Claus-Steffen Mahnkopf will be celebrating his 50th birthday on 22 October “I am a composer who always continues working consistently, thereby. Together with the outstanding Australian oboist Peter Veale, Claus-Steffen Mahnkopf spent years working systematically on music for oboe. claus-steffen mahnkopf. FEATURED COMPOSER. Claus-Steffen Mahnkopf — Prospero-Fragmente. Claus-Steffen Mahnkopf — Kammerstück. Claus-Steffen.

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I work, so to speak, on two parallel planes. I find beings with spirit, soul and body even claus-setffen interesting than machines. The rhythm is exact. Claus-Steffen Mahnkopf — … in memoriam ….

As long as music is played, it must be notated. Claus-Steffen Mahnkopf — Kammerminiatur.

Claus-Steffen Mahnkopf

Firstly, humor and wit in music are rare, and seldom convincing. And my music is of course not post-humanistic.

Furthermore his thinking has persisted mercilessly and unbroken critically until today. How do you think about the relationship between music writing and musical sound? I would even go one step further: German classical composers 20th-century classical composers 21st-century classical composers Goethe University Frankfurt alumni People from Mannheim births Living people Gaudeamus Composition Competition prize-winners German male classical composers 20th-century German composers Ernst von Siemens Composers’ Prize winners 21st-century German composers.

Adorno is a classic of philosophy and remains especially relevant for his view of the completion of modernity as the completion of the liberation of humanity, if you want: How do you understand the relationship between musical practice and theory, and how is this relationship reflected in your music? Claus-Steffen Mahnkopf was born in MannheimWest Germanyand studied composition with Brian FerneyhoughKlaus Huber und Emanuel Nunes and music theory at the music academy in Freiburgwhere he graduated in Of course, music should be played and heard live.


Claus-Steffen Mahnkopf — Angela Nova 2. The rhythms on the three top lines results therefrom. The reading of the score while listening is helpful, especially in difficult music. Interview conducted and edited by Etha Williams for ScoreFollower. In fact, no one can play it perfectly equal.

For his compositions Mahnkopf has won numerous international prizes, among them the Gaudeamus International Composers Award inthe composition prize of the city Stuttgart and the Composers Award of the Ernst-von-Siemens Music Foundation in What drew you towards writing this way? This page was last edited on 26 Novemberat Absolutely — without agogics. November Learn how and when to remove this template message. Claus-Steffen Mahnkopf — deconstructing accordion.

In light of the proliferation of philosophies of post-humanism, why do you consider it important to hold fast to these concepts? Claus-Steffen Mahnkopf — Prospero-Fragmente.

Claus-Steffen Mahnkopf – Wikipedia

If this is now freely available via the internet, then that is a boon to mankind, especially in the countries where this music is hardly open to the public, which is the case in most countries.

Since my early youth I have had these two interests, and also a gift for them. So I hope that my music gets more determination and grounding. Gaudeamus International Composers Award. I was looking for alternatives, internal contradictions, by cultural concepts. Claus-Steffen Mahnkopf — Kammerkonzert. I must emphasize this. Mwhnkopf material about living persons that is unsourced or poorly sourced must be removed immediatelyespecially if potentially libelous or harmful.


At the same time, the theoretical work serves as clarification of many issues and problems, so that I can also compose more clearly and focused.

How do you understand the concept of humor in music? But essentially I remain faithful: What claus-steeffen be the alternative? From time to time the notation can also become independent. For the video, I have used a sample version. Claus-Steffen Mahnkopf — void — un delitto italiano. From Wikipedia, the free encyclopedia. But this is today possible only as radically international.

New music is widely consumed through recordings. At the same time, one should remain aware that not everything in music can be notated, especially where percussion and voice are involved. I write books and articles, so to speak, on the side.

Technically artificial, but musically natural. Please help by adding reliable sources. And my writings are not comments about my music.

CLAUS-STEFFEN MAHNKOPF : Music for Oboe – CD – NEOS – Forced Exposure

Secondly, until recently I did not think that I ever would be able to compose something humorous. So, I do not want that. What, if anything, are its larger aesthetic or social stakes? And then the idea for the piece for a tuba player came to me very spontaneously, a tubist, who is also an actor, also doing nonsense.