||This biographical article needs additional citations for verification. (April 2014)|
His work is noted for its use of unconventional and extended techniques, closely allying him to contemporaries Salvatore Sciarrino and Helmut Lachenmann. Unlike the work of Sciarrino and Lachenmann, however, Globokar's music also places great emphasis on spontaneity and creativity, and often requires improvisation. His extensive output is largely unknown outside of experimental music circles.
Globokar was born in Anderny, France. In 1947 he moved to Yugoslavia, where he attended DIC in Ljublana Slovenia . Here, he played jazz trombone until 1955, at which point he relocated to Paris in order to study at the Conservatoire de Paris. At the Conservatoire, he studied composition with René Leibowitz (a noted student of Arnold Schoenberg) and trombone with Andre Lafosse. In 1965, he moved to Berlin and began composition lessons with Luciano Berio, whose Sequenza V he later performed.
In the later 1960s he worked with Karlheinz Stockhausen on some of his compositions from the cycle Aus den sieben Tagen, and co-founded the free improvisation group New Phonic Art. From 1967 to 1976 he taught composition at the Musikhochschule in Cologne. In 1974, he joined IRCAM as the director of instrumental and vocal research, a post which he occupied until 1980.
After leaving IRCAM, he conducted a number of high profile orchestral groups, including the Warsaw Philharmonic, the Tokyo Philharmonic Orchestra, the Finnish Radio Symphony Orchestra, the Westdeutscher Symphonie,[clarification needed] and the Jerusalem Symphony Orchestra, among others. From 1980 until 2000, he directed 20th century music performance at Scuola di Musica di Fiesole near Florence.
Globokar's music is notable for its spontaneity, energy, and innovative use of unorthodox instrumental and compositional techniques. His works often feature indeterminacy and improvisation, reflecting his own background in Jazz and free improvisation. His pieces employ a variety of extended techniques. For example, in his solo percussion piece Toucher, the performer narrates a story while simultaneously playing the syllabic patterns on a percussion array.
- L’idôle (2012) Music theatre for girls’ choir and four percussionists. Text: Georges Lewkowicz
- L‘armonia drammatica (1987 – 1990) Music drama for orchestra, mixed choir, 7 singers and tenor saxophone. Text: Edoardo Sanguineti
- Les Émigrés (1982 – 85) Triptych
- * Miserere (1982) for five narrators, Jazz trio and orchestra
- * Réalités / Augenblicke (1984) for five singers, tape, film and slides
- * Sternbild der Grenze (1985) for five singers, mezzo soprano, baritone and 18 musicians
- Radiographie d’un roman (2009/10) for mixed choir (and seven soloists), accordion solo, percussion solo, 30 instrumentalists and live-electronic. Text: Vinko Globokar
- Mutation for a singing orchestra. Text: Michael Gielen
- Der Engel der Geschichte
- * Part 1: Zerfall (2000) for two orchestral groups and tape playback
- * Part 2: Mars (2001/02) for two orchestral groups, tape and live-electronic
- * Part 3: Hoffnung (2003/2004) for two orchestral groups and sampler
- Les otages (2003) for orchestra and sampler
- Les chemins de la liberté (2003/05) for orchestra without conductor
- Anti-zapping (2003/05) for orchestra
- Masse Macht und Individuum (1995) for orchestra and four soloists
- Labour (1992) for large orchestra
- Eisenberg (1990) Orchestra version
Ensemble works and vocal music
- Kaleidoskop im Nebel (2012/13) for chamber ensemble
- L’Exil N° 1 (2012) for soprano (or tenor) and five instrumentalists. Text montage in seven languages by Vinko Globokar
- L‘Éxil N° 2 (2012) for soprano (or tenor) and 13 instrumentalists. Text montage in seven languages by Vinko Globokar
- Eppure si muove (2003) for conducting trombonist and eleven instrumentalists
- La Prison (2001) for eight instruments
- Avgustin, dober je vin (2002) for wind quintet
- Discours IX (1993) for two pianos
- Élégie balkanique (1992) for flute, guitar and percussion
- Discours VIII (1990) for wind quintet
- Discours VII (1986) for brass quintet
- Oblak Semen (1996) for trombone
- Dialog über Wasser (1994) for acoustic and electric guitar
- Dialog über Luft (1994) for accordion
- Dialog über Erde (1994) for percussion
- Dialog über Feuer (1994) for double bass
- Tempo 2007[full citation needed] "Vinko Globokar was born on 7 July 1934, at Anderny, France, of Slovenian parents. He settled in Yugoslavia between 1947 and 1955, and this was decisive, since it was during this period that he made his debut as a jazz trombonist.
- Lloyd E. Bone, Eric Paull, R. Winston Morris Guide to the Euphonium Repertoire: The Euphonium Source Book[full citation needed] 2007 p461: "Vinko Globokar (1934–) Vinko Globokar was born on July 7, 1934, in a Slovene immigrant family living in Anderny in France. From the age of thirteen to the age of twenty he lived in Ljubljana, where he finished secondary music school."
- Allied Artists. "Vinko Globokar" at the Wayback Machine (archived July 18, 2011) (accessed on 21 April 2014).
- Vinko Globokar page from IRCAM site (French)
- Interview with Vinko Globokar by Bruce Duffie, November 20, 2000
- Publisher's website: Vinko Globokar at Ricordi Berlin