Andreas Brenner

* 1972

Andreas Brenner was raised in the canton of Thurgau. He studied the violoncello, music theory and conducting in Zurich, Berlin and Lucerne. He has taught music theory at the Hochschule Luzern - Musik since 2003 and has been head of the theory, composition and new music department there since 2007. He is employed as a conductor within and outside of the Hochschule Luzern Musik: he directs the Central Switzerland Youth Philharmonic and the Hochschule Luzern Musik Orchestra in two projects per academic year and additionally takes over the rehearsals for guest conductors (Peter Eötvös, Jonathan Nott and George Benjamin et al.). He conducts the youth chamber orchestra Intakt and central Switzerland's IGNM ensemble. He also makes appearances as a guest conductor, most recently with the Ensemble für Neue Musik Zürich and the Ensemble TaG.
As a composer, Andreas Brenner is orientated towards an aesthetic exemplarily realised in the images of constructive art. A development does not stand in the foreground of his self-contained, hermitic pieces; instead they convey in a labile static an unbounded ecstatic impression, which can be brought to the fore not only through moving repetitive patterns (as in Figures de Rêve), but also through meticulously calculated long phrases (as in Maimelodie).

Andreas Brenner
Lützelmattstr. 11
CH-6006 Luzern
Fon: +41 (0)41 412 20 58
E-mail: andreas.brenner@bluewin.ch


Scores


Figures de Rêve (2004)
15'
for soprano, flute and piano
Order No: 17902, sFr. 18.00
Original text: Giacinto Scelsi, 'L'Archipel Nocturne'.

Sykomoren (2005)
20'
A small cycle about death
for soprano, alto saxophone and piano
Order No: 17903, sFr. 31.00
for soprano, alto saxophone and piano I Auch (Abdo Wazin) II Dunkel (Hans Arp) III Aegyptisches Sterbegebet (anonym) IV Patrouille (August Stramm) V Schafott (Fuad Rifka)

Drei Gedichte nach Gottfried Benn (three poems after Gottfied Benn) (2007)
12'
for medium voice and piano
Order No: 17904, sFr. 18.00
I Drohung II Melancholien III Wohin

Maimelodie (2008)
6'
Study
for violin solo
Order No: 17905, sFr. 13.00

Sinus D (2010)
9'
for brass quintet (horn, 2 trumpets, trombone, tuba)
Order No: 17906, sFr. 23.00
(Parts: sFr. 31.-; 24.-)
On the formal level, Sinus D generates an arch (lat. sinus) - like a D placed on ist back: the elements of a phrase - chords and their resulting melodic motifs - glide into each other successively to create a core of maximum density and a finish, which, with regard to this density, returns to the begining.

Alas (2010)
4'30
for trumpet solo
Order No: 17907, sFr. 16.00
This short solo piece for trumpet is based on a kind of variation form. The idiosyncratic melodic structure is created when the two voices of a canon are projected into the unisonous; the rules, by which this canon abides, change from variation to variation.

Lichtgedanke (2011)
18'
for organ
Order No: 17908, sFr. 34.00
The organ piece "Lichtgedanke" is based on a quote from Friedrich Schiller's poem "Die Gunst des Augenblicks" (from which the word "Lichtedanke" actually comes): "Wie im hellen Sonnenblicke / Sich ein Farbenteppich webt". In much the same way as sections of colour form the totality of white light, chords in "Lichtgedanke" are excised from the chromatic total and combined to give virtuous figurations. These optical refractions return to their original source at the end of the piece: the virtuous figures condense into sound towers of glowing white light.

Prismen (2011)
12'
for wind quintet (horn, 2 trumpets, trombone, tuba) and organ
Order No: 17909, sFr. 29.00
(Parts: sFr. 18.-; 14.-)
Short three or four tone phrases of equidistant intervals are combined in such a way as to form sound structures similar to those found in tonal music. This piece uses a radically reduced amount of material in ever-changing combinations to create prismatic radiations. The sound structures are relics, nothing but colour values - no longer bound by gravity to a base tone (as in tonal music), but produced through a constructive law. This is also the case with the E major chord, which brings this piece to a 'concilitory' end.

Duo (Bodhisattvas) (2013)
12'
for 2 violins
Order No: 17910, sFr. 23.00
The duo was created in reference to Isang Yun's ensemble piece 'Distances' where the different groups of instruments represent shapes from Buddhist mythology. The two violins represent bodhisattvas (enlightened beings). As there, the two players of the duo are spaced far apart on the edges of the podium, possibly even behind the audience in the gallery, etc. Notwithstanding this particualar concrete reference, the duo is a completely independent unit: it is written in its own musical language and in terms of compositional technique quite uninfluenced by Isang Yun.

Hommage à Adolf Wölfli (2013)
7'
for flute or alto saxophone or bassoon
Order No: 17911, sFr. 18.00
(each version)
Hommage à Adolf Wölfli, a piece for soloist, exists in three versions: for flute, for alto saxophone and for bassoon. Because the three versions differ in their musical material (not counting the transposition) they each represent a kind of variation - comparable to a single object under different lighting conditions. When two or even all three versions are performed at the same concert, they should not be performed in immediate succession and always from high to low (that is to say alto saxophone and bassoon always comes after flute, bassoon always after alto saxophone).

Schattenwürfe (2013)
12'
for four-handed piano
Order No: 17912, sFr. 42.00

Trio (2014)
18'
für Oboe, Klarinette und Fagott
Order No: 17914, sFr. 44.00
Das Trio besteht aus einem knapp zwanzigminütigen Satz in elf kontrastierenden Abschnitten. Aus kompositionstechnischem Gesichtspunkt sind vor allem die sorgfältig austarierten Gewichtungen der einzelnen Tonhöhen interessant. Sie führen zu feinen Verschiebungen von Mustern, die in kanonische Texturen münden ein Prozess, der in immer neuen Varianten durchgespielt wird und die elf Abschnitte unter der kontrastierenden Oberfläche eng zusammenschliesst. Es entsteht eine Klanglichkeit, in deren Vordergrund sparsam eingesetzte harmonische Farben und deren allmähliche Veränderung stehen.

Rotationen (2014)
5'
for clarinet solo
Order No: 17913, sFr. 16.00
Aus dem Trio für Oboe, Klarinette und Fagott. Drei "Kadenzen" einstimmige Abschnitte, die das Trio (für Oboe, Klarinette und Fagott) grossformal strukturieren wurden zu einem Solostück für Klarinette zusammengefügt. Die Tonhöhen werden durch eine festgelegte Dauer gewichtet und einem Rotationsverfahren unterworfen. Dabei wird im ersten Abschnitt von einem einstimmigen, im zweiten Abschnitt von einem zweistimmigen, und im dritten Abschnitt von einem dreistimmigen Gerüstsatz ausgegangen, der in der Melodie abgebildet wird.



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