MM-022 CD | DL ALBUM | syncron-arts

The german minimal composer Ernstalbrecht Stiebler this year celebrated his 80th birthday. m=minimal honours the work of this master of reduction with the third release dedicated exclusivly to his work. In opposite to many modern composer that use avantgardistic special effects, Stiebler builds his compositions around small sound spaces. As the composer himself said in an interview, his music is not intended to be easy. He demands a certain concentration of his listeners. Once you accept it you get rewarded with shifted time perception. A piece of 15 minutes duration can be perceived as 45 minutes. His music in the last few years gained more and more attention. His works were performed at many festivals including CTM, MaerzMusik, Mutek a.o. He composed works for Ensemble Modern and the HR (german broadcasting) commisioned him to compose an orchestral work. For his 80th birthday the German “Initiative Neue Musik” organized a 3 day festival in Berlin.

mm-022 - Ernstalbrecht Stiebler - Mit der Zeit Cover 1400x1400 Kopie

German composer of mostly chamber, choral, piano, and organ works that have been performed throughout Europe and elsewhere.

Mr. Stiebler studied composition and piano at the Hochschule für Musik und Theater Hamburg, but had more important lessons at the Ferienkurse in Darmstadt from 1958–61, including studies with Karlheinz Stockhausen in 1959.

Among his honours are the Bach-Preis der Freien und Hansestadt Hamburg (1966) and a prize from the seminar of the Künstlerhaus Boswil (1991). Moreover, two of his productions for Hessischer Rundfunk received the Prix Italia (Piece for Peace by Alvin Curran and Die Blinden by Walter Zimmermann).

<style=”text-align: justify;” align=”center”>He is also active in other positions. He served as director of new music for Hessischer Rundfunk from 1969–95 and founded the concert series Forum Neue Musik there in 1989. He co-produced numerous CDs for Hessischer Rundfunk in collaboration with the label Hat Hut, including the series devoted to the New York School. In addition, he has written numerous essays for MusikKonzepte, MusikTexte and other music journals, as well as booklet notes for the recording of Words and Music by Morton Feldman on Montaigne Auvidis.



m=minimal continues its series of Ernstalbrecht Stiebler releases with “Ton in Ton” (Tone on Tone). Born in Berlin in 1934, he is considered to be one of the few “Grandmasters” to musically capture so much with so little means. His music is quiet and gentle, yet fearless. Colorful without a dominant brilliance. It is emphatic, but avoids showing up. It unfolds organically with a willful beauty. Meanwhile, contrast and suspense arise from within tones and sounds, paving the way to a calming liveliness. This can be evidenced in Stiebler’s “Extension 1” (1964), which managed to capture the experts’ attention. At this time, the composer was already dealing with reductionist composition techniques, creating works that would otherwise not be found during the era of the 20th-century classical music in Germany in 1965. Until recently, his works were appreciated by just a few. Fortunately, this has slowly started to take a turn and m=minimal is delighted to be a part of it, helping his music reach new boundaries. The first composition for chamber orchestra “Ton in Ton” was a commissioned work for the Hanne-Darboven foundation. It was played by the renowned chamber ensemble “Ensemble Modern” and conducted by Frank Ollu. The piece was composed by Ernstalbrecht Stiebler in 2011 and resembled the best features of a classic in the history of minimal music. Throughout its existence in over 25 years, The “Ensemble Modern” has released compositions of some of the most outstanding composers in the 20th century. Artists such as Helmut Lachenmann or Frank Zappa either wrote pieces for the ensemble or allowed their works to be played by it. Among the admirers of Ensemble Modern are Sakamoto and Alva Noto. Also worth mentioning is the organ composition “Torsi” from 2002. It was played by Stiebler’s connoisseur Hans-Peter Schulz on the Heintz-organ at the St. Stephan church in Konstanz, Germany. Comprised of three movements, Torso, Organa Minima and Cantus, the musical work has nothing in common with the modern garrulous organ works of the last century, in which the composition often plays an “exhibitionist” role for the organ. On the contrary, Stiebler’s composition hovers effortlessly over the organ. His musical piece for organ “Betonungen” (accentuations) from 1968 is available as bonus track on the CD and as a download-coupon on the LP. It is worth mentioning that an audible perspective of Stiebler’s evolution can be achieved by comparing both organ works “Torsi” and “Betonungen”. The first album published by m=minimal with works of Ernstalbrecht Stiebler received outstanding reviews from both within and beyond the 20th-century classical music community. The concert was sold out; the German magazine “Intro” wrote: “The most exciting items on the agenda are once again those events that aim to position the current electronic music in a historical context. For instance, the Berlin Label m=minimal presents on Thursday works of the composer Ernstalbrecht Stiebler, one of the first exponents of musical minimalism in Germany in the 1960s. His works for solo instruments and electronic -performed tonight by cellist Agnieszka Dziubak, bassist Werner Dafeldecker, the ensemble L’Art pour L’Art and Stiebler himself- are able to cope with so-called laptop productions, delivering innovation and radicalism despite the true age of the musical pieces.