Self portrait

1956 • 1957 • 1958 • 1959 • 1960 • 1961 • 1962 • 1963 • 1964 • 1965 • 1966 • 1967 • 1968 • 1969 • 1970 • 1971 • 1972 • 1973 • 1974 • 1975 • 1976 • 1977 • 1978 • 1979 • 1980 • 1981 • 1982 • 1983 • 1984 •19851 … with a clearly structured end, which is a rarity these days  • 19852 [His] quartet … ultimately  expressed as much as its title did • 1988 … so that the displeasure must be blamed only on the composer • 1989 …. turned out to be the most problematic items on this evening • 1990 His compositions display a great sensitivity • 19911 At the beginning of the concert, [the] head of the culture department … had already announced a »work of stillness«. That was a big understatement. - ... • 19912 But what comes out is a musical nothing.  • 1992 • 1993 • 1994 A complex, sometimes playful kind of alchemy • 1995 • 1996 • 1997 The most impressive piece of the evening • 1998 • 1999 »Beautiful!«, whispered one listener spontaneously …. • 2000 Shades of the way Spahlinger treats instruments • 2001 • 20021 … like a monologue with an alienated echo … • 20022 … with very subtle devices involving deceptive and disconcerting sounds … • 2003 • 2004 • 2005 of an exquisite minimality • 2006 staying with the paradox • 2007 He confronted the questions reticently but not without some waggishness • 2008 … set off … on a kind of world trip in »Stück=Werk«; ... • 2009 • 2010 • 2011• 2012 That the composition then comes to an end, …, makes strategic sense. • 20131 In May ... he was even reported dead: the jury, which put his CD »Szenen, Standbilder ...« on the »best list« wrote – owing to a mix-up – of the »prematurely deceased composer«. Fortunately, this cheerful composer of serious music is alive … and can .. read the review of his works with his own eyes. • 20132 Once it had fallen under the spell of the stillness, the audience experienced … »Still« for the five stringed instruments guitar, harp, cimbalom, piano and double bass … as the high point of the anniversary • 20131 … you think you have been taken in by an aural hallucination … • 2014 • 2015 … is the sensation … • 20161 Even the gentle sound of a passing train quietly fitted into this strangely vulnerable cosmos • 20162 But the way this attendant representative of the birth cohort of 1956 fulfils the commission has rather little to do with festive sounds (nor does it have to) • 2017 • 2018 • 2019 • 2020 • 2021 • 2022 ... reminiscent of linguistic gestures of old »Edgar Wallace« movies from the sixties (black and white!) … • 2023 • 2024 In contrast, the opus »Was noch.« [...] turns out to be a dry and long-winded simulation game. • … To be continued …

 

Sources for this portrait: 19851 Hochschulmagazin HfMT Köln. 19852 Kölner Stadtanzeiger. 1988 Dithmarsche Landeszeitung. 1989 + 1990 Aachener Nachrichten. 19911 Probably Rems-Zeitung Schwäbisch Gmünd. 19912 musica sacra. 1994 Stuttgarter Nachrichten. 1997 Neue Züricher Zeitung. 1999 + 20021 Stuttgarter Zeitung. 2000 Dresdner neueste Nachrichten. 20022 Dissonance. 2005 Aachener Zeitung. 2006 Neue Zeitschrift für Musik. 2007 Süddeutsche Zeitung. 2008 Wiener Zeitung. 2012 SWR JetztMusik. 20131 Faustkultur. 20132 Hannoversche Allgemeine Zeitung. 20133 Neue Zeitschrift für Musik. 2015 Deutschlandradio Kultur. 20161 Rhein-Neckar-Zeitung Heidelberg. 20162 Badische Zeitung. 2022 https://www.hfmdk-frankfurt.de/news/einer-der-marken-gesetzt-hat. 2024 Neue Zeitschrift für Musik.


Michael Reudenbach was born in Aachen in 1956. After finishing school, he initially trained as a railway attendant for the German federal railways (Bundesbahn), then pursued church music studies in Aachen from 1976–1982 before studying composition under Joachim Blume and music theory under Dieter Gostomsky in Cologne from 1982–1986. Further study of composition took him to Denis Cohen in Paris from 1986–87. At the same time, he focused on early music performance practice and has since been active as an interpreter and editor of mostly 17th-century music.

From 1990–1991, he was a fellow of the Akademie Schloss Solitude in Stuttgart, in 1992 of the Cité Internationale des Arts in Paris and in 1999 of the Heinrich-Strobel-Stiftung. From 1999–2016 he taught music theory at the Karlsruhe Musikhochschule (Karlsruhe University of Music). In 2005, he was guest lecturer in composition at the Summer Academy at Schloss Solitude in Stuttgart and in 2006 at the Summer Course in Darmstadt. Between 2012–2015, he took on visiting professorships for composition at the conservatoriums in Dresden and Stuttgart. From 2016–2022, he was professor for composition and music theory at the Frankfurt University of Music and Performing Arts (HfMDK).

He has received commissions from the Kunststiftung NRW, the Munich Biennale and public-service broadcasters hr, SWR and WDR. His works have been interpreted by ensembles ranging from Ensemble Aventure, l'art pour l'art, the Solistenensemble Kaleidoskop, Schola Heidelberg and the Klangforum Wien to the Ensemble Intercontemporain in Paris. His portrait CD »Szenen, Standbilder«, issued on the Berlin label RZ, was awarded a »Preis der deutschen Schallplattenkritik« (German Record Critics' Award).

Photos