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Ursula Mamlok Komponistin Die Musik Ist Meine Heimat

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Ursula Mamlok Komponistin Die Musik Ist Meine Heimat Ursula Mamlok Komponistin Die Musik ist meine Heimat URSULA MAMLOK Biografie Ursula Mamlok wurde 1923 in Berlin geboren, wo sie schon früh mit ihrer musikalischen Ausbildung begann. Einer ihrer wichtigsten Lehrer war Gustav Ernest, Dozent an der Humboldt-Akademie in Berlin. Aufgrund ihrer jüdischen Abstammung von den Natio- nalsozialisten verfolgt, verließ Ursula Mamlok gemeinsam mit ihren Eltern Berlin und wanderte 1939 nach Ecuador aus. Hier konnte sie ihre musikalische Ausbildung nicht fortsetzen. Sie schickte die Manuskripte ihrer zahlrei- chen Kompositionen zu verschiedenen Konservatorien in die USA. Im Sommer 1940, im Alter von 17 Jahren, verließ sie Ecuador ohne ihre Eltern, um in New York ein Stipendium an der Mannes School of Music anzutre- ten. Dort war einer ihrer ersten Kompositionslehrer der Dirigent Georg Szell. 1947 heiratete sie Dwight Mamlok. 1955 musste sie 2 noch einmal zur Schule zu gehen, um ihren Bachelor und Master of Music bei Vittorio Giannini an der Manhat- tan School of Music abzuschließen. Bereits 1944 ermög- lichte ihr ein dreimonatiges Stipendium den Besuch des berühmten Black Mountain College. Ursula Mamlok mit ihrer Mutter während der Schiffspassage nach Ecuador, 1939 Angeregt u.a. durch den Besuch einer Meisterklasse Ihr Werkverzeichnis umfasst mehr als 60 Werke, sowohl bei Ernst Krenek und den Klavierunterricht bei Eduard für Orchester als auch für die verschiedensten Kam- Steuermann, begann Ursula Mamlok an einem radikalen mermusikbesetzungen, Solostücke und auch Werke für Wandel ihres Kompositionsstils zu arbeiten. Ausgehend Kinder. von Schönbergs Zwölftonsystem modifizierte Ursula Ihre Kompositionen sind bei Boosey & Hawkes · Bote & Mamlok im Lauf der Jahre ihr Ausgangsmaterial nach Bock, C. F. Peters New York, außerdem bei McGinnis & eigenen Mustern. Marx, Furore u.a. verlegt. Sie studierte in den folgenden Jahren Komposition bei Seit 2006 lebt Ursula Mamlok wieder in ihrer Geburts- Roger Sessions, Jerzy Fitelberg und ab 1960 bei Stefan stadt Berlin. Wolpe und schließlich bei dessen Schüler Ralph Shapey, der einen besonders nachhaltigen Einfluss auf die Ent- Ursula Mamlok erhielt u. a. folgende Auszeichnungen: wicklung ihres Kompositionsstils hatte. 1968 und 1981 National Endowment for the Arts 1989 Preis der Koussevitzky Foundation Charakteristisch für ihre Werke sind komplexe, oft ge- 1994 Fromm Foundation Grant geneinander gesetzte Rhythmen. In unterschiedlichsten 1995 John Simon Guggenheim Fellowship Besetzungen gelingt es ihr, abwechslungsreiche Klang- sowie von der American Academy and Institute of Arts farben und immer neue Atmosphären zu schaffen. and Letters, The Martha Baird Rockefeller Foundation. 3 Sie unterrichtete Komposition an der New York Univer- Ausführlichere Informationen zu Leben und Werk: sity, der Temple University, City University und über 40 www.ursulamamlok.com Jahre an der Manhattan School of Music in New York. Biography Ursula Mamlok, born 1923 in Berlin began her musical studies at an early age with Gustav Ernest, professor at the Humboldt Academy. Persecuted by the Nazis she had to leave Berlin in February 1939 going to Guayaquil/Ecuador with her parents. Not being able to continue her studies in Ecuador she sent the manuscripts of her numerous compositions to conser- vatories in U. S.. The Mannes School of Music in New York gave her a full scholarship and she left without her parents at age 17 for New York in 1940. There her teacher was the conductor George Szell. Ursula Mamlok married Dwight Mamlok in 1947 and retur- ned to school in 1955 to obtain her Bachelor and Master of Music with Vittorio Giannini at the Manhattan School of Music. 4 Already a scholarship at the music institute of Black Moun- tain College in 1944 gave her the opportunity to work with Ernst Krenek und Eduard Steuermann which started her desire to change her to style from less complex tonal music to complex non tonal sounds. Her study of twelve tone music afforded her to employ Arnold Schönberg’s system, however modified to suit her own work. Ursula Mamlok am Klavier, New York, 1965 Her later studies with Roger Sessions, Jerzy Fitelberg, Ursula Mamlok was honoured among others by the Stefan Wolpe, and Ralph Shapey proved to be a major following awards: influence in her musical development from 1960 on. 1968 and 1981 National Endowment for the Arts 1981 American Academy and Institute Ursula Mamlok taught composition at New York Univer- of Art and Letters sity, Temple University, City University and over 40 years 1981 and 1982 The Martha Baird Rockefeller Fund composition at the Manhattan School of Music. for Music Recording Award Her work list encompasses over 60 works: for orchest- 1989 Commission of the Koussevitzky ra, chamber music, vocal music, compositions for solo Foundation instruments as well as music for children. 1994 Fromm Foundation Grant Her works are published by Boosey & Hawkes · Bote 1995 John Simon Guggenheim Fellowship & Bock, C. F. Peters New York, McGinnis & Marx, and Furore. More details about Ursula Mamlok’s life and compositions: www.ursulamamlok.com Since 2006 Ursula Mamlok lives at her birthplace Berlin. 5 Herbert Blomstedt und Ursula Mamlok bei der Besprechung der Partitur von „Constellations“ für die Uraufführung mit dem San Francisco Symphony Orchestra 1994. Concerto (1. Fassung), 1974 - 1976, für Oboe Werkverzeichnis und Orchester (15’) Manuskript Orchesterwerke National Endowment for the Arts Concerto (3. Fassung), 2003, für Oboe und Kammer- Concerto, 1950, für Streichorchester orchester, Flöte, (B-)Kl., Fagott, Horn, Trompete, Posau- Manuskript ne, Harfe, 2 Schlagzeuger und Streicher (6-6-4-3-2) UA: New York 2003, New Juilliard Ensemble. Grasshoppers – Sechs Humoresken, 1957/rev. 1984, Leitung: Joel Sachs für großes Orchester (Piccolo, 2 Flöten, 2 Oboen, Verlag: Boosey & Hawkes · Bote & Bock 2 B-Klarinetten, 2 Fagotte, 1 Kontrafagott, 2 Hörner, Aufnahme: BRIDGE RECORDS 9291 2 Trompeten, 3 Posaunen, 1 Tuba, 2 Schlagzeuger und Streicher) Concertino, 1984/rev. 1987, für Holzbläserquintett UA: Stuttgart 1957, Süddeutsches Rundfunkorchester, (Flöte/Piccolo, Oboe, B-Klarinette, Fagott, Horn), Leitung: Carl Bamberger 2 Schlagzeuger und Streicher (15’) Verlag: Boosey & Hawkes · Bote & Bock Auftragswerk des Quintet of the Americas Verlag: C. F. Peters (Leihmaterial) Four German Songs, 1958, für Mezzo (oder Tenor) und Aufnahme: „Elegy“ bei Leonarda LE 327, 1987 Streichorchester (6-6-4-3-2) nach Hermann Hesse Aufnahme: BRIDGE RECORDS 9291 Manuskript 6 Constellations, 1993, für großes Orchester: Divertimento for Young Players, 1958, für Orchester 2 Flöten/Piccolo, 2 Oboen, 1 B-Klarinette, (1 Piccolo, 1 Flöte, 1 Oboe, 2 Klarinetten, 1 Fagott, 1 Es-Klarinette, 2 Fagotte/Kontrafagott, 3 Hörner, 2 Hörner, 2 Trompeten, 2 Posaunen, 1 Tuba, 1 Timpani, 2 Trompeten, 1 Posaune, 1 Tuba, Klavier, Harfe, 2 Schlagzeuger und Streicher (7’) Timpani (4 Trommeln), 2 Schlagzeuger und UA: Williamsburg / Virginia 1989, National Youth Streicher (16-16-14-10-8) (14’) Orchestra Auftragswerk des San Francisco Manuskript Symphony Orchestra 1. Preis Fawick Orchestra Competition 1959 UA: San Francisco 1994 San Francisco Symphony Orchestra Leitung: Herbert Blomstedt Verlag: C. F. Peters (Leihmaterial) Aufnahme: CRI CD 806 Kammermusik Klavier solo Six Short Pieces, 1944, (7’) Manuskript Fuge, 1944 Manuskript Piano Piece, 1946 Manuskript Molto vivo, 1947 7 Manuskript Piano Piece, 1952 Manuskript Grasshoppers – Six Humoresques, 1956, (7’) 2000 Notes, 2000 (7’) UA: New York 1956, Ada Kopetz Auftragswerk von Sarah Cahill und Marcia Eckert Verlag: Boosey & Hawkes · Bote & Bock UA: California 2001, Sarah Cahill, Klavier Verlag: Boosey & Hawkes · Bote & Bock Sculpture, 1964 (2’) Aufnahme: BRIDGE RECORDS 9291 UA: New York 1965, Joan Tower Verlag: Boosey & Hawkes · Bote & Bock Zwei Klavierstücke: Inward Journey, 1989, und Aufnahme: BRIDGE RECORDS 9293 In High Spirits, 2004, gewidmet Isolde und Dieter Backes Six Recital Pieces for Young Pianists, 1981, (5’) Auftragswerk zum 25. Geburtstag des Archivs Auftragswerk von Lilo Kantorowicz-Glick „Frau und Musik” in Frankfurt UA: Summer Music Bennington, 1982 UA: 16.10.2004 in Frankfurt a. M. Verlag: Boosey & Hawkes · Bote & Bock Verlag: Furore Four Recital Pieces for Young Pianists, 1982, (4’) UA: Merkin Hall New York, 1987, D. Stanley, Klavier Klavier vierhändig Verlag: Boosey & Hawkes · Bote & Bock Mosaics, 2011 (6’) Three Bagatelles, 1987, Cembalo (Klavier) (3’) Auftragswerk von Cheryl Seltzer und Joel Sachs UA: New York 1987, Nancy Garniez, Klavier UA: New York 2011 8 Verlag: C. F. Peters Aufnahme: CRI CD 864 (Fassung für Cembalo) Weitere Werke siehe Unterrichtsmaterial Love Song for Two Pigeons, 1991/rev. 1993, (2’) UA: New York 2010, Joel Sachs Verlag: Boosey & Hawkes · Bote & Bock Zwei Klaviere Aufnahme: BRIDGE RECORDS 9293 Siehe Unterrichtsmaterial Kammermusik mit Klavier Concerto (2. Fassung), 1980, für Oboe, 2 Klaviere und Schlagzeug Suite, 1960, für Violine und Klavier (6’) UA: New York 1982, Henry Schumann: Oboe Verlag: Boosey & Hawkes · Bote & Bock Verlag: Boosey & Hawkes · Bote & Bock Aufnahme: BRIDGE RECORDS 9293 Aufnahme: BRIDGE RECORDS 9361 Designs, 1962, für Violine und Klavier (6’) When Summer Sang, 1980, für Flöte (Piccolo), gewidmet Ralph Shapey B-Klarinette, Violine, Violoncello und Klavier (ca. 8’) UA: New York 1963, Matthew Raimondi (Violine), Auftragswerk der Da Capo Chamber Players Robert Helps (Klavier) UA: New York 1981, Da Capo Chamber Players Verlag: Boosey & Hawkes · Bote & Bock Verlag: C. F. Peters Aufnahme: Gasparo GS CD-300
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