Draft:Michael Beil

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  • Comment: Okay, let me go through this. Now, on English Wikipedia you should, in general, cite secondary, independent, reliable, significant-coverage sources. A citation usually includes an author's name, the work's title, the name of the source or media, and a date. Your first citation does neither contain an author's name, nor does it specify the work; the date is missing. If you had cited the source properly, it would have been immediately obvious to the knowledgable AfC reviewer that the source is a good one. Footnote 2 refers to the subject's personal website, but it does not provide any useful information, or indicate any sourcing in the sense of that word. Footnote 3 refers to a primary source; it proves the fact, but it doesn't indicate why the fact qualifies for inclusion in this article. Footnote 4 refers to a an online source that cannot be accessed, and the citation makes no sense, i.e., it is meaningless, and it wouldn't make a difference if this footnote was not present. Footnote 5 refers to an interview, which does not count as a reliable source. Footnote 6 contains a proper citation, but it refers to the subject as a source. Footnote 7 does not contain a proper citation, and it also refers to the subject as a source. Footnote 8: Okay. Footnote 9, 10, and 12 seem to refer to program notes if I see that correctly; that does not count as a source. Footnote 11 is a proper citation, but the page is missing from that citation. Also note that, footnotes 1, 7, 10, 11, and 12 are placed at the beginning of a section, i.e., technically, they are not used as citations because it remains unclear what they're being used for. I also suggest that you remove footnotes 1 and 2 from the section headings. I must also add that, you should cite sources that indicate why Wikipedia would have an article on Beil – currently, I'm not quite conviced that the sources indicate notability. Best regards, --Johannes (Talk) (Contribs) (Articles) 23:30, 16 February 2024 (UTC)
  • Comment: Wikipedia is not a place to establish knowledge (or opinions), it is a work that depicts established knowledge (or opinions). The cited sources do not support the text. --Johannes (Talk) (Contribs) (Articles) 21:24, 17 January 2024 (UTC)


Michael Beil (Weinheim, July 13, 1963) is a German composer of contemporary music. Characteristics of his oeuvre are the combination of instrumental music with live-audio and live-video, and the use of theatrical elements such as a detailed stage direction and scenography. Since 2007 he has been a professor of electronic composition at the Hochschule für Musik und Tanz in Cologne, where he is in charge of the studio for electronic music.

Biography[edit]

Beil studied piano and music theory at the Hochschule für Musik und Darstellende Kunst Stuttgart from 1984 to 1993, and composition with Manuel Hidalgo. In 1996 he moved to Berlin, teaching music theory and composition at the music schools in Kreuzberg and Neukölln and working as director of the precollege department and the department of contemporary music. Between 2000 and 2007 he was involved in the Berlin scene of new music in various capacities: as artistic director of the festival Klangwerkstatt and as co-founder of the group SKART (together with Stephan Winkler), which organized concerts based on interdisciplinary concepts. In 2007 he became the professor for electronic music at the Hochschule für Musik und Tanz in Cologne and director of the studio for electronic music.[1]

The international recognition of Michael Beil's work is demonstrated by its world premieres at festivals dedicated to new music, such as the festival Acht Brücken in Cologne, Ultraschall Berlin – Festival für neue Musikin, ECLAT Festival Neue Musik Stuttgart, Wien Modern, Donaueschinger Musiktage, TRANSIT in Leuven and the Huddersfield Contemporary Music Festival,as well as by collaborations with and performances by specialized ensembles such as musikFabrik, Ensemble Modern, Ensemble Mosaik, Ensemble United, Ensemble Garage, Neue Vokalsolisten Stuttgart and Nadar Ensemble.[1]

Beil has received stipends from Künstlerhaus Wiepersdorf[2] and cité des arts (Paris), and the Heinrich-Gartentor-Stipendium für Videokunst in Thun (Switzerland). He is a laureate of the Camillo Togni price and was selected for the Nachwuchsforum des Ensemble Modern in 1994. In 2023, Beil received the Deutscher Musikautor*innen-Preis (GEMA).[3][4]

Work[edit]

General[edit]

Beil focuses on the combination of instrumental music, electronic music and video. His compositions lean heavily on concepts specific to what typically happens on stage during a concert (not only the performance of music as such, but in particular the many actions not directly aimed at playing) and the way compositions are created. The arrangement on stage is often precisely fixed and the movements of the musicians on stage are elaborated as an integral part of the score. Several compositions presuppose a specific decor and props. In this respect, Beil's music borders on music theater. However, the musical dimension is and remains the unabridged starting point of his works.[1]

A central theme in Beil's work is the decoupling of sound and movement. Once disconnected, Beil uses them as building blocks that he can recombine into new configurations. The causal relationship between movement and sound thus loses its self-evidence. Beil's recent focus on virtuality (specifically the changing perception of reality spurred by an increasing virtualization of everyday life) is an extension of this idea. Examples include Bluff for ensemble, tape and live video (2015) and compositions for musicians without instruments, such as Key Jack / Jane (2017). Beil deconstructs the classical concert situation throughout his work through exaggeration and doubling.[1] In exit to enter (2013), for example, he makes the musicians come on and go off stage over and over again, on three different 'stages': (1) the part of the stage where the ensemble sits (on the right, in the dark), (2) a small central part of the stage with two stools that functions as a recording area, and (3) the projection wall that covers the entire left half of the overall stage.[5] Furthermore, he calls into question (explicitly or not) the art work as a masterpiece by quoting well-known musical works in new and unusual contexts, or by transforming or deconstructing material that is idiomatic for a certain instrument.[1] "Quotations, for me, are the main material," Beil says of his use of citations.[6] Recognizable quotations from existing works by other composers are inspiring building blocks for Beil because of the emotional charge or the references already attached to them. It is those connotations that the composer uses as material – a new meaning that can fade or appear subsequently by incorporating the quotations in new musical contexts.[7]

Beil makes his own scores, MAX patches and tapes available simply and free of charge through his website.[8]

Beil created most of his compositions in close collaboration with the musicians involved, and regularly worked with ensemble mosaik and with Nadar Ensemble. For Nadar Ensemble, he composed three large-scale compositions, which also show a strong interconnection and evolution between them: exit to enter (2013), Bluff (2015) and Hide To Show (2021).[9]

Early works (until 1999)[edit]

In the 1990s, before he began focusing on the use of video in his compositions, Beil wrote orchestral and chamber music works, mostly with tape. Those compositions, which were in line with the usual conventions of their genres, at the same time sharpened his interest in the visual dimensions of concert performance. In this sense, they helped create the ground for Beil's later artistic work, which focuses on the interaction between sound and image. He integrated pre-recorded video into the concept of a composition for the first time in 1999, with Mach Sieben (for piano, video and tape).[1] In this work, which Beil himself refers to as a key work, the solo pianist is mirrored in a video recording, projected next to the piano. At least: so it seems at first. The recording, actually, is played in reverse. Since the work is a nearly exact palindrome, the video runs parallel to what is being played live. The reversal, however, makes the movements of the pianist in the video seem unnatural and the sounds that are played take a reverse course (fading in from nothing towards the attack). The alienating effect is further enhanced by a short spoken text ("Voll mit Zwergen ist mein Weg"), some carefully composed differences between the part played live and the pre-recorded video, and the inevitable minor discrepancies in timing between the two parts.[10] The accumulation of live piano sounds and their reverse recording in Mach Sieben is aurally reminiscent of the Doppler effect, a sound phenomenon that fascinated Beil from an early age. Beil grew up near the Formula One racing circuit Hockenheimring in southern Germany. Several family members, including his father, followed the races there and took young Beil to the track.[11] The title of the composition Mach Sieben refers to the Mach number. In the short video documentary Like in a Hamster Wheel, Beil discusses his fascination with the Doppler effect, inverted sounds and palindromes.[6]

Live video (from 2006 onwards)[edit]

Beil has been using live video since 2006. Around that time, video technology and computer processing speed became sufficient to record live fragments during the concert and process them with a minimum amount of latency. This thus made it possible to project the video recordings immediately afterwards – also in multiple, and inverted or not – and to combine them with the same images and with other live actions. The musical concepts that Beil shapes in this way border directly on musical theater.[1] For Branng! (2005), Open Source (2008), Belle Nuit (2009), exit to enter (2013) and Bluff (2015), Beil also collaborated with director Thierry Bruehl as part of this process.[8] The realization of such compositions also requires complex production conditions, and very disciplined actions and skilled theatricality on the part of the musicians. Therefore, they are usually created in close collaboration with the performers.[12]

Exit to enter (2013) is apt illustration of how Beil zooms in on details of performance in his music. Beil has the musicians in this composition step perpetually in and out of the spotlight, where short sequences of musical actions are recorded. Those recordings are then projected, in countless new combinations, onto a large wall next to the musicians. The actual musical performance remains in the shadows all the while. Beil thus cuts the visible link between cause (the movements of a musician) and effect (the audible sounds), drawing attention all the more strongly to the expected connection between the two.[13] The many repetitions also refer to the daily reality of studying and practicing of professional musicians. "Every musical performance is a kind of restriction," he explains, "Because every millisecond the right notes must be played. In exit to enter, this becomes very visible through the video part."[6][5]

Recent compositions[edit]

A decade later, Beil pushes the use of live video to its ultimate consequence with the composition of works with tape and live video, but for musicians without instruments, such as Key Jack / Jane for pianist without keyboard, soundtrack and live video (2017), and caravan for four musicians without instrument, soundtrack and live video (2017). In Key Jack / Jane, the pianist takes a seat behind a wooden board flanked by two projection screens. On these, as in exit to enter, live recordings of the performer are projected. While the pianist performs a complex choreography, the music is fully realized as a soundtrack, again liberally using quotations. This recombination of movement, image and sound results in a composition in which the performer plays a pianist, as it were, while Beil dissects the classical image of the piano virtuoso and their instrument.[14]

In Hide To Show for ensemble, tape and live video (2021), he pushes the contradictions between tangible reality and the virtual world even further. Six small rooms are set up on stage; the audience seems to look inside the backstage where the musicians prepare for the performance. They play a few notes, they change clothes or dance to the music in their headphones. Some actions seem loose and spontaneous, others are clearly rigorously choreographed - staged nonchalance meant for the camera. But we don't just get to see everything. The little rooms can be closed with blinds going up and down. They literally hide in order to show. With open slats, the audience can peek into the rooms. Closed they hide the musicians' coming and going. At the same time, they turn into a projection surface. The musicians hide behind their costumes, behind curtains and recordings of themselves, leaving the persons themselves still invisible. What is at first a fleeting movement is highlighted in detail through repetition, doubling and imitation. A special role is reserved for the genesis of a YouTube hit and its journey into hyperreality and a parody of the video for In my room by The Beach Boys. In the process, it becomes less and less clear where tangible reality ends and virtual reality begins.[15]

List of works[1][8][edit]

  • Stops, for piano and tape (1992)
  • Nexus, for two pianos and tape (1995)
  • Klavierquartett, for piano quartet and tape (1997)
  • Und Neun ist Eins, for saxophone, piano, percussion, soprano and tape (1998)
  • Und Acht, for accordion, tape and video (1999)
  • Aus Eins mach Zehn, for orchestra and tape (2000)
  • Mach Sieben, for piano tape and video (2000)
  • Und Sechs, for six instruments and tape (2000)
  • Aus Fünf, for six instruments with tape and video (2001)
  • Die Drei, for six singers (2002)
  • Batterie, for drumset and tape with optional video (2003)
  • Beleuchter, for flute, violin, drumset and tape (2004)
  • Die Zwei, for flute, piano, tape and video (2004)
  • Brangg!, for countertenor, two actors, tape and video (2005)
  • Karaoke Rebranng!, for saxophone/clarinet, violin/viola, percussion, piano, live audio and live video (2006)
  • open source, for soprano, violin, viola, cello, tape and video (2008)
  • Belle Nuit, for flute, violin, viola, cello, tape and video (2009)
  • Doppel, for two pianos, live audio and live video (2009)
  • Blinded, for countertenor, two actors, string quartet and tape (2010)
  • along, for e-guitar, tape and live video (2011/2022)
  • BLACKJACK, for ensemble, live audio and live video (2012)
  • exit to enter, for ensemble, tape and live video (2013)
  • swap, for flutes, oboes, clarinets, tape and live video (2014)
  • Bluff, for ensemble, tape and live video (2015)
  • sugar water, for ensemble, tape and live video (2015)
  • String Jack, for cellist, tape and live video (2016)
  • Key Jack / Key Jane, for pianist, tape and live video (2017)
  • Caravan, for four performers, tape and live video (2017)
  • transit, for six singers, ensemble, tape and live video (2018)
  • mimikry, for four EWIs, live audio and live video (2020)
  • Hide To Show, for ensemble, tape and live video (2021)
  • Deep Blue, for two performers with controllers, live audio and live video (2022)
  • backslash, for ensemble, camera operator, live audio and live video (2022)

References[edit]

  1. ^ a b c d e f g h Delaere, Mark (February 2019). "Beil, Michael, BIOGRAPHIE". MGG Online. Retrieved 11 April 2024.
  2. ^ "Kulturstiftung Schloss Wiepersdorf - Schloss Wiepersdorf (en). www.schloss-wiepersdorf.de". Retrieved 10 May 2023.
  3. ^ "Musikautor innenpreis". Retrieved 10 May 2023.
  4. ^ Beil, Michael. "Michael Beil - CV".
  5. ^ a b Diependaele, Rebecca (29 March 2018). Program notes Nadar Ensemble Doppelgänger Deluxe in Concertgebouw, Brugge (29 March 2018).
  6. ^ a b c "Like in a hamster wheel – Interview with Michael Beil – Youtube". YouTube. 17 March 2014. Retrieved 10 May 2023.
  7. ^ Beil, Michael (2012). "Material Shift". In Mahnkopf, Claus-Steffen (ed.). Musical Material Today. Hofheim: Wolke. pp. 9–20. ISBN 978-3-936000-19-1.{{cite book}}: CS1 maint: date and year (link)
  8. ^ a b c Beil, Michael. "Homepage - overview of compositions". Retrieved 2024-02-17.
  9. ^ Diependaele, Rebecca (10 November 2021). "Program notes Nadar Ensemble Hide To Show in De Singel, Antwerp" (PDF). Retrieved 10 May 2023.
  10. ^ Zimmermann, Bastian (2021). "Working with the piano through medial disruption: Mach Sieben for piano with tape and video projection (1999/2000) by Michael Beil". In Nakamura, Rei (ed.). Movement to sound: Sound to movement—Interpreting multimedia piano compositions. Hofheim: Wolke. pp. 83–102. ISBN 978-3-95593-099-8.{{cite book}}: CS1 maint: date and year (link)
  11. ^ "Michael Beil on Mach Sieben, Medienkunstnetz". Retrieved 10 May 2023.
  12. ^ Dhooghe, Yarrid (14 January 2017). "Program notes Nadar Ensemble WYSI(N)WYG in De Singel, Antwerp" (PDF). Retrieved 10 May 2023.
  13. ^ Delaere, Mark (2020). "Als horen en zien erbij vergaat: multimedia in de hedendaagse muziek". Een kleine Muziekgeschiedenis van hier en nu. Pelckmans. pp. 163–164. ISBN 9789463372688.{{cite book}}: CS1 maint: date and year (link)
  14. ^ Diependaele, Rebecca (11 March 2018). Program notes Nadar Ensemble Homejacking in Concertgebouw, Brugge (11 March 2018).
  15. ^ P. Gielen and T.R. Moore (2023). Hide to Show: Memefying Live Music, Algorythmizing Social Relationships. pp. 17–20. ISBN 9789464755497.

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