Mack
Mack
Compositional credo
One of the dilemmas of New Music is that every work, or at least every composer, uses a new language. This requires a special effort when listening, especially as you initially only hear what you know in unfamiliar music in the broadest sense.
For me as a composer, this means that I listen to as much different music as I can and that I engage with it. This is the only way to begin to understand foreign music better and to find and consolidate one's own position or culture. At the same time, I don't believe that the development of musical language is automatically determined, as it were. Many people keep trying to do this because they apparently need a kind of "Archimedean point" to legitimise their own work. I have never been interested in this, and I have only defined my own responsibility for what I do as a point of reference.
In recent years, I have been interested in linguistic-mechanological processes in music: What is composed should tell listeners a kind of abstract story that does not actually exist, but which is tangible in essence. Furthermore, the composition of tone colours through the linking of harmony and instrumentation has occupied me to this day, as has the physicality of even the most complex rhythms. Why did I come close to big band jazz again, among other things?
Curriculum vitae in tabular form
| 1954 | born in Speyer, Rhineland-Palatinate |
| 1975-1980 | Studied at the Freiburg University of Music (composition with Klaus Huber and Brian Ferneyhough; music theory with Peter Förtig; piano with Rosa Sabater). |
| 1977-1981 | Assistant at the Experimental Studio of the H. Strobel Foundation of the SWF |
| 1980/81 | Scholarship holder of the Heinrich Strobel Foundation. |
| Since 1980 | Various teaching assignments for music theory, improvisation and balines. Music at the music academies of Freiburg, Trossingen, Basel and the University of Freiburg |
| since 1986 | Professorship for music theory/aural training at the MuHoSchu Freiburg |
| since 1980 | Member of the Stuttgart ensemble ExVoCo (directed by Dr E. Liska) |
| since 1978 | Various study visits to Bali, South India and Japan, including a whole year in Bali in 1981/82. |
| 1982 | Foundation of an ensemble for balines. Music at the Musikhochschule Freiburg |
| 1982- 1991 | Further study visits to Bali, composition workshops in Bandung, Surabaya, Yogyakarta and Jakarta. |
| 1988 | Tour "Portrait Dieter Mack" by the Goethe Institute in Southeast Asia |
| 1991 | "Composer in Residence" at the School of Music, Victoria University, Wellington, New Zealand. |
| 1992-1995 | Guest lecturer (via DAAD) at IKIP-Bandung, Indonesia; member of the Indonesian National Curriculum Commission; |
| Since 1995 | Further short-term guest lectureships in Indonesia, mainly at UPI - Bandung |
| 1997/ 98 | Co-responsible for the end of project CATUR YUGA (cultural co-operation project between Bali/ Indonesia, Basel/ Switzerland, Freiburg/ Germany) |
| 1999-2004 | Guest lecturer in the postgraduate programme "Composition" at the STSI Art Academy -Surakarta |
| from 2003 | Professorship for composition at the Lübeck University of Music Consultant at the "Haus der Kulturen der Welt" in Berlin (until 2006). |
| 2004 | Composition courses in New Zealand (Goethe Institute) Portrait concert during the "Art Summit Indonesia" in Jakarta Lecturer at the chamber music courses "Jugend Musiziert" in Weikersheim. |
| 2005 | Curator for the Gamelan Festival as part of the Southeast Asia Festival "Spaces and Shadows" at the House of World Cultures, Berlin. |
| 2006 | Lecturer at the Darmstadt Summer Courses |
| 2008 | Member of the Free Academy of the Arts Hamburg Vice President of the Lübeck University of Music (until 2011) Member of the Advisory Board of the Goethe Institute (Chair from 2012) |
| 2009 | Concert tour with the "Ensemble Selisih" to Indonesia and New Zealand Chair of the DAAD Musicians' Selection Committee (until 2019), member of the DAAD Expert Committee (since 1998) |
| 2010 | "Composer in Residence" with Bucheon Symph. Orchestra Teaching at Seoul Nat. University and Yonsei University; guest courses in Singapore, Tokyo and Kuala Lumpur |
| 2011 | Concert and lecture tour to Manila, Singapore and Kuala Lumpur Artistic Director of the composition competition "Young Composers Southeast Asia" |
| 2011-13 | Consultant at UPI Bandung, Indonesia |
| 2015 | Vice President of the Lübeck University of Music for International Affairs and Events "Composer in Residence" at the Brücken-Festival in Rostock The complete works (apart from the Bärenreiter publications) published by Verlag Neue Musik Berlin |
| 2017 | "Howard Hanson Visiting Composer Residency", Eastman School/Rochester |
| 2018 | Guest lecturer at Geidai/Tokyo, PGVIM/ Bangkok, UiTM Kuala Lumpur; |
Selection of works
(VNM = Verlag Neue Musik; BR = Bärenreiter)
"Taro" (1987) for two pianos, percussion, flute and bass clarinet (VNM)
"Orgelzyklus" (1984-87) for organ (BR)
"Angin" (1988) for wind orchestra and three percussionists (VNM)
"Kammermusik I" (1988, rev. 2003) for ensemble (BR)
"Kammermusik II" (1991) for ensemble (BR)
"Kammermusik III, IV & V" (2003, 2004/5; 2007) for various ensembles (VNM)
"Segara Variations" (1998/99) for percussion quartet (VNM)
"Vuh" (2000), Concerto for solo percussion and orchestra (VNM)
"Selisih" (2001) for alto and baritone saxophone (VNM) and baritone saxophone (VNM)
"Jonico" (2002) for two percussionists (VNM)
"Tunjuk" (2006) for large orchestra (VNM)
"Pamungkah" (2008) for orchestra (VNM)
"Terasi" (2010) for orchestra VNM)
"Snells Beach" (2009) for solo percussion (VNM)
"Voyage" (2009/10) for flute, two saxophones, percussion & orchestra (VNM) "Voyage" (2009/10) for solo percussion (VNM) two saxophones, percussion & piano piano (VNM)
"Yonsei" (2010) for ensemble (VNM)
"Wooden" (2011/12) for solo - percussion and orchestra (VNM)
"Kokon" (2011) for guitar and harp (VNM)
"Luft" (2012) for ensemble (VNM)
"What About...?" (2013) for ensemble with high soprano (VNM)
"Aal-Glatt" (2014) for saxophone quartet (VNM)
"Ngumbang-Ngisep" (2014) for ensemble (VNM)
"Ical" (2014/15) for choir and large orchestra (VNM)
"Kebyar Baru" & Kebyar Baru II" (2015) for flute & piano, violin & piano (VNM) "Ical" (2014/15) for choir and large orchestra (VNM) piano (VNM)
"Saitenlinien" (2015) for guitar solo (VNM)
"Trio VI" (2016) for clarinet, harp and violoncello (VNM)
"Trio VII" (2017) for violin, oboe and bass koto (VNM)
"Klingende Fäden" (2016) for septet (VNM)
"Ueno Rain" (2017) for wind quintet (VNM)
"Foreign Voices" (2017) cycle for voice (bass) and piano (VNM)
"Mari Marie" (2017) for alto saxophone solo (VNM)
"Suara-Suara" (2018) for string quartet and basset clarinet (VNM)
"Selisih Baru" (2018) for baritone saxophone and violoncello (VNM)
"Trio VIII" (2019) for voice (bass, drums and electric guitar (VNM)
"Basiliensis" (2019) for ensemble (VNM)
