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ヨーク・ヘラー

出典: フリー百科事典『ウィキペディア（Wikipedia）』
ウィキポータル クラシック音楽
ポータル クラシック音楽

ヨーク・ヘラー (York Höller)はドイツの現代音楽の作曲家。1944年1月11日生まれ。

受賞歴

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  • The Bernd Alois Zimmermann Prize of the City of Cologne
  • The Förderpreis of the State of North Rhine–Westphalia
  • The Prize of the International Composers’ Forum of UNESCO
  • The Rolf Liebermann Prize for Opera Composers
  • The Ordre des Arts et des Lettres in 1986 bestowed by the French Minister of Culture
  • The 2010 University of Louisville Grawemeyer Award for Music Composition for the orchestral work Sphären
  • 2011 ドイツ音楽作家賞器楽作品作曲賞[1]。

主要作品

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  • Fünf Stücke, for piano (1964)
  • Diaphonie, for two pianos (1965, rev. 1974)
  • Drei Stücke, for string quartet (1966)
  • Herr, es ist Zeit (text: Rainer Maria Rilke), for soprano, flute, harp, harpsichord, celesta, and string quartet (1966)
  • Topic, for large orchestra (1967)
  • Sonate informelle, for piano (1968)
  • Sonata, for solo cello (1968)
  • Epitaph für Jan Palach, for violin and piano (1969)
  • Piano Concerto no. 1, for piano and orchestra (1970)
  • Horizont, electronic music (1971–72, rev. 1975)
  • Décollage, for two speaking choirs, electric guitar, electrically amplified cello, electronic organ, and tape (1972)
  • Tangens, for cello, electric guitar, piano, electric organ, and two analog synthesizers (1973)
  • Chroma, for large orchestra and live electronics (1972–74)
  • Klanggitter, for cello, piano, synthesizer, and tape (1975–76)
  • Antiphon (String Quartet no. 1), for string quartet and electronically transformed string quartet on tape (1976, rev. 1984)
  • Arcus, for 15 instruments, percussion, and tape (1978)
  • Moments musicaux, for flute and piano (1979)
  • Mythos, tone poem for 13 instruments, percussion, and electronic sounds (1979–80)
  • Umbra, for large orchestra and tape (1979–80)
  • Résonance, for orchestra and computer-generated sounds on tape (1981)
  • Schwarze Halbinseln, for large orchestra, with vocal and electronic sounds on tape (1982)
  • Pas de trois, for viola, cello, contrabass (1982)
  • Traumspiel (text: August Strindberg), for soprano, large orchestra, and electronics (1983)
  • Magische Klanggestalt, for large orchestra (1984)
  • Improvisation sur le nom de Pierre Boulez, for 16 instrumentalists (1984)
  • Piano Sonata no. 2 (Hommage à Franz Liszt) (1986)
  • Der Meister und Margarita, opera in two acts after the novel by Mikhail Bulgakov (1984–89)
  • Fanal, for trumpet and orchestra (1989)
  • Aura, for large orchestra (1992, rev. 1996)
  • Pensées (Piano Concerto no. 2), for piano, orchestra, and electronics (1993)
  • Pas de deux, for cello and piano (1993)
  • Tagträume, for violin, cello, and piano (1994)
  • Gegenklänge, for 18 instruments (1996)
  • Double, for orchestra (1996)
  • Partita, for two pianos (1996)
  • String Quartet no. 2 (1997)
  • Initium, for piano (1998)
  • Widerspiel, for two pianos and large orchestra (1996–99, rev. 2009)
  • Movement, for large orchestra (1998–99)
  • Herbsttag (text: Rainer Maria Rilke, for mezzo soprano, flute, harp, harpsichord, celesta, and string quartet (1999)
  • Verzweigung, for piano (1999)
  • Aufbruch, for orchestra (1999)
  • Ex tempore, for flute, oboe, clarinet (doubling bass clarinet), percussion, violin, viola, cello, harp, and piano (2001)
  • Trias, for alto saxophone, percussion, and piano (2001)
  • Der ewige Tag, for chorus, orchestra, and electronics (2001)
  • Monogramme, for piano (1998–2003)
  • Klangzeichen, for wind quintet and piano (2003)
  • Scan, for solo flute (2003)
  • Feuerwerk, for 17 instrumentalists (2004)
  • Fluchtpunkte, for flute, English horn, clarinet, piano, and percussion (2006)
  • Sphären, for orchestra (2001–06)
  • Piano Quintet, Zweigestalt (2007)
  • Doppelspiel for piano (two or four hands) (2006–09)
  • Mouvements for cello and piano (2009), later expanded into the Cello Concerto
  • Cello Concerto (2010–11)
  • Piano Sonata no. 3 (2010–11)
  • Aufschwung con tenuto, for clarinet, viola and piano (2012)
  • Crossing, for ensemble and electronics (2012–13)
  • Voyage for orchestra (2013–14)

著作

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  • 1982. Gestaltkomposition oder Die Konstruktion des Organischen. In Neuland Jahrbuch II, 1981/82, edited by Herbert Henck, 140–43. Bergisch Gladbach: Neuland.
  • 1989. "Composition of the Gestalt, or the Making of the Organism." Translated by Nigel Osborne. Contemporary Music Review 1, no. 1 ("1984: Musical Thought at IRCAM"): 35–40.
  • 1989. "Resonance: Composition Today." Translated by Nigel Osborne. Contemporary Music Review 1, no. 1 ("1984: Musical Thought at IRCAM"): 67–76.
  • 1994. Fortschritt oder Sackgasse? Kritische Betrachtungen zum frühen Serialismus. Saarbrücken: Pfau-Verlag.
  • 2004. Klanggestalt—Zeitgestalt. Texte und Kommentare 1964–2003. Musik der Zeit 10, edited by Reinhold Dusella. Berlin: Boosey und Hawkes (Text) ISBN 3-7931-1697-2, and Bote und Bock (Music) ISMN M-2025-2231-8

参考文献

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  • Blumröder, Christoph von. 1983. "York Höller: Schwarze Halbinseln." In Begleitheft der Schallplattenedition Zeitgenössische Musik in der Bundesrepublik Deutschland, vol. 10: 1970–1980, pp. 14–15 [German], 30–31 [English]. Bonn: Deutscher Musikrat.
  • Lichtenfeld, Monika. 2001. “Höller, York (Georg)”. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. J. Tonger Musikverlag.
  • O'Súilleabháin, Finbar. 1992. [Letter to the Editor]. Tempo new series, no. 181 (June): 68.
  • Stenzl, Jürg. 1991. "York Höller's The Master and Margarita: A German Opera", translated by Sue Rose. Tempo new series, no. 179 (December): 8–15.

関連文献

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  • Benoliel, Bernard. 1982. "York Höller’s Mythos." Tempo new series no.141 (June): 39–40.
  • Conen, Hermann. 1985. "An Interview with York Höller", Tempo new series, no.152 (March): 2–6.
  • Ehlert, Ralf Gerhard. 1999. "Die Verwendung elektronischer Klänge in der Musik York Höllers." Master’s Thesis. Cologne: University of Cologne. A reworked extract published as "Horizont—York Höllers elektroakustischer Auftakt", in Kompositorische Stationen des 20. Jahrhunderts. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle Signale aus Köln. Beiträge zur Musik der Zeit 7, edited by Christoph von Blumröder, 172–85. Münster: Lit-Verlag, 2004.
  • Haynes, Stanley. 1989. "Report on the Realization of York Höller’s Arcus." Contemporary Music Review 1, no. 1 ("1984: Musical Thought at IRCAM"): 41–66. Reprinted in German as "Bericht über die Realisierung von York Höllers Arcus". In York Höller: Klanggestalt—Zeitgestalt—Texte und Kommentare 1964–2003, edited by Reinhold Dusella, 45–69. Musik der Zeit 10. Berlin: Boosey & Hawkes, 2004. ISBN 978-3-7931-1697-4.
  • Rode-Breymann, Susanne. 1992. "Text- und Musikstruktur in York Höllers Oper Der Meister und Margarita: 'Beruhigt euch nicht, Margarita. Alles ist richtig. Darauf ruht die Welt'." In Welttheater, Mysterienspiel, rituelles Theater: "Vom Himmel durch die Welt zur Hölle"—Gesammelte Vorträge des Salzburger Symposions 1991, Wort und Musik: Salzburger Akademische Beiträge 15, edited by Jürgen Kühnel, Ulrich Müller, Oswald Panagl, Peter Csobádi, Gernot Gruber, and Franz Viktor Spechtler, 611–20. Anif, Austria: Müller-Speiser.
  • Whittall, Arnold. 1998. "Perspectives on York Höller: All Contradictions Reconciled?" Musical Times 139, no. 1864 (Autumn): 11–19.

脚注

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  1. ^ Deutscher Musikautorenpreis 2022年8月18日閲覧。

外部リンク

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