix instrumentalist for Bass Clarinet (1973); Laboratorium for 11 Players (1973-85); Dedoublement for Clarinet (1975); Monolith for Flute (1976); Tribadabum extensif sur rythme fantdme for 3 Percussionists (Romans, July 7, 1981); Corporel for Percussion (1984); Par une foret de symbdles for 6 Players (Nice, Feb. 5, 1986); Freu(n)de for 6 Cellos (Graz, Oct. 22, 1987); Dos a dos for 2 Brass or 2 Wind Instruments (WDR, Cologne, Jan. 24, 1988); Eisenberg for 16 Players (Metz, Nov. 18, 1990); Pendulum for Cello (Oslo, Oct. 22, 1991); Elegie balkanique for Flute, Guitar, and Percussion (1992; Hamburg, Jan. 28, 1993); Dialog uber Wasser for Acoustic Guitar and Electric Guitar (WDR, Cologne, March 26, 1994); Dialog uber Luft for Accordion (Rumligen, Aug. 27, 1994); Dialog uber Erde for Percussion (Barossa Festival, Australia, Oct. 2, 1994); Skelet for 4 Players (Flanders, Sept. 9, 1995); Oblak semen for Trombone (Nus, July 10, 1996); Jurirituba’ioka for Tuba and Piano (1996; Guebwiller, Sept. 1997); Pensee ecartelee for Percussionist (Whitehaven, May 31, 1997). ELECTRONIC: Drama for Piano, Percussion, and Electronics (1971); Koexistenz for 2 Cellos and Electronics (1976); Preoccupation for Organ and Tape (Munich, May 16, 1980); Realites/Augenblicke for 5 Voices, Tape, and Film (Montreuil, June 4, 1984); Introspection d’un tubiste for Tuba, Electronics, Tape, Lights, and Scenery (Avignon, July 25, 1983); Kolo for Chorus, Trombone, and Electronics (Cologne, Nov. 27, 1988); Ombre for Singing Percussionist, Tape, and Rhythm Machine (Tokyo, May 27, 1989); Prestop I for Clarinet and Electronics (Vittasaari, July 27, 1991) and II for Trombone and Electronics (Ljubljana, June 6, 1991); Blinde Zeit for 7 Players and Tape (1993; Brest, May 10, 1994); Contrepoint barbare for Violin, Cello, Accordion, and Tape (1996; Lyons, March 16, 1997).M I X E D M E D I A : Vorstellung for Soloist and Film (1976); Carrousel for 4 Voices, 16 Instruments, and Actors (1976).V o c a l : Accord for Soprano and 5 Soloists (1966); Voie for Chorus, Orch., and Reciter (1966; Zagreb, May 16, 1967); Tramdeutung for Chorus and 4 Instruments (1967; Rotterdam, Oct. 7, 1968); Concerto grosso for 5 Instrumental Soloists, 23 Players, Chorus, and Amateur Vocal Group (1969-75); Airs de voyages vers
I’interieur for 8 Voices, Trombone, and Clarinet (1972); Toucher for Reciting Percussionist (1973); Un jour comme un autre for Soprano and 5 Instruments (1975); Jenseits der Sicherheit for Voice (1981); Sternbild der Grenze for 18 Players, Baritone, Mezzo-soprano, and 5 Voices (Metz, Nov. 21, 1985); Letters for Soprano and 5 Instruments (London, June 29, 1994); Second Thoughts for 4 Women’s Voices (Bremen, Sept. 15, 1995); Reponse a “letters” apres “second thoughts” for Soprano, Flute, Accordion, and Percussion (Hannover, May 23, 1997).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire