2

Drei Klavierstücke


1983-84 | duration: 5'

Premiere: Cologne Musikhochschule | 22.05.1984
Randall Bush

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10

mirlitonnades

pour petite flûte
1991 | duration: 3'

Premiere: Akademie Schloss Solitude Stuttgart | 01.03.1991
Pierre-Yves Artaud

A mirliton is a membrane that is held between one's fingers and alters the voice of the person speaking or singing into it with its vibrations (comb-and-paper effect). There is also the French term »vers de mirliton«, which means doggerel verse, »throwaway« verse. My short composition is based on such a piece of verse by Samuel Beckett from his collection »Mirlitonnades/Flute tones« (1978): »rêve / sans fin / ni trêve / à rien«.

  • CD Stimmhaft. Werke für Flöte solo. Astrid Schmeling. WERGO Schott Music ARTS 81132. 2008.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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14

Szenen, Standbilder

for four instruments
1992, 1993-95 | duration: 12'

Clarinet, trombone, violoncello, piano
Premiere: Institut für Neue Musik Freiburg | 18.01.1995
Quartett Avance

»For me, such inconspicuous, trivial and random impressions contain all insight into the real state in which our life is situated and which surrounds us (…) To be clear: I do not mean an identification, but I mean that such tiny impressions rapidly springing past us are symbols. All of fragmented reality is suddenly and unexpectedly crowded together in them. (…) Between these exceedingly precise but relatively seldom perceived still images [Standbilder] and scenes [Szenen] (…) move glittering notions, sounds ...« [from: Rolf Dieter Brinkmann, »Rom, Blicke«]

  • Konzertmitschnitt DLR 1996.
  • CD Internationale Ferienkurse für Neue Musik 1998, Col Legno wwe 2cd 20055. 2000.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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15

duo pianism

for two pianos
1993 | duration: 9'

Premiere: Städtische Museen Heilbronn | 29.08.1993
James Avery und Sven Thomas Kiebler

In duo pianism, only 2 x 6 of the 2 x 84 available piano keys are used, spread over the entire keyboard. This restriction brings fundamental elements to the fore: one note played on two apparently identical instruments, one note played with and without use of pedal, with and without resonances, repeated rapidly and slowly, an unending note …

  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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16

… Zitate, Berührungen …


1993, revidiert 2000 | duration: 9'

Commissioned by the festival »Tage für Neue Musik Stuttgart« in 1993
Bass clarinet, harp, double bass, percussion and CD
Premiere: revised version: Cave Dîmiere Paris | 05.03.2000
Ensemble L'itinéraire

Simultaneously with excerpts from Arno Schmidt's impromptu lecture »Vorläufiges zu Zettels Traum« (»Preliminary Notes on Bottom's Dream«), various other events in the form of speech and music occur: sound-related quotes from different Arno Schmidt novels, a trio ensemble that quotes Giacinto Scelsi's »Okanagon« (1968), a faded-in musical interlude … – I wrote … Zitate, Berührungen … in 1993 at the request of the »Tage der Neuen Musik Stuttgart« on the theme »Literature & Music«. I extended it with a bass clarinet solo in 2000 and am still thinking about further additions.

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17

Standlinien

for solo organ
1985, revidiert 1994 | duration: 3 x 2:30'

Premiere: St. Lucia Stolberg (Rhineland) | 16.11.1994
Andreas Rosenberger

»Standlinien« is German for »lines of position«, which are used in navigation to identify one's own location; this is determined as the intersection of two or more such lines. My piece consists of three versions that use the same notes but differ from one another in being set in different predetermined registers. Between the versions, a different kind of music or something else is meant to occur, as in a kind of geopositioning process.

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25

FOND III

for bass flute (with radio), cello and piano
1998 | duration: 12'

Commissioned by the Stiftung MuseumSchloss Moyland / Van der Grinten Collection / Joseph Beuys Archive of the state of NRW
Premiere: Museum Schloß Moyland | 27.11.1998
Wolpe Trio

Joseph Beuys gave the title FOND to several installations and environments from the years 1960 to 1980. These works are complexes of objects that allude to various physical phenomena. FOND III (1969) consists of nine monumental batteries made of slabs of felt, each covered by an equally large sheet of copper: – -- … the idea of stored energy …

  • Konzertmitschnitt DRS Schweiz 2008.

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32

Schnitt & Fortsetzung

for flute, harp, guitar, piano and timpani
2003 | duration: 11'

Commissioned by the HGNM Hannover
Premiere: Eisfabrik Hannover | 24.09.2003
Ensemble l'art pour l'art

I composed Schnitt & Fortsetzung for the ensemble l'art pour l'art under the impression of Rolf Dieter Brinkmann's diary »Schnitte« and having been inspired by Matthias' timpani.

  • Konzertmitschnitt WDR 2009.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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34

und aber. Musik für Streichquartett


2004 | duration: 14'

Commissioned by the Kunststiftung NRW
Premiere: Orangerie Darmstadt | 17.08.2004
Kairos Quartett

Composing a string quartet means moving into a space characterised by the pull of tradition and the rejection of it. Both the seemingly nonsensical title und aber (Eng.: and but) (taken from a volume of poetry by Felix Philipp Ingold) and three other quotes I have prefixed to the musical text have relevance to the paradoxical situation that arises when writing a string quartet today: »starting something as though continuing something« (Jürgen Becker), »in the rearview mirror always never remember« (Felix Philipp Ingold) and »you remove yourself to a present that is somewhere else« (Jürgen Becker).

  • Konzertmitschnitt hr 2004.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.
  • CD Darmstadt Aural Documents Box 3 – Ensembles. NEOS 11230. 2016.

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39

Trio. Studie für Klavier, Violine und Violoncello


2007 | duration: 11'

Commissioned by the Landeshauptstadt München for the Munich biennial festival »Klangspuren Plus«
Premiere: Black Box München | 21.03.2007

The first time I engaged compositionally with a major chamber-music genre of the 19th century was in 2004 with und aber. Musik für Streichquartett. My Trio. Studie für Klavier, Violine und Violoncello is another work operating amid the same tensions caused by the reference to tradition and the rejection of it.

  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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43

Trio 3

for basset horn, bass clarinet and piano
2009 | duration: 12'

Commissioned by hr Frankfurt am Main
Premiere: Broadcasting hall of Hessischer Rundfunk Frankfurt am Main | 21.11.2009
Bärmann Trio

I see Trio 3 as a labyrinthine continuation of my works und aber. Musik für Streichquartett (2004) and Trio. Studie für Klavier, Violine und Violoncello (2007) at the interface between the reference to tradition and the rejection of it. The initial notion behind the composition is Bruno Maderna's idea of an indissoluble link between the music of the past and present. I composed the piece for the Frankfurt Radio Symphony's new-music festival »klangbiennale_2 Satellit Maderna«.

  • Produktion hr 2010.
  • CD Michael Reudenbach. Szenen, Standbilder. Werke 1991–2009. Edition RZ Berlin, Reihe »Parallèle«. 2013.

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44

Still

for five instruments
2012-13 | duration: 13'

Commissioned by the ensemble l'art pour l'art
Guitar, harp, cimbalom, piano, double bass
Premiere: Broadcasting hall of Norddeutscher Rundfunk Hannover | 17.05.2013
Ensemble l'art pour l'art

The title Still pertains less to musical volume than to the vacillating, inexact musical moments that leave their traces between the sounds. These unceasing and unobtrusive »transitions are not just unnoticed, but occur unexpectedly, without drawing attention to themselves, ›in the stillness‹.« (François Jullien)

  • Konzertmitschnitt NDR 2013.

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