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Liste des compositions
Musique de chambre
Sheet music for Hans-Joachim Hespos
— listening CD —
By Robert Platz. By Mauricio Kagel (1931-), Hespos, and Platz. Listening CD. Published by Thorofon Schallplatten (NX.CTH2094).
— listening CD —
By Malte Burba. By Johann Sebastian Bach (1685-1750), Burba, Newman, and Hespos. Listening CD. Published by Thorofon Schallplatten (NX.CTH2575).
Killer Tuba Songs: Naked Singularity, Vol. 2 — ROZEN; Kubera; Jones; Plonsey; Yoder; Spoonemore; Schoenbeck; Eisenstadt; Tabacco
— 1 listening CD — Classical
By ROZEN; Kubera; Jones; Plonsey; Yoder; Spoonemore; Schoenbeck; Eisenstadt; Tabacco. By Various. Thomson; Wuorinen; Skempton; Kampela; Rozen; Plonsey; Hardin; Hespos; Zappa; Zappa. Classical. 1 listening CD. Published by Naxos (NX.COMCON0027).
Mozart & Schumann: Piano Concertos — Annie Fischer; Annie Fischer; Hans Muller-Kray; Hans Rosbaud; Radio-Sinfonieorchester Stuttgart des SWR; SWR Sinfonieorchester Baden-Baden und Freiburg; SWR Sinfonieochester Baden-Baden&Freiburg; Hans-Muller Kray
— listening CD — Classical
By Annie Fischer; Annie Fischer; Hans Muller-Kray; Hans Rosbaud; Radio-Sinfonieorchester Stuttgart des SWR; SWR Sinfonieorchester Baden-Baden und Freiburg; SWR Sinfonieochester Baden-Baden&Freiburg; Hans-Muller Kray. By Wolfgang Amadeus Mozart; Robert Schumann. Classical. Listening CD. Published by Naxos (NX.SWR19025CD).
J. S. Bach Two Pieces for Organ (Fantasia C Major BWV 573 and Sinfonia D Major from Cantata No. 29) — Hans-Andre Stamm
Organ — Score — Baroque Period,Sacred,Recital
Composed by Hans-Andre Stamm (1958-). Arranged by Hans-Andre Stamm. Baroque Period, Sacred, Recital. Score. 16 pages. Published by Hans-Andre Stamm (S0.139595).
Organ Sound and Flute Magic Vol. II for flute & organ — Hans-Andr√© Stamm, C√©sar Franck, Claude Debussy, Engelbert Humperdinck, Grigora Dinicu
Organ,Flute — Score,Solo Part — Romantic Period,Impressionistic,Post-Romantic,World
Composed by Hans-Andr√© Stamm, C√©sar Franck, Claude Debussy, Engelbert Humperdinck, Grigora Dinicu. Arranged by Hans-Andre Stamm. Romantic Period, Impressionistic, Post-Romantic, World. Score, Solo Part. 88 pages. Published by Hans-Andre Stamm (S0.139549).
1-2 Treble Recorders — — Classical
Sehr leicht bearbeitet. Composed by Hans Magolt. Edited by Hans Magolt and Marianne Magolt. Arranged by Hans Magolt and Marianne Magolt. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 24 pages. Schott Music #ED 9531. Published by Schott Music (HL.49008437).
Organ,Alto Sax — Individual Part,Score — Romantic Period
Composed by Gabriel Faur√© & Hans-Andr√© Stamm. Arranged by Hans-Andre Stamm. Romantic Period. Individual Part, Score. 9 pages. Published by Hans-Andre Stamm (S0.237009).
organ — — Romantic
Urtext. Composed by Max Reger (1873-1916). Edited by Hans Klotz and Hans Haselbock. Edition Breitkopf.
Breitkopf Urtext on the basis of the Reger Complete Edition ed. by Hans Klotz, with an introduction by Hans HaselbockRomantic. Breitkopf and Haertel #EB-8497. Published by Breitkopf and Haertel (BR.EB-8497).
organ — — Romantic
Urtext. Composed by Max Reger (1873-1916). Edited by Hans Klotz and Hans Haselbock. Edition Breitkopf. Breitkopf Urtext on the basis of the Reger Complete Edition ed. by Hans Klotz, critically examined by Martin Weyer with an introduction by Hans Haselbock. Romantic. Breitkopf and Haertel #EB-8510. Published by Breitkopf and Haertel (BR.EB-8510).
Composer of numerous works for various ensembles, instruments, operas, etc.
Born in 1938, Hespos has since 1964 composed a huge number of works that are usually extreme even by the standards of the German New Music. Perhaps one of the most remarkable features of Hespos’ music is that there would seem to have been no discernible process of development of technique or alteration in concerns during the last thirty years. Hespos writes as uncompromisingly today as he has always done and the unmediated forcefulness of his work remains almost without parallel even today.
His scores, be they verbal, graphic, more conventionally notated or some combination thereof, always constitute incitements to action rather than instructions to be executed neutrally. Inspired by Adorno and Artaud, each composition forms itself unfettered during the act of composition. Thus each work of any length would hardly be analysable as an artistic object. In Hespos’ own words, he composes without knowing "whither it goes in the next moment, where it ends".
This radical subjectivity should communicate itself to any audience of Hespos’ work, his aim being, to quote Artaud "To reach a point at which things must burst if there would be a new departure/beginning... to lead the spirit to a frenzy, to a rising of its energies".
Such a radical perspective would hardly lead to confinement within accepted artistic genres and notable within many of Hespos’ works are the often unusual or extreme demands on performance resources. Folk instruments from Eastern Europe often find their way into his ensembles and, in the music-theatre piece Seiltanz (1982), one of the performers has to extricate himself from imprisonment in a metal cage by use of an oxyacetylene welding torch.
The demands placed by hespos on musicians are also extreme and unconventional, not only in terms of the actions required to produce sounds (although in some of his works these obligations are almost impossible to fulfil) but also in that musicians are called upon to co-ordinate their actions mutually and in relation to the full score of the work without the use of a conductor. This stringent reliance on individual responsibility and commitment is extended by hespos even to orchestral scores, the results from which have often been unsatisfying. Indeed, some critics have described hespos’ reliance on the good will of performers in realisation of his conceptions as ridiculously Utopian. In a world in which there are perhaps barely a dozen orchestras (all of them being in Germany) that play enough New Music for the musicians not to regard any New Music as somehow alien, whilst political and economic structures encourage if they do not enforce the abdication of individual responsibility for one’s actions, it is a brave composer indeed who would subject these social constrictions to an immanent critique by rendering his works vulnerable to them.
© Steven Holt 1996
Until 1999, for three semesters Hespos was head of the innovative workshop project "extending composition" at the University of Music and Theatre of Rostock.
He had a part-time lectureship at the Institute of Art and Art Theory Department of Textile Creation/Textile Science and its Didactics at the University of Cologne.
Hespos was also a visiting professor at the University of Music and Interpretative Arts of Vienna (6th. Vienna days of contemporary piano music).
He was honoured with the newly created art award of the Oldenburgischen Landschaft together with the Bremen sculptor Jürgen Engel.
He founded the University Manufactory Composition Niedersächsischer Kunstpreis since 2001.
Hespos is composer in residence at the Staatsoper Hannover X.
In 2005 the Akademie der Künste Berlin has established a Hespos archive.
Also in 2005 the magazin OPERNWELT has elected “i O P A L” as the opera first performance of the year.
(Contribution by Eckart Schloifer <email@example.com>.)