Schnebel, Dieter

Schnebel, Dieter, eminent German composer; b. Lahr, March 14, 1930. At 10, he began piano lessons with Wilhelm Siebler. After further piano instruction from Wilhelm Resch in Villingen (1945–49), he studied theory and music history with Erich Doflein at the Freiburg im Breisgau Hochschule für Musik (1949–52). He also attended the summer courses in new music in Darmstadt beginning in 1950. He completed his studies at the Univ. of Tübingen (1952–56), where he took courses in theology, philosophy, and musicology, receiving his doctorate with a thesis on Schoenberg’s dynamics. From 1963 to 1970 he taught religion in Frankfurt am Main, and then religion and music in Munich from 1970 to 1976. He also devoted increasing attention to his career as a composer. In 1976 he was a prof. of experimental music and musicology at the Berlin Hochschule für Musik. In 1991 he was made a member of the Berlin Akademie der Künste. The complex construction of his early works gave way in 1968 he simpler forms intended for wider audiences; in 1984 he began a “third period” of major forms as collections of traditions and innovation, first the mass (Miss [Dahlemer Messe]), then the symphony (Sinfonie X) and opera (Majakovskis Tod; Venice, Sept. 1996). Among his writings are Mauricio Kagel: Musik, Theater, Film (1970), Denkbare Musik: Schriften 1952–72 (1972), MO-NO: Musik zum Lesen (1973), and Anschläge-Ausschläge: Texte zur Neuen Musik (1994). In his music, Schnebel follows a conceptually sophisticated and highly avant-garde course in which he makes use of such unusual materials as vocal noise, breath, and graphics.

Works

DRAMATIC : Music Theater: ki-no (Räume 1) (1963–67; Munich, July 10, 1967); Maulwerke (1968–74; Donaueschingen, Oct. 20, 1974); Körper-Sprache (1979–80; Metz, Nov. 20, 1980); Jowaegerli (Tradition IV, 1) (1982–83; Baden-Baden, June 26, 1983); Zeichen-Sprache (1987–89; Berlin, April 12, 1989); Chili (Tradition IV, 2) (1989–91; Hamburg, May 12, 1991). ORCH .: Versuche I-IV (1953–56; rev. 1964; first complete perf., Stuttgart, Sept. 14, 1973); Webern-Variationen (Re- Visionen I, 3) for Chamber Orch. (1972; Paris, Oct. 20, 1973); Canones (1975–77; rev. 1993–94; Ludwigshafen, March 6, 1995); Orchestra (1974–77; Cologne, Jan. 20, 1978); Schubert-Phantasie (Re-Visionen I, 5) (1978; Frankfurt am Main, March 16, 1979; rev. 1989); Thanatos-Eros (Tradition III, 1) (1979–82; Graz, Nov. 5, 1982; rev. version, Berlin, April 12, 1985); Sinfonie-Stücke (1984–85; Hamburg, June 23, 1985); Mahler-Moment (Re-Visionen II, 4) for Strings (1985; Zürich, April 4, 1986); Sinfonie X for Orch., Alto, and Tape (1987–92; Donaueschingen, Oct. 18, 1992); Mozart-Moment (Re-Visionen II, 3) for Small Orch. (1988–89; Frankfurt am Main, June 16, 1989); Verdi-Moment (Re-Visionen II, 5) (Frankfurt am Main, June 16, 1989); Janáček-Moment (Re-Visionen II, 1) (1991–92; Hamburg, May 22, 1992); inter for Small Orch. (Frankfurt am Main, Sept. 3, 1994). CHAMBER : Analysis (Versuche I) for String Instrument and Percussion (1953; Brussels, Dec. 12, 1964); Stücke for String Quartet (1954–55; Rome, June 1968); anschläge-ausschläge (Modelle No. 5) for Flute, Cello, and Harpsichord (1965–66; Zürich, Jan. 5, 1970); In motu proprio (Tradition I) for 7 Cellos or 7 Clarinets (Paris, Oct. 24, 1975); Drei-Klange (Räume 4) for Chamber Ensemble (1976–77; Bremen, Dec. 12, 1977); B-Dur-Quintett (Tradition II, 1) for 2 Violins, Viola, Cello, and Piano (1976–77; Darmstadt, April 17, 1978); Handwerke-Blaswerke I for Wind Player, String Player, and Percussionisl (1977; Frankfurt am Main, April 16, 1978); Rhythmen (aus Schulmusik) for Percussion (1977; Munich, June 20, 1978); Pan for Flute and Cello (1978; Zürich, Jan. 25, 1980; rev. version, Lahr, April 21, 1988); Beethoven-Symphonie (Re-Visionen I, 2) for Chamber Ensemble (1985; Essen, April 14, 1988); 5 Inventionen for Cello (1987; Stuttgart, May 3, 1988); Marsyas for Bass Clarinet and Percussion (Munich, Nov. 22, 1987); Circe for Harp (San Felice, June 1988); Sisyphos for 2 Winds (Leipzig, Nov. 26, 1990); 4 Stücke for Violin and Piano (Frankfurt am Main, Sept. 24, 1991); Languido for Bass Flute and Live Electronics (1992–93; Graz, Oct. 9, 1993). keyboard : Piano: espressivo (Modelle No. 2) (1961–63; Munich, April 16, 1964); concert sans orchestre (Modelle No. 3) (1964; Zürich, June 13, 1970); Bagatellen (1986; Bonn, Jan. 17, 1987); Monotonien for Piano and Live Electronics (1988y–89; Munich, Oct. 28, 1993). Organ: Zwischenfugen (Tradition V, 1) (1979–82; Essen, April 26, 1986). VOCAL : Tür Stimmen (…missa est) for Chorus (1956–69); Das Urteil for Chorus, Orch., and Tape (1959; rev. version, Hannover, Aug. 31, 1990); Glossolalie 6 (Projekte IV) for 3 to 4 Speakers and for 3 to 4 Instrumentalists (1960−61; Paris, Oct. 21, 1966); Bach-Contrapuncti (Re-Visionen I, 1) for Chorus (1972–76); Wagner-Idyll (Re-Visionen I, 4) for Voice and Chamber Ensemble (Berlin, Sept. 9, 1980); Lieder ohne Worte (Tradition III, 3) for Voice and 2 Instruments (1980–86; Münster, Feb. 14, 1987); 5 Geistliche Lieder von Bach for Voice and Small Orch. (1984; Cologne, Oct. 12, 1985); Missa (Dahlemer Messe) for 4 Soloists, Chorus, Orch., and Organ (1984–87; Berlin, Nov. 11, 1988); Metamorphosenmusik for Voice and Chamber Ensemble (1986–87; Aachen, Jan. 10, 1990); Schumann-Moment (Re-Visionen II, 2) for Voices, Harp, and Percussion (Frankfurt am Main, June 16, 1989); Chili for 3 Speakers, 4 Singers, and Chamber Ensemble (1989–91); Lamento di Guerra for Mezzo-soprano and Organ or Synthesizer (Berlin, Sept. 29, 1991); Mit diesen Händen for Voice and Cello (Cologne, Dec. 14, 1992); Kaschnitz-Gedichte for Speaker and Piano (Tutzing, Nov. 25, 1994). OTHER : Tape pieces; graphic and conceptual works.

Bibliography

W. Grünzweig, G. Schröder, and M. Supper, eds., S. 60. (Hofheim, 1990); H.-K. Metzger and R. Riehn, eds., D. S. (Munich, 1980); C. Henius, S., Nono, Schönberg, oder, Die wirkliche und die erdachte Musik: Essays und Autobiographisches (Hamburg, 1993).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire