Thomas David Müller

18.05.1953

1974 - Studied church music at the ‘Akademie für Schul- und Kirchenmusik Luzern’ (Academy for School and Church Music in Lucerne) received his piano teachers diploma from the Lucerne Conservatory under Bernhard Billeter.
1976 - Commenced a short study under H.U. Lehmann.
1977 until 1979 - Studied composition under Helmut Lachenmann and attended courses in electro-acoustic music under L. Kupkovic at the ‘Musikhochschule Hannover’ (Hannover School of Music).
1981 until 1983 - Studied under Klaus Huber at the ‘Musikhochschule in Freiburg im Breisgau’ (music school in Freiburg im Breisgau).
1980 until 1983 - Studied for his theory teacher’s diploma under Jacques Wildberger at Basel Conservatory.
He received a number of financial awards and decorations:
1992 and 1997 sabbatical years awarded by the city of Zurich.
1993 - Conrad Ferdinand Meyer prize.
1988 until 1997 - Member of the concept group ‘Schiefrund’ with Hans-Niklas Kuhn and Peter Sonderegger. Hans-Niklas Kuhn is a representative of new music and Peter Sonderegger a representative of ancient music. This group deals with contemporary influences from intellectual history and related aesthetical fields, basically thinking and craftsmanship. The experiences Thomas Müller received from this work were enlightening and influential.

Thomas David Müller
Hausmatt 20, Urberg
D-79875 Dachsberg


Samples:


Scores


Tractus, quoqueversus (1977)
9'
for organ (eight organists and assistants)
Order No: 3801, sFr. 16.00
The organ represents here a gigantic Morse encoder, which is connected to a respiratory machine. An experiment with primary expressive form. Action score.

Trauerarbeit (1978)
7'
for viola, double-bass, harp, piano and percussion (6 players in total)
Order No: 3802, sFr. 18.00
Quite quiet music, easy to perform.

Efeu I (1980)
12'
for piano
Order No: 3803, sFr. 18.00

Efeu II (1981)
10'
for flute
Order No: 3804, sFr. 13.00
An approach of three 'Ländler' by Franz Schubert, in which there remains a kind of transfigured hindsight where the false evocation rotates in a circle.
Listen: Youtube

Wiegenlied (1983)
2'
for piano
Order No: 3826, sFr. 13.00
Crossing whole-tone series; third intervals. Traditional playing techniques. Easy but not school music.

Gehen, Fragment (1989)
9'
for violin, violoncello and clarinet
Order No: 3805, sFr. 26.00
The first in a series of instrumental cycles where variations in the interplay and the resulting formal processes are subjects of the composition. Unusual playing techniques.
Listen: Youtube Youtube

Gehen. 45 Vorwärts- / Rückwärtsbewegungen (1990)
ad lib.
for violin (or violoncello) solo
Order No: 3806, sFr. 16.00
Nine parts divided into forty-five segments, all of which can be combined to any individual formal process. The whole is almost exclusively in the first register whereas the bowing is differentiated. Unusual playing techniques are involved. Can be performed on an intermediate or virtuosic level.

Gehen. 31 Vorwärts- / Rückwärtsbewegungen (1991)
ad lib.
for piano
Order No: 3808, sFr. 13.00
Concerning the solo pieces: The (as much as possible) playful creation of a comprehensible entity from precisely notated fragments is left entirely to the interpreter and to the moment of play. It is hoped that the transitional merging 'moments' will behave as a reflection of the whole.
Listen: Youtube

Già va rilucendo / mosso, quel mare (1991)
17'
for two mixed choirs and soprano solo
Order No: 3809, sFr. 26.00
Text: Giuseppe Ungaretti The quartets can be performed as solos. Standard vocal techniques. One section contains altered vocal effects. Demanding to perform. Sponsored by the SME Lucerne.

Klaviertrio (1991/92)
ad lib.
Order No: 3810, sFr. 52.00
The first movement (‘Simultan’) takes various forms of time articulation and ensemble playing as its theme (duration ad Lib.). The second movement (‘Treffen in Prag’) poses the question: Is singing possible? (approx. duration 15'). Third movement (‘Gehen’) looks at the problem of playing together in time (duration ad Lib.). The first and second movements can be played independently, the third movement only together with the first.

Gehen. 46 Vorwärts- / Rückwärtsbewegungen (1992)
ad lib.
for trombone solo
Order No: 3807, sFr. 18.00

Zwei Sequenzen: Stehstelle / Gehstelle (1993)
13'
for violin, violoncello, clarinet, three trombones and piano
Order No: 3811, sFr. 42.00
Both sequences are attempts at reaching emptiness and consequently to liberate space through non-speech and anti-speech methods respectively. The performers perform and, as it were, 'speak' on scrap metal taken from Thomas Bernhard's 'Gehen'.
Listen: Youtube

Secco (1994)
12'
for saxophone, piano and percussion
Order No: 3812, sFr. 26.00
The running motion that characterises the ‘Gehen’ pieces is here tapered to a musicianly progression - with associated imminent crash.

"Duetti" und "Ansfelder Skizze" (1994/95)
17'
for two violins and piano
Order No: 3813, sFr. 13.00
From very easy to easy/intermediate on to intermediate and back again. The piano piece is to be freely interpolated (solo and / or colla parte) also when repeated. ‘Ansfelder Skizze’ refers to Bruckner’s theme in the VII. Symphony, first movement.

Quintett (J'en ai perdu le souvenir) (1997)
9'
for flute, clarinet, violin, violoncello and piano
Order No: 3814, sFr. 23.00
Elementary rhythm and sonority; little bass - uses Schubert’s ‘Ave Maria’ as its structural reservoir. Very little instrumental alienation but it does alienate the usual techniques. Simple music, not particularly simple to play. The interplay (with conductor) is traditional.
Listen: Youtube

Rast (1998)
7'
for piano solo
Order No: 3815, sFr. 16.00
An informal reference to Schubert’s version in the ‘Winterreise’. Action notation. Once read, the performance is of a medium level of difficulty. Tools: steel slide for guitar and a lead bar of app. 3 x 15 cm.

Letzte Zeichen von Geschwindigkeit (Chartres I) (1998)
11'
for flute, oboe and soprano saxophone
Order No: 3816, sFr. 21.00
Traditional interplay with some dodgy rhythmics. Partly over-the-top high register. Reduced but colourful harmony.
Listen: Youtube

Gehen, 13 "Unbewegliche", inklusive 19 Vorwärts- / Rückwärtsbewegungen (1998)
ad lib.
for one percussionist
Order No: 3821, sFr. 23.00
A mobile composition requiring a virtuosic performance. Uses unusual instruments such as three steel drums, a deep G gong, kalimba and cheng cheng. Not obligatory.

Erste Etappe in Richtung farbiger Eindrücke (1999)
14'
for three bass recorders
Order No: 3822, sFr. 18.00
Part I: Partly very simple rhythm, but rich in blowing and fingering techniques. Concept notation. Part II: In space notation based on ‘piangete, ochi miei lassi’ by Sigismondo d’India. Intermediate level of difficulty. Circular breathing ad lbitum.

Howl (2000)
16'
for viola, violoncello, clarinet, piano counter tenor (or alto) CD player and short wave radio (possibly 1 actor)
Order No: 3823, sFr. 34.00
Text: Allen Ginsberg Alternating score and part notation. The solo voice is simple to intermediate. The interplay is not time-bound throughout.


Discs


Marcus Weiss
Thomas Müller: Secco
Alex Buess: ATA 9 für vier Sopransaxophone
Franz Furrer-Münch: Aufgebrochene Momente
Marcus Weiss: Withe Frames
Daniel Weissberg: So long
Thomas Kessler: Inselmusik
(Trio Accanto: Marcus Weiss; Yukiko Sugawara; Christian Dierstein; XASAX/Paris; Matthias Würsch)


Musiques Suisses MGB CTS-M 86
SME/EMS Order Nr.: 96
Price CHF: 30.-

Thomas Müller
Thomas Müller:
Gehen. 31 vorwärts-/rückwärtsbewegungen
(Claudia Rüegg)
Zwei Sequenzen
(ensemble für neue musik zürich; Jürg Henneberger)
Efeu II
(Hans Peter Frehner)
Gehen. Fragment
(ensemble für neue musik zürich; Jürg Henneberger)
Quintett "J'en ai perdu le souvenir"
(ensemble für neue musik zürich; Jürg Henneberger)


Musiques Suisses MGB CTS-M 65
SME/EMS Order Nr.: 19
Price CHF: 30.-



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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger