Alexander Schubert

Alexander Schubert (born 1979) is a German composer. Much of his music is experimental, involving multimedia, improvisatory, and interactive elements.[1] He draws upon free jazz, techno, and pop styles.[2][3]

Biography

Alexander Schubert was born in Bremen. He studied Bioinformatics in Leipzig, then spent a year at the Center for Art and Media Technology in Karlsruhe at the Institute of Music and Acoustics.[4] He received a doctorate in multimedia composition at the Hochschule für Musik und Theater Hamburg, studying under Georg Hajdu and Manfred Stahnke.[5] He teaches at the Musikhochschule Hamburg,[6] directs the electronic studio at Musikhochschule Lübeck[7] and has been a visiting lecturer at Darmstadt International Summer Courses.[8] A founding member of ensembles Decoder, Trnn, Schubert-Kettlitz-Schwerdt, and Ember, he has also pursued an experimental pop music solo project under the name Sinebag.[9]

Schubert's pieces have been performed at several international institutions, including Wien Modern,[10][11][12] ICMC,[13] SMC,[14] Ultima Oslo Contemporary Music Festival,[15] DLF Forum neuer Musik,[16][17] IRCAM,[18][19][20] ZKM Center for Art and Media Karlsruhe, Huddersfield Contemporary Music Festival,[21][22] and Blurred Edges in Hamburg.[23]

Music

Jennifer Walshe, Matthew Shlomowitz and Zubin Kanga have situated Schubert within what Walshe terms "The New Discipline" of contemporary music, alongside such composers as James Saunders and François Sarhan.[24][25] Shlomowitz writes,

"The remit of New Music has moved on and broadened out in the twenty-first century. Composers such as Joanna Bailie, Michael Beil, Johannes Kreidler and Jennifer Walshe have created work that: engages popular and everyday culture; develops historical ideas from the visual arts (e.g. conceptualism); utilises technology to create new musical instruments; combines field recordings with music to form new relationships between music and the world; and establishes a music-led interdisciplinary practice with multimedia and theatricalised works. Whilst evidently connected to each of these trends, Alexander Schubert's work is a distinctive voice within this milieu."[26]

Schubert's music makes extensive use of multimedia, including live video, internet-sourced content, lighting, and motion sensors.[27][28] Praised by some commentators for its fusion of avant-garde and pop styles,[29][30] immersive qualities,[31][32] and distinctive engagement with the internet,[33][34] Schubert's critics have found his work excessively confrontational[35] or conceptual.[36]

Accolades

In 2009, Schubert won the Bourges Residency Prize, and his piece Nachtschatten ("Nightshade") placed in the Canadian Electroacoustic Community "Jeu de temps" competition.[37] He won the European Conference of Promoters of New Music competition in 2012[38] and a Giga-Hertz Production Award in 2013.[39] Wiki-Piano.Net received an honorary mention in the 2019 Prix Ars Electronica.[40]

Compositions

Pieces with live electronics and visuals
  • Coryllus Avellana (2007), for 49-channel tape, clarinet and electronics
  • Bifurcation Fury (2012), for electric bass guitar, live electronics and lighting
  • Lucky Dip (2013), for midi-drumkit, keyboard, and electric guitar
  • Sensate Focus (2014), for electric guitar, bass clarinet, violin, percussion, live electronics and animated light
  • HELLO (2014), for any number of instruments, live-electronics, and video
  • Supramodal Parser (2015), four pieces for singer, electric guitar, saxophone, percussion, piano and electronics (with haze and lighting)
  • Star Me Kitten (2015), for singer, flexible ensemble, video, and electronics
  • SCANNERS (2013, rev. 2016), for string quintet, choreography and electronics
  • f1 (2016), for variable group of musicians and video
  • Codec Error (2017), for double bass, two percussionists and lighting

Interactive sensor pieces
  • Laplace Tiger (2009), for drum kit, arm-sensor, live electronics and live video
  • Weapon of Choice (2009), for violin, sensor, live electronics and live video
  • Bureau Del Sol (2011), for drumkit, saxophone/piano/e-guitar/clarinet and timecode-vinyl
  • Your Fox's A Dirty Gold (2011), for solo performer with voice, motion sensors, electric guitar and live electronics
  • Point Ones (2012), for small ensemble and augmented conductor
  • Serious Smile (2014), for sensor-equipped ensemble (piano, percussion, cello, conductor) and live electronics

Instrumental pieces with live electronics
  • Sugar, Maths and Whips (2011), for violin, double bass, piano, drum kit, and electronics
  • Bird Snapper (2012), for singer, saxophone, e-bass, e-guitar, percussion, and keyboard
  • Grinder (2015), for saxophone, percussion, keyboard, e-guitar, and electronics
  • Wavelet A (2017), for 4 electric guitars and electronics
  • Black Out BRD (2017), for any combination of instruments

Superimpose Cycle
  • Superimpose I (2009), for jazz quartet and electronics
  • Superimpose II - Night of the Living Dead (2009), for jazz quartet and electronics
  • Superimpose III -Infinite Jest: (2010), for e-guitar, drum kit, saxophone, and live electronics

Community Pieces
  • Public Domain (2017), for one or more performers and/or electronics and/or video
  • Silent Post (2018), for any number of instruments and/or electronics and/or video
  • Black Out Software (2018), for any combination of instruments
  • Wiki-Piano.Net (2018), for piano and internet
  • Behind the Scenes (2019), for any combination of instruments

Tape Pieces
  • Nachtschatten (2008)
  • Semaphores (2011)
  • Mimicry (2015)
  • The Password Disco (2017)

Installations
  • A Set of Dots (2007), interactive audiovisual installation
  • Some forgotten patterns (2009), audiovisual installation
  • Unit Cycle (2013), audiovisual installation
  • Solid State (2016), sound- and light-installation
  • Black Mirror (2016), hour-long participatory concert installation
  • Control (2018), 90-minute participatory concert installation
  • A Perfect Circle (2019), participatory "therapy session" for audience, 2 speakers, 2 assistants, and supervisor
  • Unity Swtich (2019), interactive virtual performance installation

Video Pieces
  • It Was Not An Easy Situation (2018), video and sound
  • Acceptance (2018), documentary piece for solo performer

Select Discography

CD
  • 2005: Milchwolken in Teein (Ahornfelder: AH01) as Sinebag.
  • 2005: Près de la lisière (Ahornfelder: AH02) as Sinebag.
  • 2006: Oullh d'baham (Euphorium: EUPH 010) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.
  • 2010: Aurona Arona (Creative Sources/Abhornfelder: AH18) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.
  • 2011: plays Sinebag (Ahornfelder: AH16, 2011).

DVD
  • 2008: Live Scenes (Euphorium Films: EUPH 011) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.
  • 2011:Weapon of Choice (Ahornfelder: AH21).

Further reading

English
  • Kanga, Zubin and Alexander Schubert. "Flaws in the Body and How We Work with Them: An Interview with Composer Alexander Schubert." Contemporary Music Review 35, no. 4/5 (2016): pp. 535–553.
  • Schlomowitz, Matthew. "The Composer Alexander Schubert". Wien Modern.
  • Thorpe Buchanan, Jason. Behavior and Compositional Process in Georges Aperghis’ Luna Park ProQuest 2229635361 (2019), pp. 68–70 (discussion of Star Me Kitten).

German
  • Drees, Stefan. « Gestische Momente und energetisches Potenzial Zur Musik Alexander Schuberts », Neue Zeitschrift für Musik, 3/2014, p. 48-51.
  • von Frantzius, Martin (2017). "How to Get Lost: Rave-Erfahrung in der Musik von Alexander Schubert". Neue Zeitschrift für Musik. Schott Music. 1 (178): 24–27.
  • Hurt, Leopold. « Zwischen Hardcore und Software: Ein Porträt des Komponisten Alexander Schubert », Positionen, 102, 2015, p. 31-33.
  • Nonnenmann, Rainer. « Der Mensch denkt, die Machine lenkt: ein Porträt des Komponisten Alexander Schubert », MusikTexte, Heft 153, mai 2017, p. 33-42.
  • Stefan, Ilja (2017). "Alexander Schubert – Der Parseltongue". In Hajdu, George (ed.). Jubiläumsschrift: 13 Jahre Masterstudiengang Multimediale Komposition (PDF). Hochschule für Musik und Theater Hamburg. pp. 18–19. ISBN 978-3-00-056586-1.
  • Schubert, Alexander. « Binäre Komposition », MusikTexte, Heft 153, mai 2017, p. 46-50.
  • Schubert, Alexander und Hanno Ehrler. «Verbindung von Körper und Klang: Alexander Schubert im Gespräch », MusikTexte, Heft 153, mai 2017, p. 43-45.

References
  1. Nonnenmann, Rainer (May 2017). "Ein Porträt des Komponisten Alexander Schubert". MusikTexte (153): 33–42. Retrieved 7 July 2020.
  2. Adkins, Monty (2017). "Extending the Instrumental Sound World Using Electronics". In Collins, Nick; d'Escrivan, Julio (eds.). The Cambridge Companion to Electronic Music. Cambridge University Press. p. 263. doi:10.1017/9781316459874. ISBN 9781316459874. Schubert's music draws on many influences, from the energy of punk, electronica, jazz, improvisation, live electronics, noise and electroacoustic music ... Schubert's works, such as Superimpose I (2009), Laplace Tiger (2009) and Your Fox's A Dirty Gold (2014) make extensive use of on- body sensors to allow performers to control sound, video and lighting. Although the raw, visceral musical aesthetic is very different from that of Max Mathews and Tod Machover, the underlying desire for human gestural control of electronics is the same.
  3. Stefan, Ilja (2017). "ALEXANDER SCHUBERT – Der Parseltongue". In Hajdu, George (ed.). Jubiläumsschrift: 13 Jahre Masterstudiengang Multimediale Komposition (PDF) (in German). Hochschule für Musik und Theater Hamburg. pp. 18–19. ISBN 978-3-00-056586-1. Retrieved 7 July 2020.
  4. "Prof. Alexander Schubert". HfMT (in German). Retrieved 21 May 2019.
  5. Hajdu, Georg. "13 Jahre Masterstudiengang Multimediale Komposition an der Hochschule für Musik und Theater Hamburg" (PDF). George Hajdu. Retrieved 21 May 2019.
  6. "Prof. Alexander Schubert". Hochschule fur Musik und Theater Hamburg. Retrieved 30 September 2019.
  7. "Dozenten". Musik Hochschule Luebeck. Retrieved 30 September 2019.
  8. "Musiker-Dozenten". Darmstädter Ferienkurse. Retrieved 30 September 2019.
  9. Wollweber, Jens (19 February 2011). "Alexander Schubert Plays sinebag". Kreuzer Online. KREUZER Medien GmbH. Retrieved 7 July 2020.
  10. Mader, Barbara (27 November 2015). "Es wird schnell und exzessiv". Kurier. Retrieved 8 July 2020.
  11. "Wien Modern 2015: Programm bekanntgegeben". Music Austria. Retrieved 21 May 2019.
  12. Rögl, Heinz (2 December 2015). "Abschlussbericht Wien Modern 2015: Bright Days, Partly Cloudy". Music Austria. Retrieved 8 July 2020.
  13. Six, Joren (31 August 2012). "ICMC 2012 - Sound to Scale to Sound, a Setup for Microtonal Exploration and Composition". 0110.be. University of Ghent. Retrieved 8 July 2020.
  14. "SMB und S.T.R.E.A.M Festival 2016". Kampnagel. Retrieved 21 May 2019.
  15. "Oslo Contemporary Music Festival" (PDF). September 2015. Retrieved 8 July 2020.
  16. Beck, Georg (May 2014). "Ist doch toll, wenn aus wilden Jungen junge Wilde werden". Neue Musik Zeitung. Retrieved 8 July 2020.
  17. "Forum neuer Musik 2010". Desutschland Radio. Retrieved 21 May 2019.
  18. "CODEC ERROR (2017)". IRCAM. Retrieved 21 May 2019.
  19. "Alexander Schubert, Serious Smile, 2014". IRCAM. Retrieved 21 May 2019.
  20. "Video: Three Minutes with Alexander Schubert". IRCAM. 1 September 2017. Retrieved 8 July 2020.
  21. "Hear and Now: Huddersfield Contemporary Music Festival 2014". BBC Radio 3. BBC. 20 December 2014. Retrieved 8 July 2020.
  22. Driver, Paul (25 November 2018). "Northern exposure; Huddersfield Contemporary Music Festival's bill was astonishing - and exhausting, says Paul Driver" (1). The Sunday Times. p. 28. Retrieved 7 July 2020.
  23. "Blurred Edges Festival has kicked off in Hamburg". The Wire. 5 June 2017. Retrieved 21 May 2019.
  24. Walshe, Jennifer (May 2016). "Editorial: The New Discipline". MusikTexte (149): 3. Retrieved 8 July 2020.
  25. Kanga, Zubin (5 December 2016). "Flaws in the Body and How We Work with Them: An Interview with Composer Alexander Schubert". Contemporary Music Review. 35 (4–5): 535–553. doi:10.1080/07494467.2016.1258105. S2CID 193583025.
  26. Shlomowitz, Matthew (2015). "The Composer Alexander Schubert" (PDF). Alexander Schubert. Wien Modern Programme. Retrieved 8 July 2020.
  27. Wieschollek, Dirk. "Hyperaktives Sensorium: Der Komponist und Performer Alexander Schubert verbindet mediale Wirklichkeiten zu explosiven Gemischen". Neue Musikzeitung. ConBrio Verlagsgesellschaft mbH. Retrieved 7 July 2020.
  28. Cossio, Eduardo (29 April 2019). "Mix and Match Media (Review: Zubin Kanga 'Piano Ex Machina')". Seesaw Magazine. Retrieved 7 July 2020.
  29. Drees, Stefan (2014). "Gestische Momente und Energetisches Potenzial zur Musick Alexander Schuberts". Neue Zeitschrift für Musik. Schott Music. 3: 48–51. Retrieved 7 July 2020.
  30. Schwind, Elisabeth (17 October 2018). "7 Dinge, ohne die es in der Neuen Musik nicht geht". Südkurier. Retrieved 7 July 2020. Unvergessen auch die Performance fur Schlagzeug, Kontrabass und Elektronik, in der Alexander Schubert ein Sperrfeuer an Stroboskoplicht und Geraeusch entfachte. Techno-Disco Fuer Avantgardisten.
  31. Chung, Andrew (16 November 2017). "Festival Recap: 2017 Donaueschinger Musiktage". I Care if you Listen. Retrieved 7 July 2020.
  32. von Frantzius, Martin (2017). "How to Get Lost: Rave-Erfahrung in der Musik von Alexander Schubert". Neue Zeitschrift für Musik. Schott Music. 1 (178): 24–27. JSTOR 44758546.
  33. Wilkie, Ben (11 April 2019). "PIANO EX MACHINA (ZUBIN KANGA)". Limelight Magazine. Retrieved 8 July 2020.
  34. Llach, Federico (6 September 2018). "Multidisciplinarity and Reference as a Solution to Inward-Focused Aprroaches in Music Composition". Tempo. 72 (286): 59. doi:10.1017/S0040298218000359. Retrieved 8 July 2020.
  35. Bergnach, Laurent (15 September 2017). "création de Codec Error d'Alexander Schubert " déconseillé aux épileptiques et aux personnes cardiaques "". Anaclase: la musique au jour le jour. Retrieved 7 July 2020. En effet, pour ceux qui méconnaissent la scène techno d’outre-Rhin, les oreilles (et les yeux) vont prendre une sacré raclée! Le problème est que le sadomasochisme implique un accord mutuel, sinon… Mais laissons de côté Mike Godwin.
  36. Brown, Geoff (19 November 2018). "Review: Huddersfield Contemporary Music Festival; The festival embraced everything from the music of Anthony Braxton and Enno Poppe to Zubin Kanga's adventurous piano recital". TIMES2. The Times. Retrieved 7 July 2020.CS1 maint: location (link)
  37. "News". Computer Music Journal. The MIT Press. 34 (1): 5–9. 2010. doi:10.1162/comj.2010.34.2.5. JSTOR 25653527.
  38. "Alexander Schubert wins ECPNM Competition 2012". European Conference of Promoters of New Music. Retrieved 21 May 2019.
  39. "Giga-Hertz Award Winners". ZKM. Retrieved 21 May 2019.
  40. "Prix Ars Electronica: Jury Statements 2019". Ars Electronica. Retrieved 8 July 2020.
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