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20-541: From 1956 to 1967, it had a significant influence on the development of electronic music. Among others, Mauricio Kagel , Henri Pousseur , Herbert Brün and Ernst Krenek completed important electronic works there. In 1955, Siemens established an audio laboratory, the Siemens Studio für Elektronische Musik , in its Munich facilities to produce electronic music for its publicity films. Siemens engineers Helmut Klein and Alexander Schaaf were charged with assembling

40-415: A method for controlling its tone-generating facilities, modification and modulation of the sounds in real time, and the manipulation of recorded material into finished works. Between 1960 and 1966, the studio opened its doors to many outside composers, including: Mauricio Kagel Mauricio Raúl Kagel ( Spanish pronunciation: [mawˈɾisjo ˈkaɣel] ; 24 December 1931 – 18 September 2008)

60-583: Is Für Walter – Arc Song II . Fink created, in collaboration with the Institut für Musik und Akustik of the ZKM Center for Art and Media Karlsruhe , the Walter-Fink-Award for electroacoustic music, dance and media. Fink sponsored it until 2012. The prize (€10,000) was awarded for the first time in 2009 to rosalie , Humberto Teixeira and Matthias Ockert  [ de ] . Fink

80-1126: The Darmstädter Ferienkurse . He also taught from 1964–65 at the University at Buffalo as the visiting Slee Professor of music theory. At the Berlin Film and Television Academy he was a visiting lecturer. He served as director of courses for new music in Gothenburg and Cologne. He was professor for new music theatre at the Köln Hochschule from 1974–97. Among his students were Moya Henderson , Kevin Volans , Maria de Alvear , Carola Bauckholt , Branimir Krstić , David Sawer , Rickard Scheffer  [ sv ] , Juan Maria Solare , Norma Tyer , Gerald Barry , Martyn Harry, and Chao-Ming Tung . See: List of music students by teacher: K to M#Mauricio Kagel . Some of his pieces give specific theatrical instructions to

100-720: The Cross of the Order of Merit of the Federal Republic of Germany in 2007. He was Grand Officier of the Confrérie de la Chaîne des Rôtisseurs . On 19 October 2011 the Staatliche Hochschule für Gestaltung Karlsruhe granted him an honorary Doctorate of Philosophy . Musik entspannt, es sei denn, man hört zu". (Music is relaxing, unless one listens.) Walter Fink Fink's interest in contemporary music

120-400: The best-known of his works of instrumental theatre. Kagel also wrote a large number of more conventional orchestral and chamber pieces. Many of these make references to music of the past by, among others, Beethoven, Brahms, Bach and Liszt. Kagel also made films, with one of the best known being Ludwig van (1970), a critical interrogation of the uses of Beethoven 's music made during

140-569: The bicentenary of that composer's birth. In it, a reproduction of Beethoven's studio is seen, as part of a fictive visit of the Beethoven House in Bonn. Everything in it is papered with sheet music of Beethoven's pieces. The soundtrack of the film is a piano playing the music as it appears in each shot. Because the music has been wrapped around curves and edges, it is somewhat distorted, but Beethovenian motifs can still be heard. In other parts,

160-898: The company of his father in Wiesbaden as a young man and expanded it. He was Managing director of the Firmengruppe Fink (FINK Schuhe + Sport GmbH) in Wiesbaden until his retirement in 2002. He founded a church choir at the Christuskirche in Wiesbaden and served there for 25 years as organist. In 1987 he was one of the founding members of the Rheingau Musik Festival , together with Michael Herrmann , Tatiana von Metternich-Winneburg , Claus Wisser , Michael Bolenius, Hans-Clemens Lucht and Ulrich Rosin. The advertising department of his company designed

180-537: The components for the studio and providing a means for controlling the composition, synthesis, and recording of music. The organization of the studio was completed by 1959. A second model was installed in 1964. The studio was closed in 1967 but its main control room and equipment have been preserved as part of a museum exhibit at the Deutsches Museum in Munich. From 1959 until its closure, Josef Anton Riedl

200-495: The devices it uses as musical instruments include chamber pots and enema equipment. Similar is the radio play Ein Aufnahmezustand (1969) which is about the incidents surrounding the recording of a radio play. In Con voce (With Voice), a masked trio silently mimes playing instruments. Match (1964) is a "tennis game" for cellists with a percussionist as umpire, also the subject of one of Kagel's films and perhaps

220-456: The fields of film and photography. In 1991 Kagel was invited by Walter Fink to be the second composer featured in the annual Komponistenporträt of the Rheingau Musik Festival . In 2000 he received the Ernst von Siemens Music Prize . Staatstheater (1970) remains, probably, Kagel's best-known work. He described it as a "ballet for non-dancers", although it is in many ways more like an opera;

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240-401: The film contains parodies of radio or TV broadcasts connected with the "Beethoven Year 1770". Kagel later turned the film into a piece of sheet music itself which could be performed in a concert without the film—the score consists of close-ups of various areas of the studio, which are to be interpreted by the performing pianist. Walter Fink Walter Fink (16 August 1930 – 13 April 2018)

260-892: The last movement of his oratorio Voiceless Voice in Hiroshima in 2001. For the Rheingau Musik Festival, Fink initiated in 1990 an annual Komponistenporträt , the presentation of a living composer and his or her work. Fink was the personal contact to the composers and a sponsor of the concert series, presenting the composers and their music: György Ligeti , Mauricio Kagel , Kirchner, Wilhelm Killmayer , Rihm, Dieter Schnebel , Aribert Reimann , Helmut Lachenmann , Karlheinz Stockhausen , Hans Werner Henze , Krzysztof Penderecki , Steve Reich , Sofia Gubaidulina , György Kurtág , Arvo Pärt , Henri Dutilleux , Heinz Holliger , Hosokawa, Rodion Shchedrin , Kaija Saariaho , Hans Zender and Péter Eötvös . His 80th birthday

280-763: The logo for the festival. Fink was on the board of the Rheingau Musik Festival Förderverein, an association to support the festival, and was its president during the first years. He was a member the jury of the Rheingau Musik Preis , together with Rolf Beck (Artistic Director of the Schleswig-Holstein Musik Festival ), Leo-Karl Gerhartz (retired Music Programme Director of the state broadcaster Hessischer Rundfunk and Peter Hanser-Strecker (Board Chairperson of Schott Music ). Fink received

300-412: The performers, such as to adopt certain facial expressions while playing, to make their stage entrances in a particular way, or to physically interact with other performers. For this reason commentators at times related his work to the theatre of the absurd . He has been regarded by music historians as deploying a critical intelligence interrogating the position of music in society. He was also active in

320-455: Was a German entrepreneur and a patron of contemporary classical music . He is known for being a founding member, executive committee member and sponsor of the Rheingau Musik Festival , where he initiated a series of annual portraits of international composers of contemporary classical music. Fink was taught piano from the age of seven In Frankfurt he took organ lessons with Helmut Walcha and learned conducting with Kurt Thomas . He joined

340-524: Was an Argentine-German composer and academic teacher. Mauricio Raúl Kagel was born on 24 December 1931 in Buenos Aires , Argentina , into an Ashkenazi Jewish family that had fled Russia in the 1920s. He studied music, history of literature, and philosophy in Buenos Aires. In 1957 he moved to Cologne , West Germany , where he lived until his death. From 1960–66 and 1972–76 Kagel taught at

360-429: Was celebrated in a concert of the Rheingau Musik Festival at Schloss Johannisberg on 16 August 2010, with compositions of five composers including three premieres, works by Kirchner, Rihm, Hosokawa, Lachenmann and Jörg Widmann for clarinet, percussion, piano and saxophone. Among the works was Lachenmann's Sakura-Variationen . The title of Hosokawa's composition for soprano saxophone and piano, percussion ad libitum,

380-442: Was director of the studio. The Siemens Synthesizer was controlled by a set of four punch paper rolls controlling the timbre, envelope, pitch and volume. Equipment found in the studio included a bank of 20 oscillators, a white noise generator, a Hohnerola (a hybrid electronically amplified reed instrument marketed by Hohner ) and an impulse generator. The synthesizer had a tonal range of seven octaves. The Siemens Synthesizer offered

400-561: Was instilled in 1947 by Hindemith's opera Mathis der Maler . He supported the Internationale Ferienkurse für Neue Musik in Darmstadt . He was interested in premieres and a personal friend of composers; Wolfgang Rihm served as his best man . Several composers dedicated music to him, such as Volker David Kirchner , his piano quartet with clarinet Exil in 1995 and Toshio Hosokawa , Temple Bells Voice , from

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