Friedrich Goldmann
Friedrich Goldmann (* April 27, 1941 in Sigmar -Schönau (now a district of Chemnitz ), † 24 July 2009 ) was a German composer and conductor.
Life
Already in the 1950s he undertook as a member of the Dresden Cross Choir ( 1951-1959 ) first attempts in the field of composition. During the Darmstadt Summer Courses for New Music in 1959 he accepted a scholarship from the city of Darmstadt part in a special seminar for composition with Karlheinz Stockhausen.
After studying at the University of Music Carl Maria von Weber Dresden ( 1959-1962 ) studied composition with John Paul Thilman he was 1962-1964 Master student of Rudolf Wagner- Régeny at the Academy of Arts in Berlin. He also worked as a freelance musical assistant at the Berliner Ensemble, where he made important artistic contacts among other things, Heiner Müller, Ruth Berghaus and Luigi Nono. He also belonged to the inner circle of friends of Paul Dessau, to whom he owed promotion and essential impulses.
After completion of another degree in musicology from 1964 to 1968 at the Humboldt University in Berlin (lectures at Georg Knepler and Ernst Hermann Meyer), he received the first orders and has since worked as a freelance composer and conductor. Among his significant orders include works for the Witten Days for New Chamber Music, Donaueschingen, the Berlin Philharmonic, the Berlin State Opera, the Concert Hall and the Komische Oper Berlin, Ensemble Modern, Arditti Quartet, the broadcasters and their orchestra (including WDR, SWR ) the Expo 2000 in Hannover, as well as for the official ceremony marking the 20th anniversary of the fall of the Berlin wall at the Brandenburg gate in Berlin ( 2009). His scores are published by CF Peters / Edition Peters in Frankfurt. Conductors of his works were, inter alia, Pierre Boulez, Daniel Barenboim, Michael Gielen, Ernest Bour and Ingo Metzmacher. His only opera " R.Hot or The Heat" was premiered in 1976 in the Peter Konwitschny at the Berlin State Opera.
As a conductor, Goldmann led the Staatskapelle Berlin, the Berlin Philharmonic, the Ensemble Modern, the Leipzig Gewandhaus Orchestra, the ensemble intercontemporain, the Konzerthaus Orchestra Berlin, the Dresden Staatskapelle and many others. Since the seventies, Goldmann has performed internationally as a conductor, including in Germany, France, Sweden, Norway, Russia, the USA, Italy, South Korea, Japan, Ireland, Poland, Bulgaria. Since its creation, there was a close cooperation in particular with the Ensemble Modern and the group New Musik Hanns Eisler. In 1988 he was chief conductor of Boris Blacher Ensemble of the University of the Arts Berlin. From Goldmann are numerous radio recordings (including both West and East Germany ). Recordings he took, inter alia, for Nova, WERGO and German phonograph with both interpretations of his own compositions as well as works of other on (eg Karlheinz Stockhausen's "Groups", 1994). Significant performances under Gold 's leadership have included Arnold Schoenberg's "Moses and Aaron " ( Berlin State Opera, 1988, directed by Ruth Berghaus ) and Luigi Nono's " Prometeo " (French and German EA, Paris and Frankfurt aM, 1985). Mid-nineties, he put his conducting activities from health reasons.
Friedrich Goldmann was a member of the Berlin Academies of Arts (East) and West ( since 1990) since 1978. From 1980 he taught in context of master classes there until the unification of the two academies in the Academy of Arts (Berlin) in 1993. Upon invitation of the Goethe Institute, he also launched composition classes in Seoul (South Korea ), Tokyo and Kyoto (Japan). Since 1996 he was a member of the Saxon Academy of Arts. From 1990 to 1997, Goldmann president of the Society for New Music, the German Section of the International Society for Contemporary Music ( ISCM ).
In 1991 he was appointed to a professorship in composition at the Hochschule der Künste, Berlin ( now University of the Arts ). There he headed the Institute for New Music. Among his students, among others Enno Poppe, Helmut Oehring, Arnulf Herrmann, Nicolaus Richter de Vroe, Steffen Schleiermacher, Jakob Ullmann, H. Johannes Wallmann, Charlotte Since then, Paul Frick, Sergei Nevsky and others. 2006 Friedrich Goldmann became Professor Emeritus. He was also a member of the Franco-German Council for Culture and the German Music Council. His grave is located on the Dorotheenstädtischer Cemetery in Berlin, his manuscripts in the archives of the Academy of Arts in Berlin.
His son is the musician Stefan Goldmann (* 1978).
Work
At Gold 's extensive oeuvre includes besides chamber music compositions, several symphonies, concertos, film scores as well as the opera " R.Hot or the heat".
- Orchestral works
- Concertos for solo instruments with orchestra (including piano, oboe, violin, trombone)
- Stage Works
- Chamber Music
- Vocal works
- Film Music (Till Eulenspiegel (1975 ), Paul Dessau ( 1974), The Airship (1983 ), Flea in Her Ear (1986))
His work can be roughly divided into three creative periods. The official work begins around 1963 and developed until the early 1970s, especially in numerous stage music as well as chamber music and several " essays " for orchestra. First, he worked mainly techniques of serialism and the cluster formation. Around 1969 began for Goldmann a phase of composition on the basis of separately managed musical material layers, in particular apropriierten traditional shape models ( Sonata, Symphony ), he " bursts open from the inside out " with new sound material and thereby reinterprets this case, the putting forth of the resulting break points between takes the layers as important as the expansion of the material. Important examples include, inter alia, Sonata for Wind Quintet and Piano ( 1969) and the Symphony No. 1 (1971).
From the late 1970s, a trend, there are indications that should determine his third creative period, but which is fully developed until the 1990s: an autonomous, " absolute" composing that makes use of the full potential of new music and, instead of contradictions in the sense of a " Polystilistic ", interactions and integrations of the techniques and materials studied - for example based on continua between noise and tone or chromatic Tonvorrat and microtonality. As part of uniform shapes thereby dissolve supposedly rigid material boundaries, so that both the conventional concept of material no longer applies and the sonic phenomena of a comprehensive reinterpretation thus described are supplied. Important examples include, inter alia, the trio ( 4 pieces ) for viola, cello and double bass (1986 ), the String Quartet No. 2 ( 1997), the Quartet for oboe, violin, viola and cello ( 2000) and quasi una sinfonia (2008).