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| '''Hans-Joachim Hessler''' ( |
] | ||
| '''Hans-Joachim Hessler''' (German: Heßler, born {{Birth date|df=yes|1968|01|07}}<ref>. Personal website of Hans-Joachim Hessler. Retrieved 12 December 2012</ref> in ]) is a German composer, musician and ]. Today, he lives in ] and ]. As a contemporary composer, he attributes his work in writing and composition to the epoch of musical ]. | |||
| == Life == | == Life == | ||
| He studied ] at the ] and then, from 1990 to 1997, school music and German literature at today's ]. He received his education in art from, among others, Werner Seiss and ], in the organ from, among others, Karl Weyers and ], and in composition from, among others, Heribert Buchholz and Thomas Stanko. In 2008, he received the academic degree of Doctor of Philosophy from the ]. | |||
| == Work == | == Work == | ||
| Poly-stylistics and boundary crossings of all kinds are a fundamental attribute of Hessler's work. |
Poly-stylistics and boundary crossings of all kinds are a fundamental attribute of Hessler's work. | ||
| ⚫ | Much of Hessler's work appears to be influenced by the philosophical writings of the postmodern thinker ]; for instance his chamber music pieces "{{Lang|de|Aktualisierungszwang}}" and "{{Lang|de|Tonregelsystem 189}}" , which deal in particular with the event philosophy of Lyotard, as well as the orchestra series "{{Lang|fr|Le Différend XVII-XXIII}}", which are dedicated to his main philosophical work of the same title. | ||
| === References to ] === | |||
| ⚫ | |||
| ⚫ | From the beginning of his career onwards, Hessler has been placing particular emphasis on musical breaks and the configuration of transitions between the different genres and styles. During the mid-1980s, for example, the program of the Flax-Trio, which Hessler belonged to as a formative member, pianist and keyboarder, reads: "With pleasure, the boundaries between completely different musical styles are torn down; these are then decomposed into single pieces, absorbed and brought back to the listener in entirely new forms."<ref>. Personal website of Hans-Joachim Heßler. Retrieved 20 November 2012</ref> This compositional technique, which Hessler in leaning on ] calls "conceptual discontinuity", significantly marks his producing until today. | ||
| === Conceptual discontinuity === | |||
| ⚫ | From the beginning of his career onwards, Hessler has been placing particular emphasis on musical breaks and the configuration of transitions between the different genres and styles. During the mid-1980s, for example, the program of the |
||
| == Writing (selection) == | == Writing (selection) == | ||
| How close theory and practice are, can be seen in Hessler's transfer of the theory of intensities onto the practice of music in his book on ]. The theory of intensities implies that, in the case of conflict between two discourses, or rather, during the transition from one discourse to the other, intensive feelings occur. The book carries the title ''{{Lang|de|Philosophie der postmodernen Musik}}''.<ref> |
How close theory and practice are, can be seen in Hessler's transfer of the theory of intensities onto the practice of music in his book on ]. The theory of intensities implies that, in the case of conflict between two discourses, or rather, during the transition from one discourse to the other, intensive feelings occur. The book carries the title ''{{Lang|de|Philosophie der postmodernen Musik}}''.<ref>Heßler, Hans-Joachim: ''{{Lang|de|Philosophie der postmodernen Musik}}''. Dortmund 2001, {{ISBN|3-935744-00-5}}, pp. 24 and 46ff.</ref> | ||
| The fact that not only ], but also ] need to be considered under the heading of contemporary music, becomes clear in |
The fact that not only ], but also ] need to be considered under the heading of contemporary music, becomes clear in Hessler's posthistorical considerations in relation to the "Disappearance of music" (orig. "{{Lang|de|Das Verschwinden der Musik}}")<ref>NonEM Publishing Company, Dortmund 2007. {{ISBN|3-935744-06-4}}; Heßler, Hans-Joachim. ''{{Lang|de|Das Verschwinden der Musik – oder: Papst Gregor I. und Madonna, die Göttin der Liebe, suchen Jean Baudrillard, ihren Verführer}}''. pp. 74ff.</ref> | ||
| In his comprehensive treatise {{Lang|de| |
In his comprehensive treatise "{{Lang|de|Der zornige Baron}}", Hessler shows among others that, according to his view, the musician and composer ] can also be subsumed under the ideal type of "conceptual discontinuity".<ref>Heßler, Hans-Joachim. ''{{Lang|de|Der zornige Baron: Das Prinzip Diskontinuität im Leben und konzeptkompositorischen Schaffen des Charles Mingus Jr.}}'', United Dictions of Music, Duisburg 2010. pp. 51ff. {{ISBN|978-3-942677-00-4}}</ref> | ||
| == Political commitment == | == Political commitment == | ||
| Hessler interprets one of the most significant key texts on the discussion around postmodernism {{Lang|de| |
Hessler interprets one of the most significant key texts on the discussion around postmodernism "{{Lang|de|Überquert die Grenze, schließt den Graben!}}" (Cross the border, close the trench!)<ref>Fiedler, Leslie. ''{{Lang|de|Überquert die Grenze, schließt den Graben! Wege aus der Moderne: Schlüsseltexte zur Postmoderne-Diskussion}}''. Wolfgang Welsch. Hg. Weinheim: Acta humaniora, 1988. pp. 57–74.</ref> by ] in the sense of an education mandate for artists and as a negotiated agreement of a convinced democrat to contribute, also in the area of contemporary music, to the overcoming of elitist and mass culture. | ||
| == Catalogue of works (selection) == | == Catalogue of works (selection) == | ||
| Line 34: | Line 33: | ||
| * {{Lang|de|Verschwindungen Über-ES}} (1999) | * {{Lang|de|Verschwindungen Über-ES}} (1999) | ||
| * {{Lang|de|10 lateinamerikanische Kompositionen}} (2003) | * {{Lang|de|10 lateinamerikanische Kompositionen}} (2003) | ||
| * 10 Well-Tempered Appearances |
* 10 ] Appearances of the Blues (2003) | ||
| === Organ works === | === Organ works === | ||
| * A.C. D.E.B. (2006) |
* A.C. D.E.B. (2006) | ||
| * |
* Dance Macabre (2003) | ||
| * D.S.C.A. (2009) |
* D.S.C.A. (2009) | ||
| * {{Lang|de|Evocationen Nr.1 & Nr.2}} (1995) |
* {{Lang|de|Evocationen Nr.1 & Nr.2}} (1995) | ||
| * G.F. H.A.E. (2006) |
* G.F. H.A.E. (2006) | ||
| * {{Lang|de|Impressionen Nr.1 & Nr.2}} (1995) |
* {{Lang|de|Impressionen Nr.1 & Nr.2}} (1995) | ||
| * {{Lang|de|Irritationen 1}} (2003) |
* {{Lang|de|Irritationen 1}} (2003) | ||
| * {{Lang|de|Radierungen}} (2000) | * {{Lang|de|Radierungen}} (2000) | ||
| === Chamber |
=== Chamber music === | ||
| * {{Lang|de|Aktualisierungszwang für Klavier, Kontrabass und Violine}} (1997) | * {{Lang|de|Aktualisierungszwang für Klavier, Kontrabass und Violine}} (1997) | ||
| * {{Lang|de|Bitte stehen lassen für Kontrabass und Bassklarinette}} (1987) | * {{Lang|de|Bitte stehen lassen für Kontrabass und Bassklarinette}} (1987) | ||
| * {{Lang|de|CHANFLAX für Kontrabass, Bassklarinette und Klavier}} (1988) | * {{Lang|de|CHANFLAX für Kontrabass, Bassklarinette und Klavier}} (1988) | ||
| * {{Lang|de|Continuum contra Punctum für Klavier, Kontrabass, Violine und Marimbaphon}} (1997) | * {{Lang|de|Continuum contra Punctum für Klavier, Kontrabass, Violine und Marimbaphon}} (1997) | ||
| * {{Lang|de|Der Bilderbuchmond für Stimme und Klavier}} (1994) | * {{Lang|de|Der Bilderbuchmond für Stimme und Klavier}} (1994) | ||
| * {{Lang|de|Ein leerer Traum des Glücks für Stimme, Sopransaxophon und Klavier}} (1994) | * {{Lang|de|Ein leerer Traum des Glücks für Stimme, Sopransaxophon und Klavier}} (1994) | ||
| * {{Lang|de|Erwachen für Stimme, Sopransaxophon und Klavier}} (1992) | * {{Lang|de|Erwachen für Stimme, Sopransaxophon und Klavier}} (1992) | ||
| * {{Lang|de|Immer schön lächeln für Kontrabass, Bassklarinette und Klavier}} (1987) | * {{Lang|de|Immer schön lächeln für Kontrabass, Bassklarinette und Klavier}} (1987) | ||
| * |
* Methexis I–VII for 3 violins, double bass, 2 trombones, trumpet, flute, clarinet, vibraphone, timbal, accordion, piano and voice (1994) | ||
| * {{Lang|de|Sechs Diskurse für Violine solo}} (1997) | * {{Lang|de|Sechs Diskurse für Violine solo}} (1997) | ||
| * {{Lang|de|Tanz im Vogelkäfig |
* {{Lang|de|Tanz im Vogelkäfig No. 2 (Satirical Dance) für Streichquartett mit Nebeninstrumenten}} (2004) | ||
| * {{Lang|de|Tonregelsystem 189 für Klavier, Kontrabass, Violine und Marimbaphon}} (1997) | * {{Lang|de|Tonregelsystem 189 für Klavier, Kontrabass, Violine und Marimbaphon}} (1997) | ||
| Line 68: | Line 67: | ||
| * Picturesque Sceneries: The Musical Journey Of Anna And Her Magical Flute (2005) | * Picturesque Sceneries: The Musical Journey Of Anna And Her Magical Flute (2005) | ||
| * Sarabanda (2010) | * Sarabanda (2010) | ||
| * |
* ] – {{Lang|la|Meditatio Pacis – Invocatio Pacis}} (on the occasion of 11 September 2001) | ||
| === Theatre music === | === Theatre music === | ||
| * Marat/Sade (1996) | * Marat/Sade (1996) | ||
| * {{Lang|de|Requiem für einen Spion}} (1994) | * {{Lang|de|Requiem für einen Spion}} (1994) | ||
| * {{Lang|de|ruhr.mensch!}} (2003) | * {{Lang|de|].mensch!}} (2003) | ||
| === Improvisations === | === Improvisations === | ||
| * Canción del Emperador (2009) | * {{Lang|es|Canción del Emperador}} (2009) | ||
| * Kaleidoskop |
* {{Lang|de|Kaleidoskop}} No. 1 (1999) | ||
| * Spiegel im Spiegel (2008) | * {{Lang|de|Spiegel im Spiegel}} (2008) | ||
| * Tanz auf dem Vulkan (2006) | * {{Lang|de|Tanz auf dem Vulkan}} (2006) | ||
| == References == | == References == | ||
| Line 87: | Line 86: | ||
| * | * | ||
| * | * , ] | ||
| {{Authority control}} | |||
| {{DEFAULTSORT:Hessler, Jans-Joachim}} | |||
| ] | ] | ||
| ] | ] | ||
| ] | ] | ||
| ] | |||
| ] | ] | ||
| ] | ] | ||
| {{Authority control|GND=123560691|LCCN=no/2003/2996|VIAF=55058114}} | |||
| ] | |||
Latest revision as of 03:02, 8 January 2021
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Hans-Joachim Hessler (German: Heßler, born (1968-01-07)7 January 1968 in Recklinghausen) is a German composer, musician and musicologist. Today, he lives in Duisburg and Diemelsee. As a contemporary composer, he attributes his work in writing and composition to the epoch of musical postmodernism.
Life
He studied music theory at the University of Münster and then, from 1990 to 1997, school music and German literature at today's Technical University of Dortmund. He received his education in art from, among others, Werner Seiss and Bob Degen, in the organ from, among others, Karl Weyers and Thomas Gabriel, and in composition from, among others, Heribert Buchholz and Thomas Stanko. In 2008, he received the academic degree of Doctor of Philosophy from the University of Music and Performing Arts, Graz.
Work
Poly-stylistics and boundary crossings of all kinds are a fundamental attribute of Hessler's work.
Much of Hessler's work appears to be influenced by the philosophical writings of the postmodern thinker Jean-François Lyotard; for instance his chamber music pieces "Aktualisierungszwang" and "Tonregelsystem 189" , which deal in particular with the event philosophy of Lyotard, as well as the orchestra series "Le Différend XVII-XXIII", which are dedicated to his main philosophical work of the same title.
From the beginning of his career onwards, Hessler has been placing particular emphasis on musical breaks and the configuration of transitions between the different genres and styles. During the mid-1980s, for example, the program of the Flax-Trio, which Hessler belonged to as a formative member, pianist and keyboarder, reads: "With pleasure, the boundaries between completely different musical styles are torn down; these are then decomposed into single pieces, absorbed and brought back to the listener in entirely new forms." This compositional technique, which Hessler in leaning on Frank Zappa calls "conceptual discontinuity", significantly marks his producing until today.
Writing (selection)
How close theory and practice are, can be seen in Hessler's transfer of the theory of intensities onto the practice of music in his book on Jean-François Lyotard. The theory of intensities implies that, in the case of conflict between two discourses, or rather, during the transition from one discourse to the other, intensive feelings occur. The book carries the title Philosophie der postmodernen Musik.
The fact that not only Pierre Boulez, but also Madonna need to be considered under the heading of contemporary music, becomes clear in Hessler's posthistorical considerations in relation to the "Disappearance of music" (orig. "Das Verschwinden der Musik")
In his comprehensive treatise "Der zornige Baron", Hessler shows among others that, according to his view, the musician and composer Charles Mingus can also be subsumed under the ideal type of "conceptual discontinuity".
Political commitment
Hessler interprets one of the most significant key texts on the discussion around postmodernism "Überquert die Grenze, schließt den Graben!" (Cross the border, close the trench!) by Leslie Fiedler in the sense of an education mandate for artists and as a negotiated agreement of a convinced democrat to contribute, also in the area of contemporary music, to the overcoming of elitist and mass culture.
Catalogue of works (selection)
Piano works
- Adagio e molto espressivo (1992)
- Allegro vivace (1992)
- Claude und der ungerade Takt (1994)
- Quasi Fuga (1992)
- S.L.Y. (1994)
- Verschwindungen Über-ES (1999)
- 10 lateinamerikanische Kompositionen (2003)
- 10 Well-Tempered Appearances of the Blues (2003)
Organ works
- A.C. D.E.B. (2006)
- Dance Macabre (2003)
- D.S.C.A. (2009)
- Evocationen Nr.1 & Nr.2 (1995)
- G.F. H.A.E. (2006)
- Impressionen Nr.1 & Nr.2 (1995)
- Irritationen 1 (2003)
- Radierungen (2000)
Chamber music
- Aktualisierungszwang für Klavier, Kontrabass und Violine (1997)
- Bitte stehen lassen für Kontrabass und Bassklarinette (1987)
- CHANFLAX für Kontrabass, Bassklarinette und Klavier (1988)
- Continuum contra Punctum für Klavier, Kontrabass, Violine und Marimbaphon (1997)
- Der Bilderbuchmond für Stimme und Klavier (1994)
- Ein leerer Traum des Glücks für Stimme, Sopransaxophon und Klavier (1994)
- Erwachen für Stimme, Sopransaxophon und Klavier (1992)
- Immer schön lächeln für Kontrabass, Bassklarinette und Klavier (1987)
- Methexis I–VII for 3 violins, double bass, 2 trombones, trumpet, flute, clarinet, vibraphone, timbal, accordion, piano and voice (1994)
- Sechs Diskurse für Violine solo (1997)
- Tanz im Vogelkäfig No. 2 (Satirical Dance) für Streichquartett mit Nebeninstrumenten (2004)
- Tonregelsystem 189 für Klavier, Kontrabass, Violine und Marimbaphon (1997)
Orchestra works
- HALB! (Hommage à Leonard Bernstein, 2000)
- Le Différend XVII (1997)
- Le Différend XXI (1997)
- Le Différend XXIII (1997)
- Nabuli Tintin (1999)
- Picturesque Sceneries: The Musical Journey Of Anna And Her Magical Flute (2005)
- Sarabanda (2010)
- WTC – Meditatio Pacis – Invocatio Pacis (on the occasion of 11 September 2001)
Theatre music
- Marat/Sade (1996)
- Requiem für einen Spion (1994)
- ruhr.mensch! (2003)
Improvisations
- Canción del Emperador (2009)
- Kaleidoskop No. 1 (1999)
- Spiegel im Spiegel (2008)
- Tanz auf dem Vulkan (2006)
References
- Hans-Joachim Heßler. Personal website of Hans-Joachim Hessler. Retrieved 12 December 2012
- Program of the Flax-Trio. Personal website of Hans-Joachim Heßler. Retrieved 20 November 2012
- Heßler, Hans-Joachim: Philosophie der postmodernen Musik. Dortmund 2001, ISBN 3-935744-00-5, pp. 24 and 46ff.
- NonEM Publishing Company, Dortmund 2007. ISBN 3-935744-06-4; Heßler, Hans-Joachim. Das Verschwinden der Musik – oder: Papst Gregor I. und Madonna, die Göttin der Liebe, suchen Jean Baudrillard, ihren Verführer. pp. 74ff.
- Heßler, Hans-Joachim. Der zornige Baron: Das Prinzip Diskontinuität im Leben und konzeptkompositorischen Schaffen des Charles Mingus Jr., United Dictions of Music, Duisburg 2010. pp. 51ff. ISBN 978-3-942677-00-4
- Fiedler, Leslie. Überquert die Grenze, schließt den Graben! Wege aus der Moderne: Schlüsseltexte zur Postmoderne-Diskussion. Wolfgang Welsch. Hg. Weinheim: Acta humaniora, 1988. pp. 57–74.