Roland Faber
Registered as:

Faber Roland

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 In der Neige - Liederzyklus für Bariton und Klavier 1985 - 1987 15m - 20m
2 Per Sonare - Erste Sonate für Violine und Violoncello 1985 30m
3 Kryptigma - Erste Klaviersonate 1985 15m - 20m
4 Quartetto semplice al mondo agonizzante - Erstes Streichquartett 1986 1h - 1h 10m
5 Methexis - Zweite Sonate für Violine und Violoncello 1987 26m
6 Ob es mir denn entgangen - Erste Sonate für Violine solo 1987 13m
7 Fragments of an Agon - Für 2 Tenöre, 2 Bässe und sechsstimmigen Frauenchor nach T. S. Eliot 1987 6m - 7m
8 An den zerschlagenen Mond - Erste Sonate für Viola solo 1988 26m
9 Mysterium noctis - Erste Sonate für Violoncello solo 1988 11m - 19m
10 Blick in Opal - Quintett für Flöte, Oboe, Klarinette, Horn und Fagott 1988 19m
11 Ecce homo fragilis - Trio für Viola, Violoncello und Kontrabass 1988 19m
12 Shadowy - shadowy - yet unbroken - Musik für 13 Spieler 1988 17m
13 Schmutzige Tränen - spurlos - Quartett für Oboe, Posaune, Violoncello und Schlagspiele 1989 11m - 19m
14 Zauberhelle. Finsternisse - Zweites Streichquartett in 13 Sätzen 1989 38m
15 Nichts als des Schrecklichen Anfang - Zweite Sonate für Violine solo und Zimbelspiel 1990 12m
16 Nachteinströmen. Versuch über Vergil - Zweites Streichquartett 1990 7m
17 Les six ombres de la nuit - Quintett für Flöte, Klarinette, Violine, Violoncello und Klavier 1990 10m - 11m
18 Crocodile Isle - Dramatisches Septett in Form von Musiktheater 1990 5m - 6m
19 Tropus I - Solo per arco da braccio 1990 8m - 9m
20 Into Thine Hour Of Secrecy - Ein Ritual für 13 Spieler 1991 22m - 23m
21 In mezzo a i fiori essangue - Adagietto per clarino, arco e pianoforte 1991 6m - 28m
22 Sternenstaub. Ein Aufruhr - Für Sopran und Streichtrio 1991 6m
23 Sternenstaub. Ein Kristall - Für Sopran, Vibraphon, Glockenspiel und Celesta 1991 6m - 9m
24 Lichtsturm. Eine zweistimmige Invention - über einen denkwürdigen Klang von Beethoven für digitalisiertes Klavier 1992 18m
25 Lichtsturm. Eine dreizehnstimmige Invention - über einen denkwürdigen Klang von Beethoven für digitalisiertes Klavier 1993 10m

General Information

Year of Birth:  1960
Date of Birth:  8. August 1960
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1974 - 1979

guitar

1978

school leaving examination

1979 - 1985

pedagogy

1979 - 1985

philosophy

1979 - 1985

psychology

1979 - 1985

theology

1984

composition

1985

master in theology

1992

doctorate in theology

1997

habilitation in theology

Activities

PeriodActivityOrganisationLocation
1981

study assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty

1985

scientific assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty

1986

Austrian Society of Philosophy of Religion: member

1988

university assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty

1989

member

1992

Project Zeit.Schnitte: literature and music in interaction together with the writer Christoph Janacs

1993

member

1996

American Academy of Religion, Atlanta: member

1997

Center for Process Studies, Claremont: member

1998

assistant professor at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty

1998

postdoctoral lecture qualification at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty

1998

post-doctoral degree of "Dozent" at the catholic theological faculty

1999

extraordinary university professor of catholic dogmatism

2001

Xavier University: co-teaching a class on Christian Eschatology in US/European Dialogue with Prof. Joseph Bracken

2002

editing Whitehead's Harvard Lectures 1925/1926 from the notes of Charles Hartshorne, published in Process Studies 30/2 (2002) 301-373

2003

publication of his book: "Gott als Poet der Welt. Anliegen und Perspektiven der Prozesstheologie"

2005

Claremont Graduate University, Claremont: professor for religion and philosophy

2005

Claremont School of Theology, Claremont: professor for process theology

2006

Center for Process Studies, Claremont: co-director

2006

Claremount Graduate University, Claremont: Faculty at the Department of Philosophy of the School of Humanities

2006

Whitehead Research Project, Claremont: initiator and executive director

2008

Chicago Divinity School: class

2008

Society of Difference: member

2008

Whitehead Metaphysical Society, Poland: member

2008

new book: "God as Poet of the World: Exploring Process Theologies"

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

Contrast Trio

Hörgänge

Nomos Quartett

Österreich heute

Awards

PeriodAwardCompositionAwarding Organisation
1989

Cologne: international composition award

1990

recognition award for music

1990

work scholarship

1990

promotional prize for composition

1991

state scholarship for composition

1992

recognition award for music

1993

recognition award for music

1994

work scholarship

1995

Erwin-Schrödinger-foreign-exchange-scholarship

2000

Kardinal Innitzer Fonds: prize of excellence in theology

Description of Style

Sound studies. Intrusion into the sound of each instrument. The instrument as an orchestra.
Graphical notation. attempts of notation to the diversification of an instrument in "partial instruments."
"dimensioning" of techniques for sound initiation of a phrase. This forces on a selection of the actual sound from a potential sound space. Forced improvisation; by "dimensioning" an "underdetermination" of the factual is achieved.
"Deep structures": develop a sound field after structural criteria without regard of the actual time: this structure is like an (platonic) "idea", which can not be realized in time. "Time structures" are also made: they are time-related and show no timeless entity, they are more like sound "hoses," in where a sound may move along but cannot escape.
Modality by a thirteen-toned scale. Microtonality often required.
All works underlie a structure, from which both time structuring (metric, rhythm ...) as well as harmony and timbre space, the number of instruments and length of a piece can be determined. This thirteen-linked formation is purely formal in nature and can be applied on any category.
"Dark light" mystagogy: sound development between antipodean sound spaces as rough - soft, clean - very noisy, soft - hard, shrill - reassuring, etc.
"Disritualization": cognition is recognition: prevention of recurrence (recognition) enables (anti-) structures without evidence for the structure-spoilt ear. "Ritualization" is enabling repetition/recognition /detection of structural islands in the volatile time. These elements play a crucial role: according to their "rhythmic" or unbalanced distribution in a piece, the impression of satisfied settlement or distraught searching for a halt in the time stream. These structural "ideas" antagonistically determine a higher level of the rhythm of my music.

 

Roland Faber 1996

Contact, Links

E-Mail:  roland [dot] faberatwhiteheadresearch [dot] org