Klaus Hollinetz
Instrument: electronics
Category:

Hollinetz Klaus

Compositions

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

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: