updated 6 April 2020
© Peter Andersen

Dieter Schnebel

Compositeur allemand né le 14 mars 1930 à Lahr, Allemagne, mort le 20 mai 2018 à Berlin.

Dieter Schnebel commence des études de piano, de théorie et d’histoire de la musique au conservatoire de Fribourg et obtient en 1952 un diplôme de pédagogie musicale. Il suit dans le même temps les cours de Martin Heidegger à l’université de Fribourg. Il se consacre à la musicologie, la philosophie et la théologie protestante à l’université de Tübingen, puis étudie les techniques de la Seconde Ecole de Vienne et rencontre Luigi Nono, Pierre Boulez, Hans Werner Henze et Ernst Krenek aux cours d’été de Darmstadt.

Il est ensuite employé comme enseignant et pasteur à Kaiserslautern, Francfort-sur-le-Main et Munich. Un poste de professeur de musique expérimentale et de musicologie est créé spécialement pour lui à la Hochschule der Künste de Berlin en 1976, poste qu’il occupe jusqu’à devenir professeur émérite en 1995. Il est par ailleurs l’auteur de nombreux livres et essais de musicologie sur Bach, Beethoven, Schubert, Schumann, Wagner, Mahler et Debussy ou encore Cage et Kagel.

Compositeur sériel à l’origine — Stücke (1954-1955), dt 31,6 (1956-1958), Compositio (1955-1956) — Dieter Schnebel, gagné par l’anti-dogmatisme, entreprend de développer des concepts expérimentaux, notamment avec Glossolalie 61 (1961), Das Urteil (1959) et Ki-No (1963-1967) où il travaille la voix, du murmure au cri. Il compose aussi pour le répertoire sacré avec Für Stimmen (…missa est) (1956-1969), Missa (Dahlemer Messe) (1984-1987), Magnificat (1996-1997) et missa brevis (2000-2002).

En 1974 avec Maulwerke, qui explore la musique organique, et dans la suite des années 1970 avec Pan (1978) et Thanatos-Eros (1979), Dieter Schnebel développe ce qu’il appelle la musique psycho-analytique qui prend sa source dans sa propre analyse, une recherche pour laquelle il reçoit en 2011 le Sigmund-Freud-Kulturpreis, décerné à des non-psychanalystes qui abordent et utilisent cette discipline de manière créative et critique.

Avec la création de la troupe de théâtre Die Maulwerker à la fin de 1977, Dieter Schnebel parvient à systématiser son concept d’œuvre ouverte, partiellement inspiré par le mouvement Fluxus, où les musiciens sont invités à participer à des actions dans l’espace impliquant l’utilisation non-conventionnelle d’instruments et de voix, comme l’illustrent Harley Davidson (2000) pour neuf motos et trompette ainsi que Flipper (2002-2003) pour machines à sous, performers, instruments et bande. Die Maulwerker interviennent dans la plupart des créations des grandes œuvres scéniques de Dieter Schnebel : Totentanz (1989-1994), Museumsstücke I (1992-1993), Museumsstücke II (MoMA) (1994-1995), Schau-Stücke (1995-1997), N.N. (2000-2001), Fontana Mix DS (2002) et Kafka-Dramolette (2005-2008).

La musique de Dieter Schnebel exploite et recherche certaines limites, intégrant les pratiques gestuelles, théâtrales, les nouvelles techniques instrumentales et vocales, le silence — dans la lignée de John Cage — les bruits environnants, I’espace… Les partitions de Schnebel ne se proposent pas de fixer le résultat sonore définitif, mais au contraire d’indiquer un processus moteur de production du son.

En 1991, il reçoit le prix de la culture de Lahr et est le premier lauréat du prix européen de la musique d’église décerné par la ville de Schwäbisch Gmünd en 1999. Il est fait membre de l’Académie des arts de Berlin et de l’Académie libre des arts de Leipzig en 1991 et de l’Académie bavaroise des beaux-arts de Munich en 1995. En 2015, il reçoit la croix de l’Ordre du Mérite de la République fédérale allemande.


© Ircam-Centre Pompidou, 2020

  • Effectif non spécifié
  • Musique électronique / sur support / instruments mécaniques
  • Musique soliste (sauf voix)
    • Auguri six small piano pieces (1987-1993), 15 mn, Schott
    • Bagatellen for piano (1986), between 15 mn and 20 mn, Schott
    • Circe for harp (1988), 13 mn, Schott
    • Erscheinungen for piano (2009), 13 mn, Schott
    • Etüden cello part of Mit diesen Händen (1992), 30 mn, Schott
    • Fünf Inventionen for cello (1987), 10 mn, Schott
    • elec Languido for bass flute and live electronics (or tape recording) (1992-1993), 25 mn, Schott
    • Medusa (Psychologia), for accordion (1989-1993), 15 mn, Schott
    • elec Monotonien Nr. 1–7 for piano and live electronics (1988-1993), 1 h 10 mn, Schott
    • Mozart-Reste for piano (2006), 60 s, Schott
    • Polyphonien for violin, third part of Vier Stücke für Violine und Klavier (1991), 6 mn, Schott
    • Revolution study on Majakowskis Tod , for a percussionist (1995), 20 mn, Schott
    • Sammelsurium for zither (2006-2007), 15 mn, Schott
    • Stück für 1 / Stück für 2 for percussion (1986-1993), Schott
    • Toccata mit Fugen for organ (1995-1996), 21 mn, Schott
    • Varianten for piano (2015), Schott
    • Walzer-Inseln for piano (2011-2012), 8 mn, Schott
    • elec Zwei Studien for piano and live electronics (1988), 20 mn, Schott
    • Zwischenfugen for an organist and possibly an assistant (1979-1982), 20 mn, Schott
    • concert sans orchestre Model No. 3, for a pianist (and audience) (1964), between 15 mn and 20 mn, Schott
    • espressivo Model No. 2, musical drama for a pianist (1961-1963), between 6 mn and 15 mn, Schott
    • h-moll-Sonate for piano (2011), 15 mn, Schott
  • Chamber music
    • Anfänge – Alternativen for saxophone, guitar and/or percussionist (1998-2001), 15 mn, Schott
    • B-Dur-Quintett for violin 1, violin 2 (or flute or clarinet), viola (or bass clarinet or trombone), cello and piano (1976-1977), 20 mn, Schott
    • Handwerke – Blaswerke I for archaic and exotic instruments (1977), 20 mn, Schott
    • Haydn-Destillate for trio with piano (2006-2008), 12 mn, Schott
    • I. Streichquartett "im Raum" (2005-2006), 42 mn, Schott
    • In motu proprio canon à 7, for seven cellos or seven clarinets (1975, 1994), 12 mn, Schott
    • Jo-(Fabel) studies for guitar (with bass flute and percussion ad libitum ) (1996), 18 mn, Schott
    • Lieder ohne Worte for two instruments (1980, 1982, 1986), 15 mn, Schott
    • Marsyas improvisation and elaboration for chalemia (or English horn, clarinet or bassoon) and accompaniment ad libitum (strings, percussion or piano) (1987), 12 mn, Schott
    • Pan for flute and accompanying instrument (1978, 1988), between 18 mn and 30 mn, Schott
    • Rufe for horn and cello (2006-2007), 15 mn, Schott
    • Sisyphos for two wind instruments (1990), between 8 mn and 12 mn, Schott
    • Sonanzen for string quintet (2010), 27 mn, Schott
    • Streichtrio for string trio (2007-2009), 20 mn, Schott
    • Stücke für Streichinstrumente Versuche II, for string quartet (1954-1955), 5 mn, Schott
    • elec Verschattungen for bass clarinet, viola and electronics (2007), 13 mn, Schott
    • Vier Stücke for violin and piano (1991), 20 mn, Schott
    • Zahlen für (mit) Münzen for four instrumentalists or four groups (1985), 15 mn, Schott
    • Zeitstücke eight "quasi-miniatures" at the origin of the intermediate pieces of the Symphony X , for four percussionists (1990), 8 mn, Schott
    • Zwei kleine Stücke for three instrumentalists (1990), 3 mn, Schott
    • anschläge – ausschläge stage variations for three instrumentalists (1965-1966), 20 mn, Schott
    • überkreuz for piano four hands (2016), Schott
  • Musique instrumentale d'ensemble
    • Analysis Versuche I, for stringed instruments and percussions (1953), 5 mn, Schott
    • Blendwerk for string orchestra (1978), between 18 mn and 25 mn, Schott
    • Canones for orchestra (1993-1994, 1975-1977), 32 mn, Schott
    • elec Choralvorspiele I/II for organ, auxiliary instruments, trombone choir, tape and amplifier (1968-1969, 1966), 20 mn, Schott
    • Compositio Versuche IV, for orchestra (1955-1956, 1964-1965), Schott
    • Diapason barrel with 13 different instruments (1976-1977), 18 mn, Schott
    • elec Drei-Klang for three spatially separated sets (1976-1977), 2 h, Schott
    • elec Flipper chamber music for artists, instruments and bands (2003), Schott
    • Gehörgänge concept of music for curious ears (1972), variable, Schott
    • Harley Davidson for trumpet, nine motorcycles and synthesizer (2007, 2000), 20 mn, Schott
    • Harmonik version for instruments, for five to twelve performers (1979), between 8 mn and 20 mn, Schott
    • I2 Beethoven-Symphonie Re-Visionen I, for chamber ensemble (1985), 10 mn, Schott
    • I5 Schubert-Phantasie Re-Visionen I, for two orchestras (1989, 1978), 18 mn, Schott
    • II1 Janáček-Moment Re-Visionen II, for orchestra (1991-1992), 1 mn 30 s, Schott
    • II3 Mozart-Moment Re-Visionen II, for small orchestra (1988-1989), 60 s, Schott
    • II4 Mahler-Moment Re-Visionen II, for string orchestra (1986), between 3 mn and 5 mn, Schott
    • II5 Verdi-Moment Re-Visionen II, for orchestra (1989), 2 mn 30 s, Schott
    • Klage um Karlheinz Stockhausen for alto flute, bass clarinet, trumpet, violin, viola, cello, piano and percussion (2007), 10 mn, Schott
    • Kontrapunkt for variable workforce (1975), between 5 mn and 12 mn, Schott
    • NC (Nuova Consonanza) improvisation for three to five instruments (1994-1995), 10 mn, Schott
    • Orchestra symphonic music for mobile musicians (1974-1977), between 15 mn and 1 h 15 mn, Schott
    • Rhythmen for percussion (1977), 30 mn, Schott
    • Sinfonie-Stücke for orchestra (1984-1985), 10 mn, Schott
    • Stuhlgewitter for at least twelve performers (1987), 15 mn, Schott
    • elec Trauermusik for large orchestra and recording (2018, 2008), 14 mn, Schott
    • Zwischenstücke for chamber ensemble of any composition (8 to 10 performers) (1994), 10 mn, Schott
    • inter for small orchestra (1994), 4 mn, Schott
    • raum-zeit y for rotating sound sources, for nine instrumentalists (1992-1993, 1958-1959), 25 mn, Schott
  • Musique concertante
    • Hymnus concerto for piano and orchestra, extended version of movement II3 of Symphony X (1995), 22 mn, Schott
    • Oktett mit Klavier version of raum-zeit (1997), 25 mn, Schott
  • Vocal music and instrument(s)
    • 2. Streichquartett „Erinnern - Wiederholen - Durcharbeiten“, for string quartet and voice ad libitum (2006-2007), 20 mn, Schott
    • elec Adagio for alto voice and large orchestra, part II6 of Sinfonie X (1987-1992), 21 mn, Schott
    • elec Alla Marcia for alto voice and large orchestra with live electronics, part II7 of Sinfonie X (1987-1992), 16 mn, Schott
    • stage Aschermittwochsmusik for schola, mixed choir, organ and percussion (2000-2003), 30 mn, Schott
    • Bachmann-Gedichte for voice, alto saxophone, percussion and piano (2002-2003), 15 mn, Schott
    • elec stage Baumzucht music reading for speaker and chamber ensemble (1992-1995), 10 mn, Schott
    • elec Das Urteil after Franz Kafka, spatialized music for instruments, vocals and other sound sources (1990, 1959), 40 mn, Schott
    • Ein Mädchen oder... Zauberflötenkonzentrat for four voices and instruments (2005), 4 mn, Schott
    • elec stage Ekstasis for solo soprano, narrator, two children's voices, solo percussionist, choir and large orchestra (1996-1997, 2001-2002), 55 mn, Schott
    • elec Fontana Mix DS after Fontana Mix by John Cage, for two voices, three instrumentalists and tape (2002), 10 mn, Schott
    • Fragment Versuche III, for ensemble and voice (1955), 2 mn, Schott
    • Georgische Melodie (Wiegenlied) from Majakowski's Tod , for singing voice and organ (1994), 2 mn, Schott
    • Glossolalie 61 Projekte IV, for reciters and instrumentalists (1960-1961), 40 mn, Schott
    • Goethe-Lieder for voice and support (piano, guitar, accordion or string instrument) (2002-2003), 14 mn, Schott
    • Hoch-Zeit-Musik for voice and piano (2017), Schott
    • I4 Wagner-Idyll Re-Visionen I, for singing voice ad libitum and chamber ensemble (1980), 10 mn, Schott
    • II2 Schumann-Moment Re-Visionen II, for voice (or winds), harp and percussion (1989), 2 mn, Schott
    • Inno a Roma – Hymne an Rom six pieces for trio with keyboard and voice (2010), 12 mn, Schott
    • stage Jowaegerli Tradition IV, 1, German-speaking words and images by and after Johann Peter Hebel with vocal, instrumental and percussion sounds (1982-1983), 60 mn, Schott
    • Kaschnitz-Gedichte for viola voice and piano (1994), 15 mn, Schott [program note]
    • elec Ki-no Nachtmusik for projectors and listeners (1963-1967), 15 mn, Schott
    • stage Kinder/Musik mini-opera for children and chamber orchestra (2015), 20 mn, Schott
    • Lamah ? (Warum ?) for string trio and voice (1996-1997), 7 mn, Schott
    • Lamento di Guerra for mezzo-soprano and organ or synthesizer / accordion (1991), 12 mn, Schott
    • Lasker-Schüler-Lieder for voice and piano (1994-2006), 10 mn, Schott
    • Liebe – Leid eight miniatures for female voice and piano (2013), Schott
    • stage Luther 500 oratorio for narrator, voice and instruments (2016-2017), 1 h 20 mn, Schott
    • Magnificat service for liturgist (s), schola, choir, organ and percussion (1996-1997), 45 mn, Schott
    • stage Majakowskis Tod chamber opera for three protagonists, reciting choir and small orchestra (1989-1997), 1 h 20 mn, Schott
    • elec stage Majakowskis Tod –Totentanz opera fragment and epilogue, collage of texts after Wladimir Majakowski and Lilja Brik by Dieter Schnebel (1989-1997), 2 h, Schott
    • Mein Herz ruht müde approach to a poem by Else Lasker-Schüler for viola voice and piano (1994), 5 mn, Schott
    • Memento moral meditation, for voice and melodic-harmonic-rhythmic accompaniment (1982), 10 mn, Schott
    • stage Metamorphosen des Ovid oder Die Bewegung von den Rändern zur Mitte hin und umgekehrt stage music for eleven strings and vocals (1987), 2 h, Schott
    • Metamorphosenmusik for voice and chamber ensemble (1986-1997), 35 mn, Schott
    • stage Missa Dahlemer Messe for four solo voices, two mixed choirs, orchestra and organ (1984-1987), 1 h 30 mn, Schott [program note]
    • Mit diesen Händen for voice and cello (1992), 35 mn, Schott
    • Montiano Song for melody and accompaniment (1983), 4 mn, Schott
    • stage Museumsstücke I for voices and mobile instruments in polyphonic spaces (1992-1993), 50 mn, Schott
    • stage Museumsstücke II (MoMA) for voice and mobile instruments (1994-1995), 60 mn, Schott
    • stage N.N. for mobile voices and fixed instruments (2000-2001), 45 mn, Schott
    • stage O Liebe! – süßer Tod... five sacred songs after Johann Sebastian Bach, for mezzo-soprano, chamber choir and small orchestra (1995), 17 mn, Schott
    • Psalm 139 for singing voice, with percussion ad libitum (2000-2002), 13 mn, Schott
    • Quintessenz for vocal quartet with piano (and auxiliary instruments) (1993-1994), 12 mn, Schott
    • elec Schicksalslied (BSH) Beethoven - Hölderlin, for narrator, viola voice, chamber choir, chamber ensemble and tape (2017), 23 mn, Schott
    • elec Sinfonie X for voice, large orchestra and live electronics (1987-1992, 2004), 3 h 50 mn, Schott
    • stage St. Jago Tradition IV, 2, music and images by Kleist, for three speakers, four voices and chamber ensemble (1995, 1989-1991), 1 h 25 mn, Schott
    • Thanatos - Eros symphonic variations for large orchestra with voice (1978-1979, 1981-1982, 1984-1985), 35 mn, Schott
    • elec stage Totentanz ballet-oratorium for two reciters, soprano, bass, choir, orchestra and live electronics (1989-1994), 45 mn, Schott
    • Ultima speranza for female voice, saxophone, piano and percussion (2002-2003), 15 mn, Schott
    • stage Utopien chamber musical theater for six voices, extras and instrumental ensemble (2008-2013), 1 h 30 mn, Schott
    • Variationen über das "Heidenröslein" (Goethe) version for voice and chamber orchestra (2018), 10 mn, Schott
    • Vergnügungen for narrator, saxophone and cello (2010), 8 mn, Schott
    • Vier Jahreszeiten-Lieder for singing voice and piano (), 15 mn, Schott
    • stage Worte –Töne – Schritte musical history for voice, percussion and synthesizer (1997), 15 mn, Schott
    • elec Yes, I Will, Yes! for soprano, percussion and recording (2016), 50 mn, Schott
    • stage glossolalie for reciters and instrumentalists (1959-1960), 10 mn, Schott
    • missa brevis for singing voice (with percussion and choir or organ) (2000-2002), 12 mn, Schott
    • „Mild und leise...“ for female voice, clarinet or saxophone, violin, cello, piano and percussion (2009-2010), 60 mn, Schott
    • „behütet“ - Psalm 121 for choir and organ or synthesizer ad libitum (2011, 2010), 12 mn, Schott
  • Musique vocale a cappella
    • elec :! (madrasha II) for three choral groups and tape ad libitum (1967-1968, 1958), between 10 mn and 17 mn, Schott
    • Amazones for five female voices or a cappella female choir (1992-1993), 15 mn, Schott
    • Bach-Choräle for five choirs (2000), 26 mn, Schott
    • stage Blasmusik for spatialized voices (1973), between 10 mn and 20 mn, Schott
    • Für Stimmen (...missa est) for choir or a cappella vocal ensemble (1956-1969, 1956-1969), between 30 mn and 50 mn, Schott
    • Gesums for spatialized voices (1974), between 10 mn and 20 mn, Schott
    • Harmonik version for five to twelve voices (1979), between 8 mn and 20 mn, Schott
    • elec I1 Bach-Contrapuncti Re-Visionen I, for spatialized voices from L'Art de la Fugue (1972-1976), 22 mn, Schott
    • Motetus I for two mixed a cappella choirs (1989-1993), 10 mn, Schott
    • Motetus II (Ricercar) „De profundis clamavi“, for mixed choir a cappella (1998), 20 mn, Schott
    • stage Schau-Stücke for voice and gestures (1995-1997), 40 mn, Schott
    • Y2K for voice (1999), 2 mn, Schott
    • amn for seven vocal groups (1966-1967, 1958), between 14 mn and 25 mn, Schott
    • dt 31,6 for twelve vocal groups (1956-1958), between 5 mn and 8 mn, Schott
    • lectiones for four reciters and listeners (1964-1974), between 20 mn and 50 mn, Schott
  • 2018
  • 2017
    • Hoch-Zeit-Musik for voice and piano, Schott
    • stage Luther 500 oratorio for narrator, voice and instruments, 1 h 20 mn, Schott
    • elec Schicksalslied (BSH) Beethoven - Hölderlin, for narrator, viola voice, chamber choir, chamber ensemble and tape, 23 mn, Schott
  • 2016
  • 2015
    • stage Kinder/Musik mini-opera for children and chamber orchestra, 20 mn, Schott
    • Varianten for piano, Schott
  • 2013
    • Liebe – Leid eight miniatures for female voice and piano, Schott
    • stage Utopien chamber musical theater for six voices, extras and instrumental ensemble, 1 h 30 mn, Schott
  • 2012
  • 2011
  • 2010
  • 2009
  • 2008
  • 2007
    • 2. Streichquartett „Erinnern - Wiederholen - Durcharbeiten“, for string quartet and voice ad libitum, 20 mn, Schott
    • Klage um Karlheinz Stockhausen for alto flute, bass clarinet, trumpet, violin, viola, cello, piano and percussion, 10 mn, Schott
    • Rufe for horn and cello, 15 mn, Schott
    • Sammelsurium for zither, 15 mn, Schott
    • elec Verschattungen for bass clarinet, viola and electronics, 13 mn, Schott
  • 2006
  • 2005
  • 2003
    • stage Aschermittwochsmusik for schola, mixed choir, organ and percussion, 30 mn, Schott
    • Bachmann-Gedichte for voice, alto saxophone, percussion and piano, 15 mn, Schott
    • Es ist Zeit – it’s time for any instruments, between 12 mn and 20 mn, Schott
    • elec Flipper chamber music for artists, instruments and bands, Schott
    • Goethe-Lieder for voice and support (piano, guitar, accordion or string instrument), 14 mn, Schott
    • Ultima speranza for female voice, saxophone, piano and percussion, 15 mn, Schott
  • 2002
    • elec Fontana Mix DS after Fontana Mix by John Cage, for two voices, three instrumentalists and tape, 10 mn, Schott
    • Psalm 139 for singing voice, with percussion ad libitum , 13 mn, Schott
    • missa brevis for singing voice (with percussion and choir or organ), 12 mn, Schott
  • 2001
    • Anfänge – Alternativen for saxophone, guitar and/or percussionist, 15 mn, Schott
    • stage N.N. for mobile voices and fixed instruments, 45 mn, Schott
  • 2000
  • 1999
    • Y2K for voice, 2 mn, Schott
  • 1998
  • 1997
    • elec stage Ekstasis for solo soprano, narrator, two children's voices, solo percussionist, choir and large orchestra, 55 mn, Schott
    • Lamah ? (Warum ?) for string trio and voice, 7 mn, Schott
    • Magnificat service for liturgist (s), schola, choir, organ and percussion, 45 mn, Schott
    • stage Majakowskis Tod chamber opera for three protagonists, reciting choir and small orchestra, 1 h 20 mn, Schott
    • elec stage Majakowskis Tod –Totentanz opera fragment and epilogue, collage of texts after Wladimir Majakowski and Lilja Brik by Dieter Schnebel, 2 h, Schott
    • Metamorphosenmusik for voice and chamber ensemble, 35 mn, Schott
    • Oktett mit Klavier version of raum-zeit , 25 mn, Schott
    • stage Schau-Stücke for voice and gestures, 40 mn, Schott
    • stage Worte –Töne – Schritte musical history for voice, percussion and synthesizer, 15 mn, Schott
  • 1996
  • 1995
    • elec stage Baumzucht music reading for speaker and chamber ensemble, 10 mn, Schott
    • Hymnus concerto for piano and orchestra, extended version of movement II3 of Symphony X , 22 mn, Schott
    • stage Museumsstücke II (MoMA) for voice and mobile instruments, 60 mn, Schott
    • NC (Nuova Consonanza) improvisation for three to five instruments, 10 mn, Schott
    • stage O Liebe! – süßer Tod... five sacred songs after Johann Sebastian Bach, for mezzo-soprano, chamber choir and small orchestra, 17 mn, Schott
    • Revolution study on Majakowskis Tod , for a percussionist, 20 mn, Schott
  • 1994
  • 1993
    • Amazones for five female voices or a cappella female choir, 15 mn, Schott
    • Auguri six small piano pieces, 15 mn, Schott
    • elec Languido for bass flute and live electronics (or tape recording), 25 mn, Schott
    • Medusa (Psychologia), for accordion, 15 mn, Schott
    • elec Monotonien Nr. 1–7 for piano and live electronics, 1 h 10 mn, Schott
    • Motetus I for two mixed a cappella choirs, 10 mn, Schott
    • stage Museumsstücke I for voices and mobile instruments in polyphonic spaces, 50 mn, Schott
    • Stück für 1 / Stück für 2 for percussion, Schott
  • 1992
    • elec Adagio for alto voice and large orchestra, part II6 of Sinfonie X, 21 mn, Schott
    • elec Alla Marcia for alto voice and large orchestra with live electronics, part II7 of Sinfonie X , 16 mn, Schott
    • Etüden cello part of Mit diesen Händen , 30 mn, Schott
    • II1 Janáček-Moment Re-Visionen II, for orchestra, 1 mn 30 s, Schott
    • Mit diesen Händen for voice and cello, 35 mn, Schott
    • elec Sinfonie X for voice, large orchestra and live electronics, 3 h 50 mn, Schott
  • 1991
    • Lamento di Guerra for mezzo-soprano and organ or synthesizer / accordion, 12 mn, Schott
    • Polyphonien for violin, third part of Vier Stücke für Violine und Klavier , 6 mn, Schott
    • stage St. Jago Tradition IV, 2, music and images by Kleist, for three speakers, four voices and chamber ensemble, 1 h 25 mn, Schott
    • Vier Stücke for violin and piano, 20 mn, Schott
  • 1990
    • Sisyphos for two wind instruments, between 8 mn and 12 mn, Schott
    • Zeitstücke eight "quasi-miniatures" at the origin of the intermediate pieces of the Symphony X , for four percussionists, 8 mn, Schott
    • Zwei kleine Stücke for three instrumentalists, 3 mn, Schott
  • 1989
  • 1988
    • Circe for harp, 13 mn, Schott
    • elec Zwei Studien for piano and live electronics, 20 mn, Schott
  • 1987
  • 1986
    • Bagatellen for piano, between 15 mn and 20 mn, Schott
    • II4 Mahler-Moment Re-Visionen II, for string orchestra, between 3 mn and 5 mn, Schott
  • 1985
  • 1984
  • 1983
    • stage Jowaegerli Tradition IV, 1, German-speaking words and images by and after Johann Peter Hebel with vocal, instrumental and percussion sounds, 60 mn, Schott
    • Montiano Song for melody and accompaniment, 4 mn, Schott
  • 1982
    • Memento moral meditation, for voice and melodic-harmonic-rhythmic accompaniment, 10 mn, Schott
    • Zwischenfugen for an organist and possibly an assistant, 20 mn, Schott
  • 1980
  • 1979
    • Harmonik version for instruments, for five to twelve performers, between 8 mn and 20 mn, Schott
    • Harmonik version for five to twelve voices, between 8 mn and 20 mn, Schott
    • Thanatos - Eros symphonic variations for large orchestra with voice, 35 mn, Schott
  • 1978
    • Blendwerk for string orchestra, between 18 mn and 25 mn, Schott
    • I5 Schubert-Phantasie Re-Visionen I, for two orchestras, 18 mn, Schott
    • Pan for flute and accompanying instrument, between 18 mn and 30 mn, Schott
  • 1977
    • B-Dur-Quintett for violin 1, violin 2 (or flute or clarinet), viola (or bass clarinet or trombone), cello and piano, 20 mn, Schott
    • Canones for orchestra, 32 mn, Schott
    • Diapason barrel with 13 different instruments, 18 mn, Schott
    • elec Drei-Klang for three spatially separated sets, 2 h, Schott
    • Handwerke – Blaswerke I for archaic and exotic instruments, 20 mn, Schott
    • Orchestra symphonic music for mobile musicians, between 15 mn and 1 h 15 mn, Schott
    • Rhythmen for percussion, 30 mn, Schott
  • 1976
    • elec I1 Bach-Contrapuncti Re-Visionen I, for spatialized voices from L'Art de la Fugue , 22 mn, Schott
  • 1975
    • In motu proprio canon à 7, for seven cellos or seven clarinets, 12 mn, Schott
    • Kontrapunkt for variable workforce, between 5 mn and 12 mn, Schott
  • 1974
    • Gesums for spatialized voices, between 10 mn and 20 mn, Schott
    • elec stage Maulwerke for articulation and reproduction devices, for three to twelve performers, between 15 mn and 1 h 30 mn, Schott
    • lectiones for four reciters and listeners, between 20 mn and 50 mn, Schott
  • 1973
    • stage Blasmusik for spatialized voices, between 10 mn and 20 mn, Schott
  • 1972
  • 1970
  • 1969
  • 1967
    • elec Ki-no Nachtmusik for projectors and listeners, 15 mn, Schott
  • 1966
  • 1964
  • 1963
    • espressivo Model No. 2, musical drama for a pianist, between 6 mn and 15 mn, Schott
  • 1962
  • 1961
    • Glossolalie 61 Projekte IV, for reciters and instrumentalists, 40 mn, Schott
    • stage réactions for a performer (any instrument or voice) and an audience, between 7 mn and 20 mn, Schott
  • 1960
    • stage glossolalie for reciters and instrumentalists, 10 mn, Schott
  • 1959
    • elec Das Urteil after Franz Kafka, spatialized music for instruments, vocals and other sound sources, 40 mn, Schott
    • raum-zeit y for rotating sound sources, for nine instrumentalists, 25 mn, Schott
  • 1958
    • elec :! (madrasha II) for three choral groups and tape ad libitum, between 10 mn and 17 mn, Schott
    • amn for seven vocal groups, between 14 mn and 25 mn, Schott
    • dt 31,6 for twelve vocal groups, between 5 mn and 8 mn, Schott
  • 1956
  • 1955
  • 1953
    • Analysis Versuche I, for stringed instruments and percussions, 5 mn, Schott
  • 0

Liens Internet

Bibliographie

Textes de Dieter Schnebel
  • Dieter SCHNEBEL, Anschläge - Ausschläge: Texte zur Neuen Musik, Munich, Carl Hanser Verlag, 1993.
  • Dieter SCHNEBEL, Denkbare Musik : Schriften 1952-1972, Cologne, DuMont Schauberg, 1972.
  • Dieter SCHNEBEL, Maurico Kagel: Musik, Theater, Film, Cologne, DuMont Schauberg, 1970.
  • Dieter SCHNEBEL, Musique visible : essais sur la musique, sous la direction de Héloïse Demoz et Olivier Baisez, Genève, Contrechamps éditions, 2019.
  • Dieter SCHNEBEL, *Son et corps,*sous la direction de Héloïse Demoz, Dijon, Les Presses du réel, 2017.
  • Dieter SCHNEBEL, « Sprache als Musik in der Musik », Schweizer Monatshefte : Zeitschrift für Politik, Wirtschaft, Kultur, 1966.
Textes sur Dieter Schnebel
  • Paul ATTINELLO, « Dialectics of Serialism: Abstraction and Deconstruction in Schnebel’s für stimmen (… missa est) » in Computer Music Review 26/1, février 2007, pp. 39-52.
  • Christopher ANDERSON, « Dieter Schnebel: Spiritual Music Today », in Religions vol. 8, septembre 2017, pp. 185-199.
  • Werner KLÜPPELHOLZ, « Dieter Schnebel im Gespräch über die Achtundsechziger », in MusikTexte N° 161, mai 2019, pp. 39-42.
  • Theo et Dieter SCHNEBEL, Signatur 33: Lebensblätter, Rommerskirchen, Remagen-Rolandseck, 2001.
  • Gisela NAUCK, Dieter Schnebel: Lesegänge durch Leben und Werk, Maiz, Schott, 2001.
  • Neue Zeitschrift für Musik, n°1, janvier-février 2005.

Discographie sélective

  • Dieter SCHNEBEL, Movimento ; Gesums - Geknarrt, dans « Movimento », 1 CD Wergo, 2016, WER 7352 2.
  • Dieter SCHNEBEL, Streichquartett “Im Raum” ; Stücke ; Streichquartett mit Stimmen, dans « String Quartets », 1 CD Neos, 2013, 11048.
  • Dieter SCHNEBEL, Bach-Contrapunctus VI ; Bach-Contrapunctus XI ; Webern-Variationen ; Beethoven-Sinfonie ; Wagner-Idyll ; Schubert-Phantasie ; Bach-Contrapunctus I ; Verdi-Moment ; Schumann-Moment ; Mozart-Moment ; Mahler-Moment, dans « Re-Visionen », 1 CD Wergo, 1998, WER 6616-2.
  • Dieter SCHNEBEL, « Missa », 2 CD Wergo, 1993, 286 218-2.
  • Dieter SCHNEBEL, Sinfonie X, dans « Donaueschinger Musiktage 1992 », 3 CD col legno, 1993, WW 3CD 31860.
  • Dieter SCHNEBEL, Redeübungen ; Fantasien ; Weisen ; Gedankengänge, dans « Laut - Gesten - Laute », 1 vinyle Editio Michael Frauenlob Bauer, 1989, MFB 009.
  • Dieter SCHNEBEL, Schubert-Phantasie ; In motu proprio ; Diapason, dans « Schubert-Phantasie Für Orchester / Diapason / In Motu Proprio », 1 vinyle, WERGO, 1985, WER 60108.
  • Dieter SCHNEBEL, Für Stimmen (…missa est), dans « Hallelujah / Für Stimmen (…missa est) », avec des œuvres de Mauricio Kagel, 1 CD Deutsche Grammofon, 1969, 137 010.
  • Dieter SCHNEBEL, Glossolalie, dans « Atlas Eclipticalis • Winter Music • Cartridge Music / Glossolalie », avec des œuvres de John Cage, 1 CD Deutsche Grammofon, 1969, 137 009.