Klaus Hollinetz
Instrument: electronics
Category:

Hollinetz Klaus

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Innere Hebriden I 2005 1h 26m
2 SOUND FISHING I - for piano, electronics and multi-channel sound projection 2005 46m
3 Lost world found 2005
4 Hickup 2004
5 echoe.S 2004
6 Helix 2004
7 Iniji 2004 21m
8 Mbirations 2004
9 Elea 2003 14m 30s
10 Muse 1, Muse 2 2003 11m 40s
11 Gegenseiten 2003 1m 10s
12 Memorial 2003 34m
13 Vissage / Vissage continue 2003 - 2004
14 Fundstücke 2002 15m
15 Lowlands 1 2002 17m
16 Lowlands 2 2002 26m 30s
17 Secret gestures 2002 ~ 40m
18 ::: visitors ::: 2002
19 Carillion 2001 23m 30s
20 Iconoclast 2001
21 Abschied 2001 5m
22 Walking mind 2000 ~ 2h 14m 29s
23 Free Saggittarius 1999 7m
24 Northern Territories 1999
25 Southern Territories 1999
26 Vier Miniaturen zu "Gödel geht" 1999 14m
27 Area 1999 30m 20s
28 The Monolith 1997 9m
29 Distant Horns 1997 13m 30s
30 Little Stories 1997 1h 12m
31 Little Stories - (additional version) 1997 36m
32 Wounded Earth 1997 - 1998
33 Flammenzungen 1996 1h 26m
34 Wiegenlied 1995 11m
35 Claim - music for the eponymous video by Betty Spackman and Anja Westerfroelke 1995 17m
36 Kontinuum 1995 13m 30s
37 Das Summen, der Ton 1994 3m
38 Tide 1994 - 1995 1h 10m
39 Tenebrae 1993 13m
40 Ekloge 1 1993 4m
41 Ekloge 2 1993 7m
42 Seskara 1993 - 1994 24m
43 La cuccagna nuova 1992 45m
44 Wind und Staub 1992 - 2004 48m
45 Diffraktion 1991 10m 20s
46 Libra 1991
47 Purgatorium 1990 12m
48 Libra I-IV 1990 16m
49 Jenseits der Grenze 1989 7m 30s
50 Tarquinia 1989 12m
51 Die Reise nach Ravenna 1989 ~ 45m
52 To and fro 1988 12m 50s
53 Moravagine 1987 13m 30s
54 a sumatra l'art amusa - 1. Version 1987 ~ 20m
55 Network 7 1987 15m 30s
56 a sumatra l'art amusa 1987 15m
57 a sumatra l'art amusa 1987 14m 50s
58 Awake 1986 16m
59 Network 7 1986 15m
60 Tonga

General Information

Year of Birth:  1959
Date of Birth:  7. October 1959
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1985 - 1987

studies in electro-acoustic and experimental music

Activities

PeriodActivityOrganisationLocation
1992 - 1994

foundation and provisional management of the experimental music studio

1993 - 1995

guest composer and teacher

1996 - 1997

TONGA composition project Austria - Zimbabwe, Harare: cooperation with Keith Goddard

1996

guest composer at the studio SAMT

1996 - 2001

participation in the school project of the Federal Ministry for Education, the Arts and Culture

1996 - 2005

participant of "Hören ist Sehen / Oir Es Ver / To Hear Is To See" in Austria, Mexico, Turkey, Hungary etc.

2001

participation

2002

EXPO.02, Biel/Switzerland: sound director and guest composer at the Klangturm

2003

and 2005: Binga ITC Project, Binga/Zimbabwe: workshops

2004

tour concert in Austria, Germany, the Czech republic and Zimbabwe

teacher of Aesthetics of Electronic Music and Sound Design

literary activities with national and international publications

realisation of several sound and room installations

participant of festivals: Synthesis (Bourges/France), Futura (Crest/France), FEM95 (Bratislava), Absolute Music (Allensteig), Hifa (Harare) etc.

Awards

PeriodAwardCompositionAwarding Organisation
1991

talent promotion award for literature

1992

talent award for music

1998

International Rostrum of Electro-acoustic Music; recommended work

2001

Anton Bruckner scholarship

2005

culture award

Description of Style

Each composition is the product of my personal research, which means it was developed in an experimental process, but is no longer experiment in itself. (Pierre Henry, the great electro-acoustic composer and teacher once said that the dilemma of modern music in general and of electro-acoustic music in particular is that for every new piece of music a new system has to be found, unlike works in literature and other arts). I attempt to catch the natural, coincidental, micro-structural content (or course) of acoustic phenomena and condense them into understandable perception patterns. This happens, for example, through a simple montage; via rigorous selection and reduction of the material, which is obtained according to suitable rules and processes from the, mostly, concrete base material. Hereby, the semantic or anecdotic meaning (in the sense of "musique concrète") plays only a minor or almost no role at all for musical expression. I use "anecdotic quality" mainly as a contrasting or counterpoint-like part of the musical whole. For me it is about the perception criteria, which - as a result of their areas being in extremes - are mostly replaced by surface reality in normal circumstances. Which sounds dwell between the sounds or within the respective sounds? Where is the relation to the various perception criteria, which demand the actual perception of our environment? These pieces of music are created "by chance", out of the structure of the experiment, born out of the inner and outer hearing and demand extreme attention, even in the moments of simplicity and transparency. The listening process is intensified (this is my intention) because there are no recognisable form patterns or clues in general music theory. A catharsis of senses is always intended, many musically relevant events are short, cannot be analysed (in their genesis) and are not immediately abstracted or repeated in the mind. All my compositions are electro-acoustic pieces, which - apart from a few exceptions - have been exclusively created for "loudspeaker ensembles". These compositions are available as sound recordings (on analogue and digital audio tape, CD). For some pieces there are manuals with performance guidelines (acoustic multi-channel projections, sound productions etc.) - but, in principal, there are no scores.

 

Klaus Hollinetz, 1991

Band/Ensemble Member of

Band/Ensemble Member of: 

Contact, Links

Language:  German, English
Website:  www.servus.at
Links: