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German Music


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Author Topic: German Music  (Read 6217 times)
jowcol
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« Reply #45 on: March 13, 2014, 12:51:38 am »

Manfred Trojahn: Symphony No. 1



From the collection of Karl Miller

Symphony 1 "Macrame"(1973-4)
Berlin Radio Symphony/ Peter Ruzicka



Wiki Bio:

Manfred Trojahn
From Wikipedia, the free encyclopedia

Manfred Trojahn (born 22 October 1949) is a German composer, flutist, conductor and writer.

Manfred Trojahn was born in Cremlingen in Lower Saxony and began his musical studies in 1966 in orchestra music at the music school of the city of Braunschweig. After graduating in 1970 he concluded his studies as a flutist at the Hochschule für Musik und Theater Hamburg with Karlheinz Zöller. From 1971 he studied composition with Diether de la Motte. He also studied with György Ligeti, conducting with Albert Bittner. Since 1991 he is professor for composition at the Robert Schumann Hochschule in Düsseldorf. From 2004 until 2006 he was President of the Deutscher Komponistenverband (German Composers Association); since 2008 he is vice-director of the music section of the Academy of Fine Arts in Berlin.


From https://www.baerenreiter.com
Manfred Trojahn is married to the stage- and costume-designer Dietlind Konold. He lives in Düsseldorf and Paris.

“Manfred Trojahn, the author of a sizable body of large-scale orchestral works, chamber music, and especially vocal music for various forces and several full-length operas, occupies what is in many respects a unique position in the music history of recent decades. He has defined his aesthetic stance by distancing himself from the sort of narrow and increasingly sclerotic notion of the musical avant-garde that took hold in the post-war centers of contemporary music. In contrast, Trojahn's aesthetic and compositional technique hearkens back to the musical past and to several exemplary composers, whether the modernist music of the ‘fin de siècle’ or such figures as Benjamin Britten and Hans Werner Henze.

Besides these ties with the musical past, Trojahn's music is governed above all by his personal experience, and it is only natural that his specific thoughts on these experiences should be applied time and again in his works. Trojahn is a self-reflective, almost ‘serial’ composer who tends to produce groups of pieces tightly related in their structure and emotional content. All the same, his concern is to break through the hermeticism that has beset standard avant-garde fare. The main focus of his interests lies on the communicative potential of music that is contemporary in a strong sense of the term.”





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