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Composer
John Van Buren
| 1952-2022John Van Buren studied at the Stuttgart Musikhochschule under Milko Kelemen. His œuvre, which includes solo and chamber music, choral works, electronic music and compositions for full orchestra, is played by leading ensembles and orchestras. Performances at various German opera houses, and in international music centres (e.g. Carnegie Hall, New York), together with broadcasts by German and American radio and television, document growing public interest in his work. Since 1992 Van Buren has been professor of composition and head of the Studio for New Music at the Hochschule für Musik Nürnberg-Augsburg. Personal details
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Editor
Kurt Suttner
| 1936Kurt Suttner studied school music and singing at the Staatliche Hochschule für Musik in Munich. His work as music teacher at various schools in Munich was followed by his appointment as music teacher at the German School in Addis Ababa (Ethiopia) and as music adviser to the Ministry of Culture in Antananarivo (Madagascar). After teaching choral conducting at the Musikhochschule in Munich he became professor of music education at Augsburg University. For ten years he directed the Bayerische Singakademie, which is an institution fostering vocal talents. In 1997 he was awarded the Bundesverdienstkreuz, first class, by the then Federal German President Roman Herzog. Kurt Suttner frequently acts as a juror at national and international choral competitions, and he directs instructional courses for choirs and choral conductors. He is the editor of the “carus novus” series published by Carus-Verlag, Stuttgart. Personal details
Reviews
John van Buren, Gloria
John van Buren, Gloria
Herausgeber Kurt Suttner, Gründer und Leiter des via-nova-chores München, bringt in der Reihe „carus novus” weltliche und geistliche neue Chormusik heraus, die an die Tradition des Chorgesanges anknüpft, neue Vokaltechniken nicht ausschließt, aber dennoch für gute Laienchöre realisierbar ist.
Neue Wege geht Burens Gloria vor allem in der Textbehandlung. Die gewohnte Abfolge der Strophen wird vielfach umgestellt und um Verlauf des Stücks übereinandergeschichtet. Manche Textabschnitte werden auch weggelassen. Melos und Harmonik reichen von engmaschigen Sekundschritten bis zu grandiosen 8-stg. Akkordflächen. Der freirhythmische Charakter des Stücks wird durch Synkopenbildungen, irreguläre Teilungen und polyrhythmische Strukturen erzeugt. Für gute Kammerchöre mit Ambitionen im Bereich neuer Chormusik eine beachtenswerte Neuerscheinung.
Quelle: Kirchemusik im Erzbistum Bamberg, März 2002, S. 34