Edu Haubensak
09.04.1954
Edu Haubensak was born in Helsinki and musically educated in theory and composition at the Academy of Music in Basel from 1975 until 1979. He developed scenic music compositions, electronic works and chamber musical works. In 1984/5 he was a guest and scholar at the 'Istituto Svizzero di Roma' (Swiss Institute in Rome) and in 1984 he took first prize at the international composers seminar in Boswil. He was a fellow founder of the concert series 'Fabrikkomposition' at the Roten Fabrik in Zurich (1981-89). He is intensively occupied with newly tuned instruments. He attended composition courses and master classes given by Heinz Holliger and Klaus Huber. In 1994 he was awarded a sabbatical year by the city of Zurich. He has won various scholarships and received commissions for compositions and broadcast productions. Edu Haubensaks' work catalogue contains vocal and instrumental orchestra and chamber music, scenic music and radiophonic works, as well as concept compositions, performances and sound installations. He lives and works in Zurich.
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Edu
Haubensak Dufourstr. 169 CH-8008 Zürich Fon: +41 (0)1 382 49 45 Fax: +41 (0)1 382 49 36 E-mail: eduhaubensak@eduhaubensak.ch Web: http://www.eduhaubensak.ch |
Scores
Drei Klangbilder (1981)
Order No: 9004, sFr. 26.00, € 17.00
Tiefer & Tiefer (1983)
Order No: 9009, sFr. 36.00, € 24.00
Refugium (1988)
Order No: 9001, sFr. 12.00, € 8.00
Bläser Konstellation (1990)
Order No: 9020, sFr. 28.00, € 18.50
KurvenKonturenFiguren (1985/91)
for orchestra (I-III)
Order No: 9023, sFr. 52.00, € 34.50
Gestes (1991)
for saxophne and percussion
Order No: 9024, sFr. 10.00, € 6.60
Campi Colorati I-III (1989/92)
for prepared piano (scordatura)
Order No: 9025, sFr. 38.00, € 25.00
Idiorhythmische Studie (1993)
(wooden chair, electronics)
Order No: 9027, sFr. 10.00, € 6.60
The ‘Idiorhythmische Studie’ is a solitary search for rhythms produced by ones own body while sitting upon a stool. When one (the audience) sits upon a wooden stool and, while wearing the headphones, moves slowly one begins to perceive ones own positional changes. The study is a closed system in which each individual visiting the installation is the interpreter and listener of their own concert. A study of oneself.
Spazio (1993/94)
for prepared piano (scordatura)
Order No: 9028, sFr. 18.00, € 12.00
In this tuning the sound of the concert piano is crucially altered and the first aural impression is that of an alien, unknown instrument. ‘Spazio’ means room or fading speech. Each pitch in the middle and high registers of the piano is ‘spatially’ tuned. The three strings of every individual tone differs by a sixth-tone (33 cents), only the single bass strings remain unaltered. With this scordatura it is possible to play dense clusters, which, through the pressing of ten keys, allows thirty different pitches to sound. To suggest a word: ‘soundcubes’.
Message (1994)
for four percussionists (cymbals)
Order No: 9029, sFr. 10.00, € 6.60
Four percussionists traverse the rows where the audience sit following a pre-drawn choreographic plan. The crashing of the cymbals behind the head and close to the ears allows the sound to reach directly into the inner body. There develops a kaleidoscope of overlapping pitches which intensify or extinguish each other, interfere or harmonise - the result is an almost ‘private’ sound. The inner and outer, the near and far, the slowly changing sculptural figure from sounding metal is a communication transcending explanation: Message.
Schöner Wolf (1995)
for alto saxophone and viola (scordatura)
Order No: 9030, sFr. 12.00, € 8.00
Streichtrio I - III (1992/96)
Order No: 9032, sFr. 32.00, € 21.00
(Parts available from SME: sFr. 22.-; € 14.50)
Sechs Walserminiaturen (1996)
Order No: 9033, sFr. 14.00, € 9.50
The aphorisms of Robert Walser (he calls them phrases) unexpectedly caught my attention during nightly readings of his prose. The resulting compositional sketches, all of which were produced in one day, were graphically and verbally fixed (drawn), later interpreted (crystallised) and then precisely notated. The melodic steps of the female voice are often microtonal and are to be performed in the tiniest of intervals in accordance with the interpretation of the texts. In the sixth miniature the violin is retuned resulting in new, profound harmonic situations as well as creating friction between the strings and the voice. To set the texts of Walser to music, to elevate them and endure their depths filled me with an “incredibly intense joy”.
Deux Mondes (1996)
Order No: 9034, sFr. 14.00, € 9.50
Falsches Konzert für 97 Saiten I - IV (1994/97)
Order No: 9035, sFr. 44.00, € 29.00
Tones (1997)
for 2-7 instrumentalists
Order No: 9036, sFr. 14.00, € 9.50
Veränderte Luft (1998)
for prepared piano (scordatura)
Order No: 9037, sFr. 20.00, € 13.00
I. Zehn Kugeln (Prolog) - Ten Spheres (prologue) II. Veränderte Luft - Altered Air III. Achtundachzig Punkte (Epilog) - Eighty-eight Points (Epilogue) Nonequidistant complete retuning (non octave repetitative) This three-part composition is based on a tuning of the piano whereby all of the pitches are altered. The mutations of the frequencies amounts to 1-44 cents higher or deeper (smaller than a quarter tone) and results in a variety of different intervals. The effect of the scordatura is likened to the slight movement of a hand through a regular, organised structure. The main body of the work is occupied with the shifted fifths and octaves which join to produce great harmonic figures before dissolving. The slow prologue and the quick epilogue consist of the 88 pitches of the piano, firstly as ‘harmonic spheres’ and finally as additive rows of points in a quick continuous tempo.
Vertikale Horizonte (1998)
for flute (bfl), clarinet (cl-A), violin and violoncello
Order No: 9045, sFr. 18.00, € 12.00
Zarathustra Destillation (1999)
Order No: 9038, sFr. 44.00, € 29.00
Klaviertrio (in Skordatur) (piano trio in scordatura) (1999/00)
Klangmoment (1999/00)
Order No: 9040, sFr. 10.00, € 6.60
Locomozione (2000)
Order No: 9041, sFr. 24.00, € 16.00
H A L O (2001)
for prepared piano (scordatura)
Order No: 9050, sFr. 22.00, € 14.50
Equidistant, choral five sixths tone tuning. All tones of the piano (excluding those in the bass register) are chorally modified and tuned at twice 166 cents augmented. A tone (key) results in a ‘triad’ which is somewhat larger than a minor third. This tone is the material for the composition entitled ‘HALO’ which means a circle of light (around the moon) or a hue. Here, as in ‘Spazio’ (there it was chorally twice 33 cents), pitches are explicitly perceivable only in the bass register. In the middle and high registers the melodies are scattered and are only perceivable as a whole. The sounds are by no means intended as purely harmonic, the predominantly soft and gentle sounds are interspersed with percussive, drum-like hard (martellato) beats. In this fourth tuning the multidimensionality of a sound is explored anew and is a further attempt to remove the piano from its idiosyncratic position.
Gefärbte Variationen (2002)
for prepared piano (scordatura)
Order No: 9042, sFr. 28.00, € 18.50
Non-equidistant, complete retuning (3-89 cents) The symmetrically built, modified tuning of the 88 pitches is related to the scordatura in ‘Veränderte Luft’ - in this case however the degree of modification has doubled and amounts to not more than 89 cents. The possible interval combinations are exceedingly manifold and coloured differently in every octave. The variations have no theme in the classical sense but are rather more rotationally permutable. The consonant intervals, like the octaves, fifths or fourths, are perceived as being subtly altered through the scordatura and acquire a vibrating form. By crossing the voices it is possible for the ear to continually select the melodic ways anew, the sound combinations are arranged symmetrically or additively. The accumulated tones at the end of the composition are gradually lost in the deepest registers and fade away like a dark trail….
Falsche Schönheit (2002)
for two string quartets in scordatura
Order No: 9043, sFr. 30.00, € 20.00
There is already in the title of my composition two words which take a central position in the music itself, namely false and beauty. Can music be simultaneously beautiful and false or need it be true? Old questions are combined anew. It was actually my intention to write a composition devoid of rhythms. Naturally, in relation to time, this is a grandiose illusion but the idea is tested waiving the rhythmical form of the eight single voices. The interplay between the variations in tempo and polymetric networks gives rise to a reserved and inconspicuous structure opening up the way for harmony. All thirty-two strings of the instrument are tuned new: string quartet 1 by 20 cents and string quartet 2 by 40 cents augmented or diminished. It is now that one hears the unfamiliar or the false nonetheless the air vibrates and pays no attention to the beauty, to the false or the true in music.
Doppellesung (2002)
Order No: 9044, sFr. 28.00, € 18.50
Texts: Marcel Duchamp, Ludwig Wittgenstein Two times eleven texts from the writings of Marcel Duchamp and Ludwig Wittgenstein.
Fünf Zusammenhänge (2003)
for prepared piano (scordatura)
Order No: 9046, sFr. 24.00, € 16.00
Suite (2003/04)
for prepared piano (scordatura)
Order No: 9047, sFr. 26.00, € 17.00
I. Ostinato II. Imitation III. Fantasie IV. Abweichung V. Monochrom VI. Einzeller
Coro Nuovo (2004)
for prepared piano (scordatura)
Order No: 9048, sFr. 24.00, € 16.00
Pur (2004/05)
for prepared piano (scordatura)
Order No: 9049, sFr. 22.00, € 14.50
Mon silence discontinue! (2005)
Order No: 9051, sFr. 32.00, € 21.00
Collection (2005)
for prepared piano (scordatura)
Order No: 9052, sFr. 24.00, € 16.00
I Collection II Cercle III Stamp IV Three Planes
Grosse Stimmung (1989-2005)
Order No: 9054, sFr. 200.00, € 135.00
Ten works for piano solo (10 scordaturas). All scordaturas are practicable and do not damage the instruments. The ten compositions can be put together in any order and performed singularly or in groups of works. Four Steinway B's for smaller concert halls or 4 concert pianos (Steinway D) for larger concert halls (more than 200 people) are necessary for the complete performance. Campi Colorati I-III – composition for piano in new tuning Spazio – 2nd tuning Veränderte Luft – 3rd tuning H A L O – 4th tuning Gefärbte Variationen – 5th tuning Fünf Zusammenhänge – 6th tuning Suite – 7th tuning Coro Nuovo – 8th tuning Pur – 6th tuning Collection – 10th tuning
Spazio Due (2006)
for trumpet in B, Eb Alto saxophone, trombone and piano in skordatura (2nd tuning)
Order No: 9053, sFr. 24.00, € 16.00
Echte Zeit (2008)
for soprano saxophone and light projection (video) with audio aparatus (1 player)
Order No: 9055, sFr. 20.00, € 13.00
Chroma 24 (2009)
Order No: 9056, sFr. 18.00, € 12.00
Discs
Edu Haubensak: Konzert in Neuer Stimmung. Gessnerallee Zürich
Campi Colorati
Schwarz Weiss
KurvenKonturenFiguren
(Tomas Bächli, Gertrud Schneider, Basel Sinfonietta)
Edu Haubensak - Klaviermusik, Stimmungen II-V
Veränderte Luft
Spazio
Gefärbte Variationen
Halo
(Tomas Bächli)
Edu Hubensak - Kammermusik
Streichtrio
Klaviertrio
Campi Colorati I-III
(Noëmi Schindler, Jean-Paul Mineli, Christophe Roy, Katharina Weber)
Robert Walser und die Schweizer Musik
Jürg Frey: Lachen und Lächeln
Anette Schmucki: Am Fenster
Edu Haubensak: Sechs Walserminiaturen
Christoph Neidhöfer: Vier Lieder nach Robert Walser
Daniel Glaus: Sechs Lieder
Aleksander Gabrys: Da ich ein Knabe war
Urs Peter Schneider: Robert Walser Trilogie
(Erika Radermacher; Urs Peter Schneider; Chiharu Sato; u.a.)
Odem
(Edu Haubensak)
Further Discs:
CD Dokumental 9305 16: "Konzert in neuer Stimmung" (Campi colorati I-III, Schwarz Weiss, KurvenKonturenFiguren)
CD Dokumental 001115: Chamber Music
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automatically generated. last update: 05.08.2010 / 2004 Theo Lustenberger