updated 29 July 2020
© Ganz Fleitmann
© Ganz Fleitmann
Vinko Globokar
Franco-Yugoslavian composer, trombonist, and conductor born 7 July 1934 in Anderny, France.
Vinko Globokar was born in 1934 in Anderny (France) to Slovenian parents. From the age of thirteen to the age of twenty-one, he lived in Ljubjana, Slovenia (then Yugoslavia), where he began his musical career as a jazz trombonist. He returned to France on a scholarship in 1955, where he studied at the Conservatoire de Paris (CNSMDP). He spent time in Cologne and Berlin before settling in Paris and Žužemberk (Slovénia). He studied composition and orchestra conducting with René Leibowitz and later with Luciano Berio.
As a trombonist, he inspired a great deal of contemporary writing for trombone, by composers including Luciano Berio, Mauricio Kagel, Karlheinz Stockhausen, René Leibowitz, and Toru Takemitsu.
From 1967 to 1973, he taught at the Musikhochschule of Cologne. In 1969, he co-founded the free improvisation group New Phonic Art with Jean-Pierre Drouet, Michel Portal, and Carlos Roque Alsina, and then became the head of the instrumental and vocal research department at the IRCAM, a position he held until 1979. From 1983 to 1999, he taught and directed the twentieth century repertoire of the Orchestra Giovanile Italiana of Fiesole (Florence). In 2003, he was named an honorary member of the International Society for Contemporary Music (ISMC).
As a composer, Globokar, as a world citizen without specific ties to any one nation, is difficult to classify. He composes works focused on the relationship between voice and instrument – Discours II to VIII, Mutation for singing orchestra (2006-2007), or between text and music – Voie – in which tradition is confronted with the avant-garde – Kolo, for example, is the name of a Balkan folk dance, and mixes ancient folk traditions with an electronically processed trombone – or inhabited by different cultures: Étude pour Folklora I for ensemble of soloists and Étude pour Folklora II for orchestra (1968), and Élégie balkanique (1992). He believes that any organizational model that exists in nature or culture can become music.
His catalogue, which begins with Plan for four participants and a zarb player (1965) and Voie for narrator, three choirs, and orchestra (1966), now includes more than one hundred compositions in every genre, for orchestra, choir, soloists, and musical theater.
He has conducted his own works with orchestras such as the Westdeutscher Rundfunk; the Orchestras of Radio France, Radio Helsinki, and Radio Ljubjana; as well as with the Warsaw, Jerusalem, and Tokyo philharmonics.
Globokar is also interested in the inventive potential of performers, inviting them to create collectively in works such as Concerto Grosso (1969-1975), Individuum/Collectivum, Ausstrahlungen, written for Michel Portal (1971), or Damdaj for nine improvisational musicians (2009).
Convinced that music today must have a critical stance in contemporary society, Globokar often addresses social issues in his work, notably in Les émigrés (1986), a theme to which he returned in 2012-2014 with L’Exil N°1, L’Exil N°2, and Exil 3, as well as in the opera L’Armonia Drammatica (1987-1990). Questions that are located outside of music (in the political, social, or anthropological worlds, for example) have inspired him to invent new techniques, new materials, and new forms of representation, for example in Les chemins de la liberté for orchestra without conductor (2003-2004) and Masse Macht und Individuum for four soloists and two orchestras (1995).
Many of his works explore theatricality, head-on in Kaktus unter Strom for instruments, electronics, and stage actions (1999), and more obliquely in the cycle Der Engel der Geschichte (2000-2004), where two orchestras face off in a war-like metaphor, or in Das Orchester, in which the composer plays him or herself (1974). This theatricality is often used to explore sound, as in Introspection d’un tubiste (1983). At times, the human body itself becomes the instrument, as in Corporel (1985) or Res/As/Ex/Ins-pirer (1973), which seek a kind of fusion between the instrument and its player. For his seventy-fifth birthday, which was celebrated at the Ljubjana Festival in 2009, Globokar composed Destinées machinales for instruments and musical machines designed by the architect Claudine Brahem, yet another example of what might be called instrumental theatre.
© Ircam-Centre Pompidou, 2010
Sources
Éditions Ricordi
- Solo (excluding voice)
- Atemstudie for oboe (1971), 8 mn, Peters
- Notes for piano (1972), 12 mn, Peters
- Échanges for one brass instrument (1973), 12 mn, Peters
- Limites for violin or viola (1973), 10 mn, Peters
- Res/As/Ex/Ins-pirer for a "blower" (1973), 11 mn, Peters
- Toucher for solo percussion (1973), 9 mn, Peters
- Voix Instrumentalisée for bass clarinet (1973), 10 mn, Peters
- Dédoublement for clarinet (1975), 10 mn, Peters
- Monolith for flute (1976), 10 mn, Peters
- Vorstellung for a soloist ad libitum and film (1976), Peters
- elec Pre-occupation for organ and magnetic tape (1980), 17 mn, Ricordi
- elec stage Introspection d'un tubiste for tuba, electronic device, magnetic tape, lighting and stage movements (1983), 25 mn, Ricordi
- ?Corporel for a percussionist and his body (1984), 10 mn, Peters
- Cri des Alpes for Alphorn (1986), Inédit
- elec Ombre for singer percussionist, zuspielband and drum machine (1989), 10 mn, Ricordi
- Pendulum for solo cello (1991), 22 mn, Ricordi
- elec Prestop I for clarinet and live electronics (1991), 16 mn, Ricordi
- elec Prestop II for trombone and live electronics (1991), 16 mn, Ricordi
- Dialog über Erde for percussion (1994), 10 mn, Ricordi
- Dialog über Feuer for double bass (1994), 13 mn, Ricordi
- Dialog über Luft for accordion (1994), 9 mn, Ricordi
- Dialog über Wasser for acoustic and electric guitar (1994), 10 mn, Ricordi
- Oblak semen for solo trombone (1996), 16 mn, Ricordi
- Pensée écartelée for solo percussion (1997), Ricordi
- elec Kartomlin croisé for amplified violin and live electronics (2001), 10 mn, Ricordi
- Au-delà d'une étude pour percussion for percussion (2008), 22 mn, Ricordi
- Idée fixe for cello (2010), 7 mn, Ricordi
- Chamber music
- Plan for four participants and a zarb player (1965), Peters
- Discours II for five trombones (1967-1968), 14 mn, Peters
- Correspondences for four soloists (1969), 20 mn, Peters
- Discours III for five oboes (1969), 16 mn, Peters
- Drama for piano and percussion (1971), 30 mn, Peters
- Discours IV for three clarinets (1974), 25 mn, Peters
- elec ircam Koexistenz for two cellos and electronics (1976), 18 mn, Peters
- elec ircam To whom it may concern for quintet and tape (1979), 33 mn, Inédit
- Discours V for saxophone quartet (1981), 21 mn, Peters
- Tribadadum extensif sur un rythme fantôme for three or for an unlimited number of percussionists (1981), 25 mn, Ricordi
- Discours VI for string quartet (1981-1982), 23 mn, Peters
- Par une forêt de symboles for six performers ad libitum (1986), 35 mn, Ricordi
- Discours VII for brass quintet (1987), 15 mn, Ricordi
- Freu(n)de for six cellos (1987), 6 mn, Ricordi
- Dos à dos for two instrumentalists (1988), 10 mn, Ricordi
- Kvadrat for four percussionists (1989), 12 mn, Ricordi
- Discours VIII for wind quintet (1989-1990), 20 mn, Ricordi [program note]
- Élégie balkanique for flute, guitar and percussion (1992), 28 mn, Ricordi
- Discours IX for two pianos (1993), 20 mn, Ricordi
- elec Skelet for four musicians and sound processor (1995), 20 mn, Ricordi
- elec Contrepoint barbare for violin, cello, accordion and soundtrack (1996), 18 mn, Ricordi
- Juriritubaïoka for tuba in F and piano (1996), 12 mn, Ricordi
- elec Terres brûlées, ensuite... trio for piano, saxophone, percussion and soundtrack (1998), 30 mn, Ricordi
- elec stage Kaktus unter Strom for oboe, horn, double bass, live electronics, magnetic tape and stage actions (1999), 38 mn, Ricordi
- Avgustin, dober je vin for wind quintet (2002), 12 mn, Ricordi
- elec Métamorphoses parallèles for viola, piano, auxiliary instruments and live electronics (2004-2005), 18 mn, Ricordi
- elec Rêve énigmatique n° 135 for guitar quartet, two samplers and accessories (2006-2007), 16 mn, Ricordi
- Substitution anonyme for six instrumentalists (2007), 16 mn, Ricordi
- Destinées machinales for percussion, clarinet, cello, trombone/Alphorn and musical machines by Claudine Brahem (2008), 40 mn, Ricordi
- Instrumental ensemble music
- Fluide for nine brass instruments and three percussionists (1967), 15 mn, Peters
- Étude pour Folklora I for nineteen instruments (1968), 18 mn, Peters
- La Ronde for instruments ad libitum (1972), 20 mn, Peters
- Vendre le vent for ensemble (1973), 22 mn, Peters
- Das Orchester for orchestra, in five parts (1974), 60 mn, Peters
- La tromba è mobile for harmony orchestra (1979), 21 mn, Peters
- elec Laboratorium for ten musicians (1973-1985), 51 mn, Peters
- Eisenberg for small orchestra (1990), 25 mn, Ricordi
- Eisenberg for sixteen musicians ad libitum, 4 woodwinds, 4 brass, 4 melodic instruments, 4 percussions (1990), 25 mn, Ricordi
- Labour for large orchestra (1992), 27 mn, Ricordi
- elec Blinde Zeit for seven instrumentalists and magnetic tape (1993), 26 mn, Ricordi
- Zlom for twenty-six musicians and tape (1997), 23 mn, Ricordi
- Anti-zapping for ensemble (1999), 5 mn, Ricordi
- Crocs-en-jambe for wind ensemble (2000), variable, Ricordi
- elec Der Engel der Geschichte, Zerfall for two orchestral groups and magnetic tape (2000), 30 mn, Ricordi
- Rêve d'un touriste slovène au Wallis for eight musicians with stage actions (2000), 25 mn, Ricordi
- La prison for eight instrumentalists (2001), 22 mn, Ricordi
- elec Der Engel der Geschichte, Mars for two orchestral groups, magnetic tape and live electronics (2001-2002), 32 mn, Ricordi
- elec Les otages for orchestra and sampler (2003), 30 mn, Ricordi
- elec Der Engel der Geschichte, Hoffnung for two orchestral groups and sampler (2003-2004), 33 mn, Ricordi
- elec Les chemins de la liberté for orchestra without conductor (2003-2004, 2005), 14 mn, Ricordi
- elec Mutation for singing orchestra (2006-2007), 8 mn, Ricordi
- Kaleidoskop im Nebel for chamber ensemble (2012-2013), 23 mn, Ricordi
- Passagio verso il rischio for flute, alto saxophone, trumpet, trombone, violin, cello, double bass (2017), 30 mn, Ricordi
- Bouquet de paramètres sauvages for fourteen instruments (2018), 25 mn, Ricordi
- Concertant music
- Étude pour Folklora II for orchestra (1968), 18 mn, Peters
- Ausstrahlungen for soloist and twenty instruments (1971), 31 mn, Peters
- Der Käfig for orchestra of thirty-six unconducted instrumentalists and one improviser instrument (1980), 30 mn, Ricordi [program note]
- Masse Macht und Individuum for four solo instruments and two orchestras (1995), 40 mn, Ricordi
- Eppure si muove for conducting trombone and eleven instrumentalists (2003), 19 mn, Ricordi
- Vocal music and instrument(s)
- Accord for soprano and five instruments (1966), 15 mn, Peters
- Voie for narrator, three choirs and orchestra (1965-1966), 35 mn, Peters
- Traumdeutung psychodrama for four choirs and four instruments (1967), 20 mn, Peters
- Concerto grosso for five instruments, choir and orchestra (1969-1975), 60 mn, Peters
- Un jour comme un autre for soprano and five instruments (1975), 12 mn, Peters
- stage Carroussel for four singers, sixteen instruments and actors (1976-1977), 40 mn, Peters
- Standpunkte for choir, orchestra and collective creativity (1977), Peters
- elec Airs de voyages vers l'intérieur for eight voices, clarinet, trombone and electronics (1978), 23 mn, Peters
- stage Miserere excerpt n° 1 from Émigrés for five narrators, jazz trio and orchestra (1982), 45 mn, Ricordi
- stage Sternbild der Grenze excerpt n°3 from the Emigrés, for five singers, mezzo-soprano, baritone soli and eighteen instrumentalists (1985), 35 mn, Ricordi
- elec Hallo! Do you hear me for mixed choir, jazz quintet, orchestra and playback tape (1986), 32 mn, Ricordi
- elec stage Les émigrés triptych musical theater (1986), 1 h 20 mn, Ricordi
- elec Kolo for solo trombone, mixed choir and live electronics (1988), 25 mn, Ricordi
- stage L'Armonia drammatica musical drama for seven singers, double choir, tenor saxophone and orchestra (1987-1990), 2 h 15 mn, Ricordi
- Letters for soprano and five instruments (1994), 15 mn, Ricordi
- Réponse à « Letters » après « Second Thoughts » for soprano, flute, accordion and percussion (1997), 16 mn, Ricordi
- elec Nous pensons que for soprano, clarinet, cello, piano, synthesizer, percussion and tape (1998), 25 mn, Ricordi
- Damdaj for nine improvising musicians (2009), 45 mn, Ricordi
- elec Radiographie d’un Roman for seven solo voices, accordion, percussion, choir and large ensemble (2010), 45 mn, Ricordi
- elec Anonymus for guitar, clarinet, tape and soprano (2011-2012), 16 mn, Ricordi
- L’Exil N° 1 for soprano (or tenor) and five instrumentalists (2012), 23 mn, Ricordi
- L’Exil N° 2 for soprano (or tenor) and thirteen instrumentalists (2012), 25 mn, Ricordi
- stage L’idôle musical theater for girls' choir and four percussionists (2012), 25 mn, Ricordi
- stage Exil 3 (Das Leben des Emigranten Edvard) for orchestra, choir, soprano, narrator, contrabass clarinet and improviser (2014), 55 mn, Ricordi
- A cappella vocal music
- Jenseits der Sicherheit for solo voice (1981), Peters
- elec stage Réalités / Augenblicke excerpt n°2 from the Emigrés, for five singers, magnetic tape, film and slides (1984), 25 mn, Ricordi
- Second Thoughts for female voice (1995), 14 mn, Ricordi
- 2018
- Bouquet de paramètres sauvages for fourteen instruments, 25 mn, Ricordi
- 2017
- Passagio verso il rischio for flute, alto saxophone, trumpet, trombone, violin, cello, double bass, 30 mn, Ricordi
- 2014
- stage Exil 3 (Das Leben des Emigranten Edvard) for orchestra, choir, soprano, narrator, contrabass clarinet and improviser, 55 mn, Ricordi
- 2013
- Kaleidoskop im Nebel for chamber ensemble, 23 mn, Ricordi
- 2012
- elec Anonymus for guitar, clarinet, tape and soprano, 16 mn, Ricordi
- L’Exil N° 1 for soprano (or tenor) and five instrumentalists, 23 mn, Ricordi
- L’Exil N° 2 for soprano (or tenor) and thirteen instrumentalists, 25 mn, Ricordi
- stage L’idôle musical theater for girls' choir and four percussionists, 25 mn, Ricordi
- 2010
- Idée fixe for cello, 7 mn, Ricordi
- elec Radiographie d’un Roman for seven solo voices, accordion, percussion, choir and large ensemble, 45 mn, Ricordi
- 2009
- Damdaj for nine improvising musicians, 45 mn, Ricordi
- 2008
- Au-delà d'une étude pour percussion for percussion, 22 mn, Ricordi
- Destinées machinales for percussion, clarinet, cello, trombone/Alphorn and musical machines by Claudine Brahem, 40 mn, Ricordi
- 2007
- elec Mutation for singing orchestra, 8 mn, Ricordi
- elec Rêve énigmatique n° 135 for guitar quartet, two samplers and accessories, 16 mn, Ricordi
- Substitution anonyme for six instrumentalists, 16 mn, Ricordi
- 2005
- elec Métamorphoses parallèles for viola, piano, auxiliary instruments and live electronics, 18 mn, Ricordi
- 2004
- elec Der Engel der Geschichte, Hoffnung for two orchestral groups and sampler, 33 mn, Ricordi
- elec Les chemins de la liberté for orchestra without conductor, 14 mn, Ricordi
- 2003
- Eppure si muove for conducting trombone and eleven instrumentalists, 19 mn, Ricordi
- elec Les otages for orchestra and sampler, 30 mn, Ricordi
- 2002
- Avgustin, dober je vin for wind quintet, 12 mn, Ricordi
- elec Der Engel der Geschichte, Mars for two orchestral groups, magnetic tape and live electronics, 32 mn, Ricordi
- 2001
- elec Kartomlin croisé for amplified violin and live electronics, 10 mn, Ricordi
- La prison for eight instrumentalists, 22 mn, Ricordi
- 2000
- Crocs-en-jambe for wind ensemble, variable, Ricordi
- elec Der Engel der Geschichte, Zerfall for two orchestral groups and magnetic tape, 30 mn, Ricordi
- Rêve d'un touriste slovène au Wallis for eight musicians with stage actions, 25 mn, Ricordi
- 1999
- Anti-zapping for ensemble, 5 mn, Ricordi
- elec stage Kaktus unter Strom for oboe, horn, double bass, live electronics, magnetic tape and stage actions, 38 mn, Ricordi
- 1998
- elec Nous pensons que for soprano, clarinet, cello, piano, synthesizer, percussion and tape, 25 mn, Ricordi
- elec Terres brûlées, ensuite... trio for piano, saxophone, percussion and soundtrack, 30 mn, Ricordi
- 1997
- Pensée écartelée for solo percussion, Ricordi
- Réponse à « Letters » après « Second Thoughts » for soprano, flute, accordion and percussion, 16 mn, Ricordi
- Zlom for twenty-six musicians and tape, 23 mn, Ricordi
- 1996
- elec Contrepoint barbare for violin, cello, accordion and soundtrack, 18 mn, Ricordi
- Juriritubaïoka for tuba in F and piano, 12 mn, Ricordi
- Oblak semen for solo trombone, 16 mn, Ricordi
- 1995
- Masse Macht und Individuum for four solo instruments and two orchestras, 40 mn, Ricordi
- Second Thoughts for female voice, 14 mn, Ricordi
- elec Skelet for four musicians and sound processor, 20 mn, Ricordi
- 1994
- Dialog über Erde for percussion, 10 mn, Ricordi
- Dialog über Feuer for double bass, 13 mn, Ricordi
- Dialog über Luft for accordion, 9 mn, Ricordi
- Dialog über Wasser for acoustic and electric guitar, 10 mn, Ricordi
- Letters for soprano and five instruments, 15 mn, Ricordi
- 1993
- elec Blinde Zeit for seven instrumentalists and magnetic tape, 26 mn, Ricordi
- Discours IX for two pianos, 20 mn, Ricordi
- 1992
- Labour for large orchestra, 27 mn, Ricordi
- Élégie balkanique for flute, guitar and percussion, 28 mn, Ricordi
- 1991
- Pendulum for solo cello, 22 mn, Ricordi
- elec Prestop I for clarinet and live electronics, 16 mn, Ricordi
- elec Prestop II for trombone and live electronics, 16 mn, Ricordi
- 1990
- Discours VIII for wind quintet, 20 mn, Ricordi [program note]
- Eisenberg for small orchestra, 25 mn, Ricordi
- Eisenberg for sixteen musicians ad libitum, 4 woodwinds, 4 brass, 4 melodic instruments, 4 percussions, 25 mn, Ricordi
- stage L'Armonia drammatica musical drama for seven singers, double choir, tenor saxophone and orchestra, 2 h 15 mn, Ricordi
- 1989
- 1988
- 1987
- Discours VII for brass quintet, 15 mn, Ricordi
- Freu(n)de for six cellos, 6 mn, Ricordi
- 1986
- Cri des Alpes for Alphorn, Inédit
- elec Hallo! Do you hear me for mixed choir, jazz quintet, orchestra and playback tape, 32 mn, Ricordi
- elec stage Les émigrés triptych musical theater, 1 h 20 mn, Ricordi
- Par une forêt de symboles for six performers ad libitum, 35 mn, Ricordi
- 1985
- elec Laboratorium for ten musicians, 51 mn, Peters
- stage Sternbild der Grenze excerpt n°3 from the Emigrés, for five singers, mezzo-soprano, baritone soli and eighteen instrumentalists, 35 mn, Ricordi
- 1984
- ?Corporel for a percussionist and his body, 10 mn, Peters
- elec stage Réalités / Augenblicke excerpt n°2 from the Emigrés, for five singers, magnetic tape, film and slides, 25 mn, Ricordi
- 1983
- elec stage Introspection d'un tubiste for tuba, electronic device, magnetic tape, lighting and stage movements, 25 mn, Ricordi
- 1982
- Discours VI for string quartet, 23 mn, Peters
- stage Miserere excerpt n° 1 from Émigrés for five narrators, jazz trio and orchestra, 45 mn, Ricordi
- 1981
- Discours V for saxophone quartet, 21 mn, Peters
- Jenseits der Sicherheit for solo voice, Peters
- Tribadadum extensif sur un rythme fantôme for three or for an unlimited number of percussionists, 25 mn, Ricordi
- 1980
- Der Käfig for orchestra of thirty-six unconducted instrumentalists and one improviser instrument, 30 mn, Ricordi [program note]
- elec Pre-occupation for organ and magnetic tape, 17 mn, Ricordi
- 1979
- La tromba è mobile for harmony orchestra, 21 mn, Peters
- elec ircam To whom it may concern for quintet and tape, 33 mn, Inédit
- 1978
- elec Airs de voyages vers l'intérieur for eight voices, clarinet, trombone and electronics, 23 mn, Peters
- 1977
- stage Carroussel for four singers, sixteen instruments and actors, 40 mn, Peters
- Standpunkte for choir, orchestra and collective creativity, Peters
- 1976
- elec ircam Koexistenz for two cellos and electronics, 18 mn, Peters
- Monolith for flute, 10 mn, Peters
- Vorstellung for a soloist ad libitum and film, Peters
- 1975
- Concerto grosso for five instruments, choir and orchestra, 60 mn, Peters
- Dédoublement for clarinet, 10 mn, Peters
- Un jour comme un autre for soprano and five instruments, 12 mn, Peters
- 1974
- Das Orchester for orchestra, in five parts, 60 mn, Peters
- Discours IV for three clarinets, 25 mn, Peters
- 1973
- Limites for violin or viola, 10 mn, Peters
- Res/As/Ex/Ins-pirer for a "blower", 11 mn, Peters
- Toucher for solo percussion, 9 mn, Peters
- Vendre le vent for ensemble, 22 mn, Peters
- Voix Instrumentalisée for bass clarinet, 10 mn, Peters
- Échanges for one brass instrument, 12 mn, Peters
- 1972
- 1971
- Atemstudie for oboe, 8 mn, Peters
- Ausstrahlungen for soloist and twenty instruments, 31 mn, Peters
- Drama for piano and percussion, 30 mn, Peters
- 1969
- Correspondences for four soloists, 20 mn, Peters
- Discours III for five oboes, 16 mn, Peters
- 1968
- Discours II for five trombones, 14 mn, Peters
- Étude pour Folklora I for nineteen instruments, 18 mn, Peters
- Étude pour Folklora II for orchestra, 18 mn, Peters
- 1967
- Fluide for nine brass instruments and three percussionists, 15 mn, Peters
- Traumdeutung psychodrama for four choirs and four instruments, 20 mn, Peters
- 1966
- 1965
- Plan for four participants and a zarb player, Peters
Liens Internet
- Page Vinko Globokar sur Ricordi : www.ricordi.com
- Page Vinko Globokar sur Durand Salabert Eschig : www.durand-salabert-eschig.com
- Portrait de Vinko Globokar à l’occasion de son 80e anniversaire dans l’émission À l’improviste de Anne Montaron sur France Culture, le 27 décembre 2014.
(liens vérifiés en juillet 2020).
Bibliographie
- Claus-Henning BACHMANN, « Slowenien - ein europäischer Nachbar voller Widersprüche. Globokars Musiktheater vom Widerstand », in Neue Musikzeitung, n° 10, Regensburg, 1987, p. 3.
- Claus-Henning BACHMANN, « Brief an Vinko Globokar », in Neue Zeitchrift für Musik, vol. 7/8, Mainz, 1985, p. 24-27.
- Claus-Henning BACHMANN, « Theorie und Praxis improvisierter Musik. Über ein musikalisches Phänomen der Gegenwart », in Neue Zeitchrift für Musik, vol. 10, Mainz, 1971, p. 530-538.
- Sabine BECK, « Vinko Globokar und der performative Körper », in Samples - Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung, n° 3, 2004, téléchargeable en pdf sur http://www.aspm-samples.de/ (lien vérifié en juillet 2020).
- Sabine BECK, Vinko Globokar: Komponist und Improvisator, Marburg, Tectum-Verlag, 2012.
- Renate BOZIC, « Laboratorium. die Werkstatt des Komponisten Vinko Globokar », in Studien zur Wertungsforschung Bd. 23, Otto Kolleritsch, Universal Edition, Vienne, 1991, p. 187-201.
- Jean-Michel COLLET, Annunziata DELLISANT, « Toucher (Vinko Globokar) » in Percussion, n°9, 2002.
- Stephan FRANKE, « Vinko Globokar », in Kammermusikführer, Ingelborg Allihn , dir. de publication, Bärenreiter, Kassel, Stuttgart, Metzler, 1998, p. 222-224.
- Jonathan GOLDMAN, « How I became a composer: an interview with Vinko Globokar », Tempo, 68(267), pp. 22-28, à lire ici (lien vérifié en juillet 2020).
- Vinko Globokar, [brochure publiée pour les 75 ans du compositeur], Ricordi-Universal, 2009, avec des articles de Hartmut Lück, Gilbert Amy, Richard Toop, Ekkehard Jost, Helge Leiberg, Roland Quitt, Heinz Holliger, Clytus Gottwald, Sigrid Konrad.
- « Globokar-Schwerkpunkt », in MusikTexte, n° 115, 2007, divers auteurs.
- Vinko GLOBOKAR, Claude MINIÈRE, « C’est comme si on chantait », in TXT, n°12, 1980, p. 137‑145.
- Vinko GLOBOKAR, « Testimonianza » in Per Edoardo Sanguineti: lavori in corso: atti del Convegno internazionale di studi, Genova, 12-14 maggio 2011, Marco Berisso, Erminio Risso et Edoardo Sanguineti (éd.), Firenze, F. Cesati, « Quaderni della Rassegna », 2012, p. 311.
- Vinko GLOBOKAR, « “Ich habe beim Komponieren ein schlechtes Gewissen”, Vinko Globokar und Helmut Oehring im Gespräch », in Neue Zeitschrift für Musik 2008/04, p. 38
- Vinko GLOBOKAR, « Symbol der Avantgarde (in memoriam Karlheinz Stockhausen) », MusikTexte, vol. 116, février 2008.
- Vinko GLOBOKAR, « Wir haben viel gelacht (In memoriam Mauricio Kagel) », in MusikTexte, vol. 119, novembre 2008.
- Vinko GLOBOKAR, « Réalität und Hoffnung », in Positionen, n°56‑57, 2003.
- Vinko GLOBOKAR, Laboratorium, Texte zur Musik, 1967-1997, ed. Pfau, Saarbrücken, 1998.
- Vinko GLOBOKAR, Einatmen – Ausatmen, Ekkehard Jost et Werner Klüppelholz, éditeurs, Wolke, Hofheim, 1994.
- Vinko GLOBOKAR, « L’épine dans le pied », in Marsyas, n°14, juin 1990, p. 8‑11.
- Vinko GLOBOKAR, Vdih, izdih, Ljubliana, Slovenska matica, 1987.
- Vinko GLOBOKAR, « Plaidoyer pour une mise en question », dans Cahiers de recherche du CeFEDEM Rhône-alpes et du CNSM Lyon, vol. 2, Lyon, 1997, p. 39-61.
- Vinko GLOBOKAR, « Es war einmal… », in Von Kranichstein zur Gegenwart. 50 Jahre Darmstädter Ferienkurse, Rudolf Stepha, dir. de publication, Daco, Stuttgart, 1996, p. 376-381.
- Vinko GLOBOKAR, « In der Strudeln des Jazz und der zeitgenössischen Musik », in Neue Zeitchrift für Musik, vol. 5, Mainz, 1993, p. 8-13.
- Vinko GLOBOKAR, « Anti-Badaboum. Für eine neue Ästhetik des Schlagzeugs », in Neue Zeitchrift für Musik, n° 150, vol. 3, Mainz, 1989, p. 22-29.
- Vinko GLOBOKAR, « Réflexions sur l’improvisation : le point de vue d’un praticien », in Analyse musicale, n°14, janvier 1989, p. 9‑14.
- Vinko GLOBOKAR, « Botschaften aus dem Äther. À propos de Hallo! Do you hear me? », in MusikTexte, vol. 4, Köln, 1988.
- Vinko GLOBOKAR, « Nirgendwo dazugehören.Randbemerkungen über den Nationalismus und den Kosmopolitismus », in MusikTexte, vol. 18, Köln, 1987, p. 23-25.
- Vinko GLOBOKAR, « Musikalische Fiktion », in MusikTexte, vol. 4, Köln, 1987, p. 11-16.
- Vinko GLOBOKAR, « La dureté du propos, entretien avec Vinko Globokar », in Aujourd’hui l’opéra. Où va la création lyrique en France ? n°42, janvier 1980.
- Vinko GLOBOKAR, « Reflexionen über Improvisation », in Improvisation und neue Musik, Reinhold Brinkmann, éditeur, Mainz, 1979, p. 24-41.
- Vinko GLOBOKAR, « Toujours chez moi, toujours étranger », dans Les nouvelles littéraires, vol. 2640, 1978.
- Vinko GLOBOKAR, « Sortir de la musique » dans Musique en Jeu, vol. 27, Paris, ed. du Seuil, Dominique Jameux, dir. de publication, 1977, p. 95-103.
- Vinko GLOBOKAR, « L’interprète créateur » in La musique en projet, Gallimard/I.R.C.A.M, Gallimard, « Cahiers Renaud-Barrault », 1975, p. 211.
- Vinko GLOBOKAR, « Les rapports du “psychique”, du “physique” et du “rationnel” une problématique de la composition » in La musique en projet, Gallimard/I.R.C.A.M., Gallimard, « Cahiers Renaud-Barrault », 1975, p. 211.
- Vinko GLOBOKAR, « Soziologische Untersuchung über das Orchester. Materialien zur Diskussion eines historischen Instruments » (Teil des Orchesterwerks « Das Orchester », Ausschnitte, 1974) in Neue Zeitschrift für Musik, p. 87.
- Vinko GLOBOKAR, « Ils improvisent… improvisez… improvisons… », in Musique en jeu, n°6, mars 1972.
- Vinko GLOBOKAR, « Réagir… » dans Musique en Jeu, vol. 1, Paris, ed. du Seuil, Dominique Jameux, dir. de publication, 1970, p. 70-77.
- Vinko GLOBOKAR, « Penser à Luciano Berio » sur www.lucianoberio.org.
- Josef HÄUSLER, « Von der Musik loskommen: Vinko Globokar », in Spiegel der neuen Musik: Donaueschingen, Bärenreiter, Kassel, Stuttgart, Metzler, 1996, p. 285-291.
- Werner KLÜPPELHOLTZ, « Die Alchemie des Alltags. Zum Musikdenken Vinko Globokars », in MusikTexte, vol. 11, Köln, 1985.
- Werner KLÜPPELHOLTZ, « Ein Leben in Musik verwandelt. Der Musiker Vinko Globokar », in Neue Zeitschrift für Musik, 2014/03 , p. 44.
- Werner KLÜPPELHOLTZ, Sigrid KONRAD (dir. de publication), Vinko Globokar. 14 Arten einen Musiker zu beschreiben, ed. Pfau, Saarbrüken , 2009.
- Wolfgang KÖNIG, Vinko Globokar: Komposition und Improvisation, Wiesbaden, Breitkopf & Härtel, 1977.
- Sigrid KONRAD, « Das Vergessen ist ausgeschlossen: Vinko Globokar und der Balkan », in Dissonance, n°92, décembre 2005, pp. 9‑11.
- Michael KURTZ, « Vinko Globokar », in Komponisten der Gegenwart, Hanns-Werner Heister et Walter-Wolgang Sparrer, éditeurs, ed. Text+Kritik, München, 1992.
- Jean-Pierre MATHEZ, « Vinko Globokar, l’insurgé », dans Brass Bulletin, vol. 84, Bulle 1993, p. 76-89.
- Raffaele MELLACE, « Sanguineti e i “suoi” musicisti. Una bussola per orientarsi » in Per Edoardo Sanguineti: lavori in corso, Atti del Convegno Internazionale di Studi (Genova, 12-14 maggio 2011).
- Claude MINIÈRE, « Vent, vouloir, vecteur, un entretien avec Vinko Globokar : une “explication dramatique” avec Wagner », in Musique en jeu: Wagner II, no°23, avril 1976, p. 61‑71.
- Ortwin NIMCZIK, « Art. Vinko Globokar », in Metzlers Komponistenlexikon, Horst Weber, Stuttgart, Metzler, 1992, p. 281-283.
- Max NYFFELER, « Der Körper, das unbekannte wesen. Die existenzielle, akrobatik Vinko Globokars », dans Neue Zeitschrift für Musik, 2006, n° 4, p. 18-21.
- John WARNABY, « Vinko Globokar: revaluing a phenomenon », dans Tempo, vol. 61, n° 240, avril 2007, Cambridge University Press, p. 2-18, téléchargeable en pdf (lien vérifié en juillet 2020).
- Peter Niklas WILSON, « Das Malheur ist schon gemarcht - Vinko Globokars Élégie Balkanique », in MusikTexte, vol. 53, Köln, 1994, p. 11-16.
Discographie
- Vinko GLOBOKAR, Les Soliloques décortiqués, Alwynne Pritchard, BIT20 Ensemble, Trond Madsen, 1 cd Kairos, 2020, 15059KAI.
- Vinko GLOBOKAR, L’Exil No. 2, dans « 25 Years of Collegium Novum Zürich », 1 CD Neos, 2018, 11829.
- Vinko GLOBOKAR, Dialog über Luft, dans « Luka Juhart – Dialog », 1 CD Zavod Sploh, 2011, ZAS CD 004.
- Vinko GLOBOKAR, Discours VIII, « Kammerton Der Gegenwart. Die Wittener Tage Für Neue Kammermusik », 1 CD Wolke Verlag, 2009, 978-3-936000-56-6.
- Vinko GLOBOKAR, Der Engel der Geschichte, comprenant : première partie : Zerfall, deuxième partie : Mars, troisième parite : Hoffnung ; Les Otages, Bavarian Radio Symphony Orchestra, SWR Baden-Baden and Freiburg Symphony Orchestra, Arturo Tamayo, Fabrice Bollon, ochestre et studio de la SWR, 2 sacd Col legno, 2008, WWE 2SACD 20609.
- Vinko GLOBOKAR, Monolith, dans « Voice », Astrid Schmeling : flûte, avec des œuvres de Ernstalbrecht Stiebler, Matthias Kaul, Bernhard Lang, Michael Reudenbach, Klaus K. Hübler, 1 cd Wergo, 2008, ARTS 81132.
- Vinko GLOBOKAR, Kartomlin croisé, dans « Prague / Hannover », Lenka Zupkova : violon, avec des œuvres de Andre Bartetzki, Dorothée Hahne, Peter Köszeghy, Annette Schlünz, Thorsten Töpp, Lenka Zupkova, 1 cd Wergo, 2008, ARTS 81152.
- Vinko GLOBOKAR, Freu(n)de, Ensemble de violoncelles, Centre de Pratique des Musiques Contemporaines, Christophe Roy, avec des œuvres de Iannis Xenakis, Georges Aperghis, Robert Pascal, Camille Roy, 1 cd Ameson, 2006.
- Vinko GLOBOKAR, Echanges, dans « Musik Für Soloinstrumente 1965-1980 », série Musik in Deutschland 1950-2000, Deutscher Musikrat, 2006, 74321 73600 2.
- Vinko GLOBOKAR, Toucher, dans « Gravity », 1 CD Oehms Classics, 2006, OC 716.
- Vinko GLOBOKAR, La tromba è mobile, 1 cd Atopos, 2005, ATP007.
- Vinko GLOBOKAR, Ombre et Toucher, dans « Jean-Pierre Drouet – Les Mains Veulent Parler Aussi », 1 CD Atopos, 2005, ATP 005.
- Vinko GLOBOKAR, Masse, Macht Und Individuum (Ausschnitt), dans « Konzerte », série Musik in Deutschland 1950-2000, 6 CD Deutscher Musikrat, 2004, 74321 73658 2.
- Vinko GLOBOKAR, Kvadrat ; Toucher ; Dialog über Erde ; ?corporel ; Pensée écartelée ; Ombre ; Tribadabum extensif sur rythme fantôme, Matthias Kaul : percussion, voix, hurdy-gurdy, 1 cd Wergo, 2003, WER 66622.
- Vinko GLOBOKAR, Oblak Semen ; Discours IX ; Zlom, Klavierduo Stenzl, Orchestra Giovanile Italiana, direction : Vinko Globokar, 1 cd Sargasso, 2001, SCD 28037.
- Vinko GLOBOKAR, Eisenberg, comprenant aussi Airs de voyages vers l’interieur et Labour, Nada Zgur, Darija Hreljanovic : sopranos, Sabira Hajdarovic, Marina Strenar, contraltos, Mleden Katanic, Josip Dern : ténors, Tomaz Faganel, Joze Fürst : basses, Michel Portal, clarinette, University of Illinois New Music Ensemble, RTV Slovenija Symphony Orchestra, Vinko Globokar, trombone et direction, 1 cd Col legno, 2000, WWE 20004.
- Vinko GLOBOKAR, I. Discours III ; II. Discours VI ; III. Discours VII ; IV. Discours VIII ; V. Toucher ; VI. Étude pour folklora I ; VII. Res/as/ex/inspirer ; VIII. Élégie balkanique, Heinz Holliger, hautbois (I), Quatuor à cordes Domus : Krysia Osostowicz et Marshall Marcus : violons, Robin Ireland : alto, Felix Wurman : violoncelle (II), Michael Gross, Alan Kirkendall : trompettes, Jan Babinec : cor, Vinko Globokar : trombone, Patrick Votrian : tuba (III), Ales Kacjan : flûte, Matej Sarc : hautbois, Jurij Jenko : clarinette, Metod Tomac : cor, Paolo Calligaris : basson, Jean-Pierre Drouet : percussion (IV), membres de l’orchestre de la jeunesse italienne de Fiesole, direction : Vinko Globokar (V), Vinko Globokar : trombone (VI), Ensemble L’art pour l’art : Astrid Schmeling, flûte, piccolo, flûte alto, Michael Schröder : guitares acoustique & électrique, Matthias Kaul, percussion (VIII), 2 cd Aulos, 2004, AUL66142.
- Vinko GLOBOKAR, Dialog über Luft, Teodoro Anzellotti : accordéon avec une œuvre de Hosokawa, 1 cd Hat Art, 1999.
- Vinko GLOBOKAR, Pour l’ensemble Aleph, dans « Arrêts Fréquents », 1 CD Vand’Oeuvre, 1998 9813.
- Vinko GLOBOKAR, Masse, Macht und Individuum, Donaueschinger Musiktage 1995, avec des pièces de Josef Anton Riedl, Sabine Shäfer, Toshio Hosokawa, Hanspeter Kyburz, 2 cd col legno, 1995.
- Vinko GLOBOKAR, « Gobokar by Globokar » : Prestop II ; Échanges ; Kolo ; Discours II ; Cri des Alpes, 1 cd Harmonia Mundi, 1992, HMC 905214.
- Vinko GLOBOKAR, Discours III & VI ; Toucher ; Voix instrumentalisée ; Accord, Heinz Holliger : hautbois (Discours 3), Jean Pierre Drouet : percussion (Toucher), Domus Quartet (Discours 6), Michael Riessler : clarinette basse (Voix instrumentalisée), Mila Vilotijevic : soprano (Accord), 1 cd Koch, 1992, Aulos 3-1063-2.
- Vinko GLOBOKAR, Atemstudie ; Ausstrahlungen ; Fluide ; Hallo! Do you hear me?, orchestre Musique vivante, direction : Diego Masson, orchestre de la radio Slovène, chœur Tone Tomsic de Ljubjana, direction : Vinko Globokar, 1 cd Harmonia Mundi, 1991, HMC 90933.
- Vinko GLOBOKAR, Les Émigrés, ensemble Musique Vivante, direction : Diego Masson, Vinko Globokar, 1 cd Harmonia Mundi, coll. Musique Française d’Aujourd’hui, 1991, HMC 905212.
- Vinko GLOBOKAR, Discours IV, dans « Alain Damiens : clarinette », avec des membres de l’Ensemble intercontemporain, avec des pièces de Philippe Fénelon, Philippe Haïm, Jacques Lenot, Iannis Xenakis, 1 cd Adda, coll. Musique Française d’Aujourd’hui, 1991, n° 581277.