Hans Huyssen was born in Pretoria, South Africa. After completing a B.Mus. degree at the Conservatory of the University of Stellenbosch, with Cello and Composition as main subjects, he furthered his studies in Europe. For a few years he concentrated mainly on the cello, becoming increasingly involved in period performance practice. Being a member of various ensembles in this field led to substantial concert activities in many different countries throughout the world. Through his acquaintance with Hans-Jürgen von Bose and a final, intensive period of study at the Hochschule für Musik in Munich, it became evident to Huyssen that composition would be his main field of interest. Since then, numerous works have been commissioned from him, and have been performed by the Austrian Ensemble for New Music, the Mozarteum Orchestra Salzburg, the Munich Symphony Orchestra, the Georgian Chamber Orchestra, the Camerata Freden, the Munich Chamber Orchestra and the Deutsche Kammerphilharmonie Bremen, as well as several ensembles on period instruments.


He received composition bursaries from the University of Stellenbosch, the Steinbrenner Foundation (Berlin) and the Bavarian Ministry of Culture. In 1994 he was granted a Special Merit Award by the Southern African Music Rights Organization (SAMRO). His first commercial recording (of the Chamber Concerto for Harp and Strings) was released in 1998 (Tacet, Eigenart 10200).



Chamber Music:

Southern Nocturnal (2003) ca. 10'


'Trusting the moon to sing' for solo guitar (commissioned by Stefan Stiens); first performance: Munich, 9 March 2003


The Songs of Madosini (2002) ca. 25'. For Madosini / Latozi Mpahleni (vocals, uhadi, umrhubhe, isitolotolo), clarinet, string quartet and narrator; first performance: ICMF, Pretoria, 15.8.02


'I fistula nomine ricordo' (1999) ca. 7'. For various recorders and Baroque cello; first performance: Stellenbosch Festival, 30.9.99


'The cattle have gone astray' (1999) ca. 10'. For flute, piano and cello, incorporating a Tsonga herding song (commissioned by SAMRO for the Trio Hemanay); first performance: Columbus, Ohio, 18 August 2000


Amadinda - Prelude and Fugue (1997) ca. 10'. For two pianos; first performance: Würzburg, 2 March 1998.


Responsorium (1996) ca. 7'. For solo violin and (sampled recordings of) African birdcalls; first performance: Stuttgart, 23 February 1997.


Ugubu (rising and falling... and rising) (III/1996) ca. 5'. For Cello solo (commissioned by the Southern African Music Rights organization, SAMRO)


Ritornello (1996) ca. 6'. For period instruments (oboe da caccia, Baroque violin, Baroque cello, harpsichord); first performance: Munich, 31 August 1996.


Love Song Quartets (1995) ca. 10'. 3 pieces for string quartet on traditional love songs; first performance: Puchheim, 8 March 1996.


Variations for bassoon and temple blocks (1994) 6'; first performance: Munich, 13.3.94


Little Portrait of the World (1994) ca. 20'


Wind quintet and voices; prod. BR: Munich, 14.11.95; first performance: Schloß Leitheim, 5.7.96


Love Song Trios (1993) 7'. vn, va, vc; first performance: Schloß Bernstein, 8.4.93


Evocation or Escapade (depending on the point of view) (1992) ca. 9'. For violin and piano; first performance: Munich, 20.6.95


'Parable' for string quartet (1992) ca. 12'. First performance: St. Petersburg, 21.11.92


"Zeitverlust" (Piece on a Poem) (1992) ca. 14'. Setting (without words) of a poem by Hans Günter Saul. For cello solo; first performance: Salzburg, 6.3.95; publisher: Ries + Erler, Berlin; ISMN M-013-02029-4


6 Pieces for a Pianist and a Child (1989/91) ca. 13'. For piano, 3 and 4 hands; first performance: Munich, 20.6.95


Love Song Duets (1990) 5'. On traditional songs (by Dowland, Steuerlein, Senfl). For violin and cello; first performance: Lynedoch, Spier, 29.9.90


Chamber Music with Voice:

Silence where a song would ring (2000) ca.12'. Setting of /Xam texts for baritone, violin and percussion (commissioned by the Gasteig Kulturverein); first performance: Munich, 3.5.01


A propos du malheur (1999) ca. 8'. Soprano, flute, vc; Texts: Simone Weil; first performance: Vienna, 16.8.99


Incantation (to open/close the concert) (1998) ca. 8'. For soprano, harpsichord, lute and cello; Text: Alexander Pope; first performance: Tübingen, 30.1.99


Iedere Liedere (1998) ca. 5'. For tenor and piano; Afrikaans folk song arrangements


Nursery Songs (1998) ca. 5'. For soprano, lute and cello; Texts: nursery rhymes; first performance: Salzburg, 16.6.98


"Brunnenränderlieder" (1984/95) ca. 10'. 4 Songs for soprano and string quartet; Texts: Trakl, Weinheber, Domin; first performance: Stellenbosch, 1984; first performance of revised version: Munich, 10.3.95


"Sommerlieder" (1994) ca. 15'. Cycle of songs on poems by Georg Britting; baritone, accordion, vc


"no more..." (1994) ca. 11'. Musical scene; Text by George Byron; S, A, T, B; 2 tp, 2 trb; 4 perc, piano, synthesizer; first performance: Munich, 10.11.94


"Die Stimmen" (1992) ca. 14'. Setting of 6 poems by Rainer Maria Rilke; baritone and guitar; first performance: München, 8.2.98


Sonnet for Good Friday (1992) 5'. Text by Andreas Gryphius "Auff das Fest des Todes Jesu Christi/ oder auff den guten Freytag" (from "Sonn- and Feiertagssonette", 1639); counter tenor (alto), oboe d'amore, va (suitable for performance on historical instruments); first performance: Salzburg, 19.6.92


Vocal Consort:

Musik zu einem Kirchenfenster (1999) ca. 8'. Text: Angelus Silesius, Christian Knorr von Rosenroth; S, MS, A, T, B, tp, 2 vn, va, vc, db, organ; first performance: Munich, 13.5.99


So we'll go no more a-roving (1994) ca. 4'. Text: George Byron; S, A (CT), T, B; first performance: Cambridge, 28.7.94


Choral Works:

Wir sind Verlassene in der Zeit (2001) ca. 5'. Motet for S, A, T, B, 5-part mixed choir, a capella (commissioned by the Heinrich Schütz Society, South Africa)


'Bonjour', dit le renard. 'Good morning', the little prince replied. (2001) ca. 5'. Dialogue for double choir, a capella (commissioned by SAMRO for performance at the Grahamstown National Arts Festival 2001); first performance: Grahamstown, 1.7.01


Unerläßliches Leid (1997/8) ca. 40'. Cantata for S, A, T, B, 5-part mixed choir, Baroque orchestra (commissioned by the Heinrich Schütz Ensemble); first performance: Munich, 8.3.98


Improperien (1996) ca. 6'. (Liturgical music for Good Friday); cantor, choral schola (men's voices), 5 part mixed choir, 3 solo violins (commissioned by the Kantorei Wies); first performance: Wies, Austria, 5.4.96


"3 Wunderhorn-Lieder" (1992) ca. 10'. Text from "Des Knaben Wunderhorn" mixed choir a capella, soloists: S, A, baritone (with wood block and sleigh bells in the first song)


'Ostermusik' (Music for Easter) (1986/90) ca. 20'. (Liturgical music for the Easter service) 2 tp, 2 hrn, 2 trb, fl, 2 vn, va, vc, organ, mixed choir, soloists: S, A, T, B first performance: Salzburg, 6.5.90


Chamber Orchestra:

als flögen wir davon... (2000) ca.20'. For string orchestra and snare drum; commissioned by the Münchener Kammerorchesters; first performance: Munich, 8.3.01


Audite Africam! (1997) ca. 25'. "African" suite for string orchestra; commissioned by Audi; first performance: Neuburg, 22.6.97


Chamber Concerto for Harp and Strings (1997) ca. 22'. Commissioned by the Int. Fredener Musiktage; first performance: Freden, 24.8.97


Orchestral Works:

Lassus-Fantasy (1993/94) ca. 11'. Orchestration: 2.2.2.2. - 4.3.3.1. - timp, perc(3) – strings; first performance: Munich, 18.5.95


4 Britting-Songs for baritone and orchestra (1994/95) ca. 8'. Orchestration: 3.3.3.2. - 4.3.3.1. - harp, piano, timp, perc (2) - va, vc, Db; first performance: Munich, 3.3.95


Electronic Music:

4 Fibonacci Pieces (1990/95) ca. 5'. Sequencer; first performance: Munich, 20.6.95


10 sequencer Pieces (1990/95) ca. 20'. Sequencer, sampler, Drum Computer


Prelude and Fugue for a critic (1995) ca. 5'. Sequencer, sampler; first performance: Munich, 10.3.95


Occasional Music:

"Deuntjie" (1992) ca. 4'. Text by Elisabeth Eybers; S, vn, vc (Db), piano; first performance: Lynedoch, Brandwag


Lovesong-Duos (1990) 5'. Duets on traditional love songs


I. by Dowland ("Come Again")


II. by Steuerlein ("Mit Lieb bin ich umfangen")


III. by Senfl ("Ach, Elslein")


vn, vc; first performance: Lynedoch, Spier (RSA), 29.9.90


Lovesong-Trios (1993) 7'. Trios on traditional love songs


I. "Ich freue mich auf die Blumen rot" (E. von Knorr)


II. "O du schöner Rosengarten" (from Lothringen)


III. "Wie schön blüht uns der Maien" (Courante from 1619);


vn, va, vc; first performance: Schloß Bernstein (A), 8.4.93


Lovesong-quartets (1995) ca. 8'. Quartets on traditional love songs


I. "Feinsliebchen, du sollst mir nicht barfuß gehn" (A.W. v. Zuccalmaglio)


II. "Dort niedn in jenem Holze" (from Silesia)


III. "Ei, du feiner Reiter" (Samuel Scheidt, 1624);


2 vn, va, vc; first performance: Puchheim (D), 8.3.96


Music for Easter (Ostermusik) (1986/90) ca. 20' (Liturgical music for the Easter service); 2 tp, 2 hrn, 2 trb, fl, 2 vn, va, vc, organ, mixed choir, soloists: S, A, T, B; first performance: Salzburg, 6.5.90


Happy Birthday... (1992) ca. 4' (Musical joke for an orchestra rehearsal); 2 fl, 2 ob, 2 cl, 2 bn, 2 tp, 2 hrn, 2 trb, timp, hi hat, strings; first performance: Vienna, 30.7.92


Music for Children:

Tageszeiten-Stücke (1996) ca. 5'. vn solo (suitable for beginners, 1. and 3. position)


"Auf der Suche nach dem verlorenen Tango" (1992) ca. 5'. For school orchestra; fl, 2 cl, bn, Styrian accordion, xyl, bongos, db; first performance: Deutschlandsberg, 18.10.92.


6 Pieces for a Pianist and a Child (1989/91) ca. 13'. Piano, 3 and 4 hands; first performance: Munich, 20.6.95

 

HUYSSEN, Hans


(b Pretoria, 11 February 1964)