Huber, Klaus, Swiss composer and pedagogue; b. Bern, Nov. 30, 1924. He studied violin with Geyer (1947–49) and theory and composition with his godfather Burkhard (1947–55) at the Zürich Cons., and then completed his training with Blacher at the Berlin Hochschule für Musik (1955–56). He taught violin at the Zürich Cons. (1950–60) and music history at the Lucerne Cons. (1960–63). From 1961 to 1972 he taught at the Basel Academy of Music, where he was director of the composition and instrumentation classes (1964–68) and then of the master composition class (1968–72). In 1969 he founded the international composers’ seminar in Boswil, with which he was active until 1980. In 1973 he held the Deutscher Akademischer Austauschienest scholarship in Berlin. From 1973 to 1990 he taught composition and was head of the inst. for contemporary music at the Freiburg im Breisgau Hochschule für Musik. He served as president of the Swiss Composers’ Assn. from 1979 to 1982. In 1975 he won the Composers’ Prize of the Swiss Composers’ Assn. and in 1978 was awarded the arts prize of the City of Basel. He was a member of the Bayerische Akademie der Schönen Künste of Munich and the Akademie der Künste of Berlin. He publ. Klaus Huber: Gesammelte Schriften (Cologne, 1995). In his music, Huber has written a large body of works notable for their exquisite craftsmanship in a highly personal style evocative of contemporary means of expression.
dramatic: Opera: Jot, oder wann kommt der Herr zurück (1972-73; Berlin, Sept. 27, 1973); Im Paradies oder Der Alte vom Berge (1973-75). ORCH.: Inventionen und Choral (1956); Litania Instrumentalis (1957); Terzen-Studie (1958); Cantio-Moteti-Inventione for Strings (1963; also for String Quartet, 1962-63); Tenebrae (1966-67); James Joyce Chamber Music for Harp, Horn, and Chamber Orch. (1966–67); Alveare vernai for Flute and Strings (1967; also for Flute and 12 Solo Strings, 1965); Tempora, violin concerto (1969–70); Erinnere dich an G… for Double Bass and Chamber Orch. (1976–77); …ohne Grenze und Rand…for Viola and Small Orch. (1976–77); Zwei Sätze für Ensemble (1978-79; 1983); Beati Pauperes II for Small Orch. (1979; also for 7 Solo Voices and Small Orch.); Protuberanzen (1985-86); Plainte-die umgepflügte Zeit I for Viola d’Amore and Chamber Orch. (1990; II for Mezzo-soprano, Tenor, Viola d’amore, and Chamber Orch.); Intarsi, chamber concerto for Piano and Ensemble (1993-94; Lucerne, Aug. 22, 1994); Lamentationes define vicesimi saeculi for 4 Orch. Groups and Sufi Singer ad libitum (1992-94; Frankfurt am Main, Dec. 11, 1994). CHAMBER: Sonata da chiesa for Violin and Organ (1953); Partita for Cello and Harpsichord (1954); Concerto per la Camerata for 6 Instruments (1954-55; rev. 1965); 2 Movements for 2 Winds (1957–58); 3 Movements in 2 Parts for Wind Quintet (1958–59); Nodes intelligibilis lucis for Oboe and Harpsichord (1961); 2 string quartets: No. 1, Moteti-Cantiones (1962-63; also for String Orch., 1963) and No. 2, …von Zeit zu Zeit…(1984-85); Sabeth for Flute, English Horn or Viola, and Harp (1966–67); Ascensus for Flute, Cello, and Piano (1969); Ein Hauch von Unzeit III for 2 to 7 Players (1972); Schattenblätter for Bass Clarinet, Cello, and Piano (1975); Lazarus I-II for Cello and Piano (1978); Beati Pauperes I for Flute, Viola, Piano, and Percussion (1979); 2 Movements for Chamber Ensemble (1983); Des Dichters Pflug, trio for Violin, Viola, and Cello (1989); Agnus Dei in umgepflügter Zeit for 8 Instruments (1990–91); Plainte-lieber spaltet mein Herz…for Viola d’amore or Viola, Guitar, and Percussion (1990–92); String Quintet (1993–94); piano pieces; organ music. VOCAL: Das Te Deum laudamus deutsch for Soloists and Chorus (1955–56); Antiphonische Kantate for Chorus and Orch. (1956); Oratio Mechtildis, chamber sym. for Alto and Chamber Orch. (1956–57); Des Engels Anredung an die Seele, chamber cantata for Tenor, Flute, Clarinet, Horn, and Harp (1957); Auf die ruhige Nacht-Zeit for Soprano, Flute, Viola, and Cello (1958); Soliloquia, oratorio for Soloists, 2 Choruses, and Orch. (1959–64); Psalm of Christ for Baritone and 8 Instruments (1967); Kleine deutsche Messe for Chorus, Congregation, Organ, String Trio, and Harp (1969);… inwendig voller Figur…for Chorus, Orch., Loudspeaker, and Tape (1970–71); …ausgespannt…for Baritone, 5 Instrumental Groups, Loudspeaker, Tape, and Organ (1972); Erniedrigt-Geknechtet-Verlassen-Verachtet for 4 Soloists, 2 Choruses, and Orch. (1975-78; 1981-82); Beati Pauperes II for 7 Voices and Small Orch. (1979); Nudo que ansi juntais for 16 Solo Voices (1984); Cantiones de circulo gyrante for Soloists, Chorus, and Chamber Orch. (1985; reworked as Kleines Requiem für Heinrich Boll for Chorus and Bass Baritone ad libitum, 1994); Spes contra Spem for Soloists and Orch. (1986; 1988-89); La terre des hommes for Mezzo-soprano, Countertenor/Speaker, and Chamber Orch.(1987-89); Die umgepflügte Zeit for Soloists, Speaker, Choruses, and Orch. (1990); Agnus Dei cum recordatione, “Hommage à Jehan Okeghem” for Countertenor, 2 Tenors, Bass Baritone, Renaissance Lute, and 2 Fiddles or Guitar and 2 Violas (1990–91); Die Erde bewegt sich auf den Hörnern eines Ochsen for Sufi Singer and Arab and European Instruments (1992–93).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire