updated 6 April 2020
© Peter Andersen

Dieter Schnebel

German composer born 14 March 1930 in Lahr, Germany; died 20 May 2018 in Berlin.

Dieter Schnebel undertook studies of piano, theory, and music history at the Freiburg Conservatory, graduating in 1952 with a pedagogy degree. At the same time, he attended the classes of Martin Heidegger at the university in the same city. He went on to study musicology, philosophy and protestant theology at Tübingen University, and to study the techniques of the Second Viennese School at the Darmstadt Summer Courses, where he met Luigi Nono, Pierre Boulez, Hans Werner Henze, and Ernst Krenek.

Upon completing his studies, he worked as a teacher and pastor in Kaiserslautern, Frankfurt, and Munich. In 1976, a professorship of experimental music and musicology was created especially for him at the Berlin Hochschule der Künste, a position he retained until becoming Professor Emeritus in 1995. He authored numerous musicology books and articles on Bach, Beethoven, Schubert, Schumann, Wagner, Mahler, Debussy, Cage, and Kagel.

Originally a serialist composer (e.g., Stücke [1954-1955], dt 31,6 [1956-1958], Compositio [1955-1956]), Schnebel’s distaste for dogmatism led him to develop his own experimental concepts which are manifest in works such as Glossolalie 61 (1961), Das Urteil (1959), and Ki-No (1963-1967). He also became interested in experimenting with the potential of the voice, from whispers to screams, and composed sacred works including Für Stimmen (…missa est) (1956-1969), Missa (Dahlemer Messe) (1984-1987), Magnificat (1996-1997) and missa brevis (2000-2002).

In 1974, with Maulwerke, which explores the notion of “organic music,” and later in the 1970s with Pan (1978) and Thanatos-Eros (1979), Dieter Schnebel developed what he would call “psychoanalytical music,” an approach to composition whereby each work is based upon its own analysis. In 2011, Schnebel received the Sigmund Freud Kulturpreis, an award for non-psychoanalysts who have made a significant creative or critical contribution to the field.

With the creation of the Die Maulwerker Theatre Troupe in late 1977, Schnebel formalised his “open” work concept, partially inspired by the Fluxus movement, whereby musicians perform unconventional actions with their instruments and voices, as in Harley Davidson (2000) for nine motorcycles and trumpet, and Flipper (2002-2003) for slot machines, performers, and tape. Die Maulwerker premiered the majority of Schnebel’s large-scale scenic works: Totentanz (1989-1994), Museumsstücke I (1992-1993), Museumsstücke II (MoMA) (1994-1995), Schau-Stücke (1995-1997), N.N. (2000-2001), Fontana Mix DS (2002), and Kafka-Dramolette (2005-2008).

Dieter Schnebel’s work comprises research and exploration of certain performative limits, integrating gestures, theatrical elements, extended instrumental and vocal techniques, silence (in the tradition of John Cage), incidental sounds, spatialisation, etc. His scores do not prescribe a definitive sonic result, but rather, indicate a series of actions for the production of sound.

In 1991, he received the Lahr Arts Prize, and in 1999 was the first winner of the European Prize for Church Music, awarded by the city of Schwäbisch Gmünd. He became a member of the Berlin Academy of the Arts and the Leipzig Independent Academy of the Arts in 1991, and the Bavarian Academy of Fine Arts in 1995.

In 2015, he was awarded the Cross of the Order of Merit from the Federal Republic of Germany.


© Ircam-Centre Pompidou, 2020

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

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.