Hans-Joachim Hespos: Difference between revisions
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'''Hans-Joachim Hespos''' (born [[1938]]) is a German composer of avant-garde music. Since ''für Cello solo'' (written [[1964]]), he has composed pieces in all genres, including many pieces for unaccompanied solo instruments and theatre works. He has always remained outside of the mainstream and has never been associated with any of the many movements in postwar European music, though he did attend summer courses at [[Darmstadt]] in the [[1980's]]. Today, Hespos is still relatively unknown in the United States. |
'''Hans-Joachim Hespos''' (born [[1938]]) is a German composer of avant-garde music. Since ''für Cello solo'' (written [[1964]]), he has composed pieces in all genres, including many pieces for unaccompanied solo instruments and theatre works. He has always remained outside of the mainstream and has never been associated with any of the many movements in postwar European music, though he did attend summer courses at [[Darmstadt]] in the [[1980's]]. Today, Hespos is still relatively unknown in the United States. |
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Even by the standards of the European avant-garde, Hespos' music usually is quite extreme and unconventional. In his many pieces for solo instruments, Hespos pushes instruments to their timbral limits, employing extended techniques and other effects to create unusual sounds (For example, ''Duma'' ([[1980]]) for [[alto flute]] requires the performer to spit into his or her instrument to create sickly gargling sounds). He frequently writes for less-common instruments, such as [[cimbalon]] ([[1976]]'s ''Cang'') or [[musical saw]] (used in ''Ganifita-Blues'', [[1984]]). He even calls for extreme stage techniques in his theatre works -- the famous piece ''Seiltanz'' (''"Tightrope Dance"'', [[1982]]) requires an actor to break his way out of a metal cage by means of a [[welding torch]]. |
Even by the standards of the European avant-garde, Hespos' music usually is quite extreme and unconventional. In his many pieces for solo instruments, Hespos pushes instruments to their timbral limits, employing [[extended techniques]] and other effects to create unusual sounds (For example, ''Duma'' ([[1980]]) for [[alto flute]] requires the performer to spit into his or her instrument to create sickly gargling sounds). He frequently writes for less-common instruments, such as [[cimbalon]] ([[1976]]'s ''Cang'') or [[musical saw]] (used in ''Ganifita-Blues'', [[1984]]). He even calls for extreme stage techniques in his theatre works -- the famous piece ''Seiltanz'' (''"Tightrope Dance"'', [[1982]]) requires an actor to break his way out of a metal cage by means of a [[welding torch]]. |
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Additionally, Hespos' music must often be performed without a conductor, putting even greater demands on the performers. |
Additionally, Hespos' music must often be performed without a conductor, putting even greater demands on the performers. |
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Revision as of 15:05, 26 April 2007
Hans-Joachim Hespos (born 1938) is a German composer of avant-garde music. Since für Cello solo (written 1964), he has composed pieces in all genres, including many pieces for unaccompanied solo instruments and theatre works. He has always remained outside of the mainstream and has never been associated with any of the many movements in postwar European music, though he did attend summer courses at Darmstadt in the 1980's. Today, Hespos is still relatively unknown in the United States.
Even by the standards of the European avant-garde, Hespos' music usually is quite extreme and unconventional. In his many pieces for solo instruments, Hespos pushes instruments to their timbral limits, employing extended techniques and other effects to create unusual sounds (For example, Duma (1980) for alto flute requires the performer to spit into his or her instrument to create sickly gargling sounds). He frequently writes for less-common instruments, such as cimbalon (1976's Cang) or musical saw (used in Ganifita-Blues, 1984). He even calls for extreme stage techniques in his theatre works -- the famous piece Seiltanz ("Tightrope Dance", 1982) requires an actor to break his way out of a metal cage by means of a welding torch.
Additionally, Hespos' music must often be performed without a conductor, putting even greater demands on the performers.
Hespos' scores very frequently employ graphic notation, verbal instructions, traditional music notation or some combination thereof. Many of his works involve improvisation.