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Arter Matthias

(10. 10. 1964)

Arter Matthias
Arter Matthias
Hagenholzstrasse 78
CH-8050 Zürich
Schweiz

Tel: +41 (0)1 492 50 69


Biography
Matthias Arter, *10. 10. 1964. Oboist and composer. Studied with Thomas Indermühle and Heinz Holliger. Soloist (with 'Collegium Novum Zürich' and others) and improviser. Lecturer at the 'Hochschule der Künste Bern'. President of the Swiss Association of Musicians since 2007. Lives in Zurich.

Matthias Arter's musical vocation has followed an unconventional path. For many years now he has appeared as soloist and improviser, his lively interest in contemporary art forms and unconventional programme concepts determining new aesthetic directions. In his capacity as composer Matthias Arter has made public appearances with works for choir, solo voices, orchestra, solo instruments and some chamber music. He also works as chamber music player (e.g. Octomania, Arion Quintet, aequatuor, pre-art soloists), conductor and teaches oboe at the University of the Arts Berne. His soloistic career has been documented by numerous CD's on pan classics, col legno, MGB, RecRec, Arte Nova and en avant.


Work list
Chinesisches Fragment Nr. 1 (1991-1992)
Canon
for three female voices
Texts: Peking-Oper
The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB) from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.
Duration: 4' 00"
Manuscript
Chinesisches Fragment Nr. 1 (Version 1997) (1997)
Canon
for four female voices
Duration: 6' 00"
Manuscript
Chinesisches Fragment Nr. 2 (1991-1992)
for male voices or a-cappella choir
Texts: Peking-Oper
The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB), from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.
Duration: 5' 00"
Manuscript
Chinesisches Fragment Nr. 3 (1991-1992)
for solo voices or a-cappella choir (SATB)
Texts: Peking-Oper
The kernel of Three Fragments is the imperfection of the human being. The chosen text is a section taken from the libretto of a traditional Peking opera, which throughout the three pieces becomes systematically deconstructed - this as an example of the impression that in China society functions collectively. The first fragment is a canon for three (identical) female voices; the second a quartet for male voices, the third meanwhile was conceived as a monody for four voices (SATB), from which a two part melody gradually evolves. All fragments can be performed either chorally or soloistic.
Duration: 9' 00"
Manuscript
Solo 1993 (1993)
for recorder solo
A solo piece for the G alto recorder (early Baroque); all possibilities (and a little more!) are used extensively. The somewhat rough sound has inspired me to produce a composition of the utmost virtuosity ending in a duet (+voice).
Duration: 8' 00"
Manuscript
5 Eisstücke (5 Ice Pieces) (1994)
for double recorder quartet
'Eisstücke' is essentially an ensemble piece suitable for advanced amateurs or students, but not undemanding for a professional ensemble. The second quartet is scored for four bass flutes, the first alternating between soprano, alto and tenor. The five partly very short pieces are based on an eight-part harmony, and require a high standard of interplay.
Duration: 9' 00"
Manuscript
Concerto for Contrabassoon and String Orchestra (1995)
With this piece I have chosen to emancipate the bassoon from its stereotype as an instrument merely for expressing humour or the bizarre. The solo part is playable only by virtuosi, not only because of its rapid note movement, but also because of demanding passages and multiphonics etc. An ambitious amateur ensemble can quite easily tackle the orchestral part.
Duration: 18' 00"
Manuscript
Changes (1996)
for English horn (including oboe and musette) and electronic
This piece requires a musette in F and a delay apparatus, in addition to the English horn. Contains physical elements.
Duration: 13' 00"
Manuscript
Once upon a time (1997)
for baroque oboe (a=415 Hz) and oboe (a=440 Hz)
This piece is the result of a discourse on things past, the (un)attainable, the irrevocable and possibly the repeatable. The minor second acquires a specific meaning through special tuning of the two instruments, even more so because the two oboe players have to play the same note at the end.
Duration: 8' 00"
Manuscript
Undo (1997)
for free score ensemble with between three and fifteen players
Concept piece.
Duration: var.
Manuscript
Redo (1997)
for improvising wind instrument (or voice) and string orchestra
This piece should be performed without a conductor; instead the Soloist (any wind instrument or voice) gives the cue. The orchestra also contains improvised parts.
Duration: 15' 00"
Manuscript
3 Studien für Streichorchester (1997)
Orchestra version of 'Redo'. Can be performed with or without conductor.
Duration: 13' 00"
Manuscript
Détours (1996-1998)
for wind quintet (afl.ca.bcl/hn.bn)
Excessive use of playing techniques e.g. 'alla tromba' and sporadic partially dismantled horn. The bassoonist has plenty to sing.
Duration: 18' 00"
Manuscript
Voice (1996-1998)
for horn
'Voice' is that broad horn solo from the wind quintet 'Detours'. For a richer sound two bows have to be removed from the instrument.
Duration: 4' 00"
Manuscript
another beautiful day (2000)
for piano, cello and two or three other musicians
With regard to my need to grapple with the piano and inspired by the wish of æquatuor for me to produce a composition for them, I produced in the first instance, three piano pieces and (with an identical piano part) 'another beautiful day'. The title is a quote from a thoughtless vocalization between rehearsals and concert on a concert tour in New Zealand. It is not as is usual a mixture of philosophical, textual and formal observation, and thus is as serious or not as any other title I have chosen for my works. The piano parts have been enhanced by three voices, this does not necessarily mean more music: addition can also mean manipulation and therefore lead to reduction. The added instruments, apart from the violoncello, are two percussion although the only instrument the two musicians have to play is the inside of the piano. Single resonance tones can be sung, whistled or played on a melodica, violin or alike. The piano part, in contrast, is simply a question of keyboard play.
Duration: 13' 00"
Manuscript
Música (2000)
for deep or high solo voice
Texts: Cecilia Meireles
Version 1 for high voice.
Version 2 for deep voice.
'Música' was commissioned by the alto Luis Alvez da Silva and sets a text by the Brazilian poet Cecilia Meireles to music. There are different effects between tone and noise, the singer is also required to produce various noises with a newspaper (tearing, scratching, scrunching etc...), but this can be made by a second person.

Duration: 7' 00"
Manuscript
5 Stücke für Bläserquintett (2001)
Duration: 15' 00"
Manuscript
Solo 2001 (2001)
for flute solo
Duration: 5' 00"
Manuscript
Sieben mal sieben (2001)
for alto flute, oboe (melodica), bass clarinet, violin, double bass, harp and accordion
Duration: 18' 00"
Manuscript
Solo 2002 (2002)
for violine solo
Duration: 3' 00"
Manuscript
Duo 2004 (2004)
for melodica and banjo
Duration: 7' 00"
Manuscript
Cadenza (2005)
for violoncello solo
Part of 'Cadenza'. 'Cadenza' consists of the parts 'Abstieg', 'Aura I' (with interventions) and 'Aufstieg'.
'Aura I' is to be played with two bows, one in each hand.
Possibilities for performance are as follows:
1. As a cadenza (in place of the 3rd movement) in the Cello Concert N°1 by Dmitri Schostakovich: Abstieg - Aura I (shortened variation with vi=de) - Aufstieg
2. As a solo piece, long version: Abstieg - Aura I – Aufstieg
3. As a solo piece, medium-length variation: Abstieg - Aura I
4. As a solo piece, short version: Aura I. This variation is to be played under the title 'Aura I'
'Abstieg' and 'Aufstieg' can not be performed as single pieces.
Duration: 12' 00"-16' 00"
Manuscript
Aura I (2005)
for violoncello solo
Part of 'Cadenza'. 'Cadenza' consists of the parts 'Abstieg', 'Aura I' (with interventions) and 'Aufstieg'.
'Aura I' is to be played with two bows, one in each hand.
Duration: 10' 00"-13' 00"
Manuscript
Cantando (2006)
for violin solo
Duration: 2' 00"
Manuscript
Solo 2006 "Cantando - recitando" (2006)
for violoncello solo
Duration: 5' 00"
Manuscript
Solo 2007 "Dialog" (2007)
for accordion solo
Duration: 10' 00"
Manuscript
Epilog (2009)
for flute (soprano ad libitum) and string orchestra
Duration: 6' 00"
Manuscript
De Zytvogl (2010)
for soprano and piano
Texts: Sylvia Nopper
Duration: 7' 00"
Manuscript
Repertory
Matthias Arter: Changes for English horn (including oboe and musette) and electronic
Felix Baumann: Intervention for oboe solo
Gary Berger: X-ation for oboe and live electronic
Luciano Berio: Sequenza VII
Rainer Boesch: Zweite Erzählung
Elliot Carter: Inner Song
Violeta Dinescu: Cime lointain für Oboe solo
Walter Feldmann: le sexe du noyé for oboe and electronic resonance equipment
Klaus Huber: Ein Hauch von Unzeit I for flute solo or flute with some other instruments
Nicolaus A. Huber: Vor und zurück
Hans Ulrich Lehmann: Monodie for any wind instrument
Heinz Marti: Ombra for bass recorder (or another deep woodwind instrument) or buggle or sax or violin or viola or violoncello
Joe Nickerson: Labyrinth für Oboe solo
Nadir Vassena: Animae for oboe solo
Diskographie
Metamorphoses (pre art music Nr. PAM 001, 2014)
Interpreten:
Arter, Matthias
Brenner, Andreas
Werke:
Holliger, Heinz: Sonate (1956-1957/1999)
Mit weiteren Werken von: Benjamin Britten, Emre Sihan Kaleli, Paul Huber
4VentiQuattro: Undo (RECREC Nr. COOL 9802009, 1997)
Interpreten:
Arter, Matthias
Vecellio, Valentin
Werke:
Arter, Matthias: Undo (1997)
Mit weiteren Werken von: Ursula Maehr, Susann Wehrli
Info: www.fonoteca.ch
Bibliography
Hauser, Florian: Metamorphoses (Rezension der CD), in: Dissonanz (Juni 2014) 126 (2014), S. 67 [Internet]
Eidenbenz, Michael: Auf direktem Weg von der Idee zur Tat. Der Oboist, Komponist und Organisator Matthias Arter, in: Dissonanz 87 (2004) [Internet]
Ensembles