Jörg-Peter Mittmann - Jörg-Peter Mittmann

Jörg-Peter Mittmann (2015)

Jörg-Peter Mittmann (* 1962 in Minden ) is a German composer, musicologist and philosopher.


Mittmann received his artistic training from Giselher Klebe and Walter Steffens (composition), Helmut Winschermann and Gernot Schmalfuß (oboe), among others . At the same time he studied philosophy and history (with Reinhart Koselleck , among others ), since 1982 with the support of the German National Academic Foundation. In 1992 he did his doctorate in Munich under Rolf-Peter Horstmann with a philosophical thesis on Fichte , Reinhold and early German idealism .

He is considered a specialist in cross-border topics between philosophy and musicology . This was followed by publications, lectures and seminars, particularly on the subjects of subjectivity , language analysis , music aesthetics and music theory .

In 1990 he was one of the founders of the Ensemble Horizonte (Detmold), whose conceptual and artistic direction is in his hands. In addition to contemporary music, the orientation towards thematic guidelines and the cooperation with representatives of other arts characterize the work of the ensemble as well as the compositional work of Mittmann.

Works (selection)

  • Triptych (1981) for choir and orchestra
  • Attempt of a Melody I and II (1983) for oboe solo
  • Ballade (1984) for large orchestra
  • Chiarina (1987) for piano
  • Naturstudie I and II (1988) spatial composition for 3 or 4 horns
  • Kreuzweg (1992) for oboe, violin and organ
  • Traum des Böse (1993) Trio for English horn, clarinet and horn based on a poem by Georg Trakl
  • … The All-One (Excursions I, 1995) scenic chamber music over pantheistic texts for singing. Oboe, string trio and piano
  • Spherical Polyphony (1995) Music for eight players based on the painting "Yellow-Red-Blue" by Kandinsky
  • Kreuzgesang (1996/97) for female voice and small orchestra based on texts by Nietzsche , Thomas von Aquin and others
  • Pictures of the South (1997) for chamber ensemble based on pictures by Paul Klee .
  • ascendant I - IV (1997/98/2000) for variable cast
  • Counterparts (1998) Ten musical marginalia for seven players
  • Dona nobis pacem (1998) concert scene for violin and ensemble
  • They are called me Mignon (1999) Psychogram for speaker, singer and ensemble
  • Landscapes of the Soul (2000/2001) String quartet with words by Paul Éluard
  • "The View from Nowhere" (2000) for guitar and ensemble
  • Ninety-nine and one (2000) Chamber music theater (full-length) for five players, pantomime and electronic sounds
  • autopoiesis (2001/2) for six players
  • … With Bach (2002/09) approach to the chorale prelude “ Jesus stay my joy ” for ensemble / for small orchestra
  • Traumspiel (2002) based on motifs by Franz Schubert for large orchestra
  • Spektral (2003) sound images based on poems by Georg Trakl for ten players
  • tenebrae (2005) for oboe, violin, viola and violoncello
  • Railroad Turnbridge (2006) for small orchestra
  • Mit silver thorns (2006) for solo harp
  • Passacaglia (2006) for small orchestra
  • L'aura serena (2008) musica riservata for harp and guitar
  • selbdritt (2008) scenic music for three violins
  • lamento (2008) music with Monteverdi for seven players (based on Monteverdi's "Lamento della ninfa")
  • Papillons (2009) Intermezzi for harp, viola and oboe
  • Dem Unendlichen (2009) Music based on words by Klopstock for soprano and 6 instruments
  • Die Zwitschermaschine (2009) Hommage a Kle (b) e for string orchestra and percussion
  • Before the water flowing face (2010) Reflections on a poem by Rilke for singers and ensemble
  • Gravity's Rainbow (2010) Rhapsody based on motifs from the novel of the same name by Thomas Pynchon for 10 brass instruments and percussion
  • Phantasma (2011) Intermezzo for large orchestra [1]
  • Crystallization (2012) for vibraphone and harp
  • You sing my soul (2012) ritual scene for trumpet, harp and drums
  • crucifixus (2013) Paraphrase on a choral setting by Monteverdi for choir and 9 instruments
  • transit (2013) Four allusions for string quintet (2 Vl 2 Va Vc)
  • Jenseits der Bläue (2013) for seven instruments
  • Towards Heaven ... (2013) for vocal and large instrumental ensemble
  • speechless (2014) discourse for ten musicians
  • Silhouette (2015) Spatial music for ensemble (flute, oboe, clarinet, trombone, percussion (2), harp, violin, viola and cello)
  • Scenes I-III (2015) for eleven musicians
  • Sieben Strophen Heimat (2016) for female voice, flute, guitar and violoncello
  • Toccata (2016) for three guitars
  • Night Fantasy (2017) for female voice and piano
  • Klangmomente (2017) three pieces for guitar solo
  • Spiel im Wind (2018) for harp quartet
  • Forest of Contradictions (2018/19) for seven players (flute, oboe, saxophone, accordion, piano, violoncello and double bass)
  • Fragile Harmonie (2019) Beethoven Moments for Ensemble (Flute, Clarinet, Percussion, Piano and String Quartet)
  • Umwölkter Strahl (2019) on the trail of Beethoven's Piano Sonata in D minor (op.31 no.2) for piano solo
  • amissa (2020) for singers and ensemble

Publications (selection)

  • Musician profession and civil ideal of education in: R. Koselleck (Hrsg.): Bildungsbürgertum in the 19th century. Part II Stuttgart 1990
  • Action and absolute subject in: Philosophische Rundschau 4/1993 pp. 274–290
  • The principle of self-assurance. Fichte and the development of the post-Kantian basic philosophy (PDF; 1.1 MB) Bodenheim: Athenaeum Hain Hanstein, 1993
  • About the pre -reflective existence of myself in: Ch.Asmuth (Hrsg.): Sein - Reflexion - Freiheit Amsterdam, Philadelphia 1997
  • On linguistic access to the absolute in: Philosophische Rundschau 2/1997 pp. 64–73
  • Meta music. On the problem of musical self-reference in: G.Scholtz et al. (Ed.): Philosophical thought and musical sound Frankfurt a. M. 1999
  • The musical thought. Attempt to create a typology in: W.Keil / J.Arndt (eds.): "What you can't hear, music" - on the relationship between music and philosophy in the 20th century, Hildesheim 1999
  • Between myth and modernity - new tendencies of Descartes reception in: Philosophische Rundschau 4/2000
  • ,I AM'. COMMENTARY ON § 1 OF THE FUNDAMENTAL OF EVERYTHING SCIENCE in: Jindrich Karásek / Jiří Chotaš (Hrsg./Übers.): Fichtova teorie subjektivity S. 28–60 Praha 2007
  • Can music theory statements be verified empirically? (PDF; 243 kB) in: J. Ph. Sprick, R. Bahr, M. v. Troschke (Ed.): Music theory in context Berlin 2008 pp. 115–124
  • Intramedial Reference and Metareference in Contemporary Music in: Werner Wolf (ed.) Metareference in the Arts and Media Amsterdam 2009
  • The dodecaphone impressionist - Zu Luigi Dallapiccolas piccola musica notturna in: Zeitschrift der Ges. Für Musiktheorie (ed. By Folker Froebe) 7/2 (2010)
  • Musical Self-Interpretation: A Reliable Source of Historical Music Theory? Reflections on Scriabin and Schönberg in: Music theory as an interdisciplinary subject. 8th Congress of the Society for Music Theory Graz 2008 (musik.theorien der gegenwart 4), ed. by Christian Utz, Saarbrücken: Pfau 2010, pp. 401–412.
  • Der Wegweiser - Artistic Creation and Theoretical Reflection with Anton Webern (PDF; 239 kB) in: Creativity - Structure and Emotion, ed. by A. Lehmann, A. Jeßulat and Ch.Wünsch, Würzburg, Königshausen & Neumann 2013, pp. 304-315.


Individual evidence

  1. eingespielt vom Phil. Orchester Cottbus, Ltg. Evan Christ bei telos music TLS 166 CD "Impulse"