Klaus Hinrich Stahmer

Was born in Szczecin in 1941. He studied at the Dartington College of Arts in Britain, the Hochschule für Musik in Hamburg and at the universities of Hamburg and Kiel. In 1969 he took up teaching at
the Hochschule für Musik in Würzburg, where he launched the OTage der Neuen Musik1 Festival. In 1983­87 he served as President of the German section of the iscm. He organized the iscm World Music Days in Cologne, Bonn and Frankfurt.
In the early 1970s he started to experiment with the use of multimedia in composition and the performance practice. He lectured for many years in numerous centres around the world, including the United States and Russia. In 1996 he commenced research into the musical tradition of Africa. He has won many awards for his compositions, including First Prize at the Competition in Tokyo (1985).

Selected works: Räume/Orte for small orchestra (1993­94), Zoom for four percussionists (1996), Ein: Threnos in memoriam Paul Hindemith for viola and piano (1963), Sonatina for Violin and Viola (1964), In principio for tenor voice, flute and organ (1968), Vier Transformationen for cello, percussion, synthesizer, tape and projector (1972), Tiere wie du und ich for choir and percussion instruments (1973), Quasi un requiem for voice and string quartet (1974), Check Points for percussion and orchestra (1975), Mobile Aktionen for string orchestra (1975), I can fly for two percussionists (1975), Tre paesaggi, radio piece for voice, guitar, percussion and tape to a text by Cesare Pavese (1976), Rotations for chamber ensemble (1963/77), Dedications, concerto for viola, harp and string orchestra (1964/77), Marsiada for oboe (1978), Die Landschaft in meiner Stimme for voice(-s) (1978), Parole ultime for percussion and organ (1978), Vocal Landscape, radio piece for voice and concrete sounds (1979), Paysages visionaires, musical graphics for optional instruments (1979), Flippermusic for melodic instrument and tape (1980), König Wiedehopf for piccolo flute (1981), Wintermärchen for three reciters, clarinets and string quartet (1981), Die Nashörner, ballet music for tape according to Eugene Ionesco (1983), Porcelain Music for one to four clarinets or clarinet and tape, to sculptures by Edgar Augustin, Jan Koblasy and Klaus Kütemeier (1983), Nocturne für Enzensberger for guitar (1984), Singt, Vögel, scene according to Euripides for soprano, tenor, reciter and instrumental ensemble (1985­86), Klang-Stein-Zeit, sound installation (1987), Voices to b. for three voices, with words by Samuel Beckett (1988), Davids Lobgesang, six concertos for voices and instruments, with words from the Old and New Testament, St. Francis from Asisi and Ernesto Cardenal (1982­89), Comentaires for percussion (1989), Der Stoff aus dem die Stille ist for computer (1990), Rajarosu for cello (1991), Drei Bagatellen for chamber ensemble (1992), Musik für die weißen Nächte for guitar and string quartet (1992), Dreamscape for flute, didjeridu and tape (1994), Sacred Site for piano (1996), may they come, may they disembark, may they stay and rest awhile in peace for large orchestra (1997), Herr der Winde for flute and tape (1997), Mazewot for violin (1998; versions for viola and cello ­ 2001), There is no Return for flute, percussion and piano (1998), to lose is to have for accordion and tape (1999), ...che questo e stato... for vibraphone and tape (1999), Shiki (Jahreszeiten) for oboe (2001), Our Music is so Sweet for cello (2002).

Herr de Winde, contemporary music for progressive flautists (1997)
>From the preface:
A Korean legend tells of a great storm which swept over the land, wreaking havoc to a bamboo wood. The wind played on the hollow trunks of the trees. The king ordered that a flute be built from a bamboo branch. As soon as he started to play the instrument, the storm died out. The ruler kept the miraculous instrument for himself. Thanks to it he was able to control the wind for ever.