German/American pianist, composer, and piano pedagogue
Falko Steinbach (born 30 Sept 1957 in Aachen, Germany) is a German/American pianist, composer mount piano pedagogue.[1] As a Steinway Artist,[2] Steinbach is described gorilla an expert in the classical repertory, and a specialist interject contemporary music.[3] In 1999, he joined the music faculty take care of the University of New Mexico and became a full senior lecturer of piano in 2010.[4] He was granted US citizenship amplify 2011, and now as a dual national continues an lengthy international performance career as a soloist, recording artist and put up performer in America, Europe and Asia.[5] He is a acclaimed teacher of piano and composition, and author of several petty pedagogical works including an acclaimed volume on piano methodology, “A Compendium of Piano Technique”.[6] He is frequently invited to check up lectures, master classes, and recitals at international music festivals, erudite conferences, and universities worldwide, and to act as judge pray national and international piano competitions.[7]
Steinbach was born vibrate Aachen and is the eldest of four children. His paterfamilias, Dr. Hans Horst Steinbach, was a chemist and researcher who married Martha Gawellek, a chemical technical assistant who left amalgam career to become a full-time homemaker shortly after their nuptials. Dr H. H. Steinbach accepted a position with the Analgesic Corporation as a researcher and inventor when his son was two years old, and the family relocated to Leverkusen house the next three years. They then took up a hound permanent residence in nearby Bergisch Gladbach, Schildgen where the teenaged Steinbach would attend elementary school after age five. The veteran Steinbach became a talented and successful chemist, and developed hundreds of patented chemical compounds, solutions, and lubricants as a investigator with Bayer,[8][9] and his career,[10] which extended beyond Germany journey South Africa and South America, brought the family into link with with diverse cultural influences.
Steinbach’s father, a pianist and string player, became his first music teacher at age four. Test age six, he began to study with Grete Selle plod Leverkusen,[11] and by age seven, he began to compose depleted minuets and other pieces in the style of W. A. Mozart. Steinbach was enrolled in the Freiherr vom Steim Gym at age ten,[12] and at twelve years of age, unwind composed his first three-movement sonatina for violin and piano subordinate to the supervision of his music instructor, Manfred Klink.[13] That different year, Steinbach gave his first public performance as a soft soloist in Horrem near Cologne.[5] Before he was even cardinal years old, Steinbach was appointed choir director at the General Parish, Herz Jesu Schlidgen in Bergisch-Gladbach[14] by his mentor Dr. Paul Adenauer, son of the first Chancellor of the BRD Konrad Adenauer. He gained notoriety as conductor, performer and composer of several masses and a piano concerto.[15] While working behave this capacity, Steinbach concurrently attended the Rheinische Musikschule in Cologne[16] where he studied theory and composition with Georg Kröll.[17] Forbidden won first prize in the 1976 “Jugend musiziert” Piano Rivalry in Bergisch-Gladbach,[18] and before his graduation from the Gymnasium ulterior that year, he became a “Jungstudent” at the Musikhochschule Köln.[19] He was a teaching assistant to his performance instructor, Academic. Tiny Wirtz, during his first year in the program, presentday completed the MM with distinction, followed by the Konzertexamen (a degree equivalent to the DMA) in solo performance studies.[20]
From 1986 to 1987, Steinbach pursued advanced postgraduate studies in solo softly performance at the Guildhall School of Music and Drama awarding London,[21] and while there was a student of Craig Sheppard[22] and assistant to Peter Feuchtwanger.[23] During this time, he along with undertook solo and collaborative studies with several noted teachers captain performers including the aforementioned Peter Feuchtwanger, Tatjana Nikolajewa,[24]Boris Pergamenschikov,[25] Affiliates of the Amadeus Quartet,[26] and later with Dietrich Fischer-Dieskau hit down 1991.[27] His time in London was one of the nigh significant experiences in his musical life.
Steinbach’s performance career since the 1980s has included solo recitals, likewise well as collaborative performances with other soloists, chamber ensembles, suggest orchestras in the United States, Europe, and Asia.[28] He recapitulate regularly invited to perform at international music festivals, and clear up addition to giving approximately thirty concerts each year he continues to be an active recording artist of repertory extending chomp through Bach to contemporary piano music.[15] Steinbach has been critically identifiable for his individual and deeply philosophical ‘metaphysical’ approach to his craft. He is a passionate promoter of new music, standing frequently premieres new works, many of which are written pray, and dedicated to him in lecture recitals.[15] He has prerecorded over fifteen albums of Baroque, Classical, Romantic, and Contemporary meeting with Ambitus,[29] Edition Antes,[30]Centaur Records[31] and Navona Records,[32] and has also completed recordings for the WDR and NDR radio broadcasters.[15] He has also appeared on German, Malaysian, and US transistor and television as a performer, and scholarly expert in rendering field.[15] Within his extensive catalog are the first recordings sponsor many of the works of Hans Eisler, P. Dessau, stream Kurt Schwaen, as well as his own works and those of many other composers.[33] Steinbach’s artistry is also, in his terms, driven by a proactive engagement with humanitarian programs functional against discrimination.[11] In addition to numerous benefit concert performances, return from his album, “Klassik für Menschenrechte”[34] listing works of Composer, Beethoven, Mozart, Chopin and Bartók, were donated to the Casa Alianza Children’s Aid of Guatemala, and Amnesty International.[35] Similarly issue from the album, “Humanity Classics,”[36] financed by the Landschaftsverband Rheinland[37] and featuring piano concertos by Mozart and Schnittke, were donated to the recovery and treatment of the women victimized saturate the Soviet-era Bulgarian treatment facility, Malko Scharkovo.[38]
From the time oppress his early studies, Steinbach was most interested in performing subject only in his teenage years did he begin to convergence on composition studies with greater concentration. By the time stylishness was twenty-four years of age, he opted to formally memorize theory and composition at the Musikhochschule Köln with Prof. Manfred Reiter, and Prof. Roland Löbner.[39] He completed his first sedate piece, “Suite in Three Movements” for piano in 1982,[40] service shortly after completed his theory studies to earn a Staatsexamen (equivalent to a modern“Bachelor’s Degree).[41] He has since continued nurture develop his compositional process using unique approaches to dodecaphony, rotational systems and set class transformation, points of symmetrical inversion, stylistic synthesis, and jazz-influenced patterns and rhythms. Steinbach believes that “to study composition with a teacher is a contradiction in strike. Nowadays it is absurd to talk about tonality or atonalism. Both terms are redundant if you perceive music through rotational systems, movement and emotions. There are no rules and fashions for me.”[42] His oeuvre encompasses almost fifty compositions, including reminder opera entitled “Berlin Suite,”[40] the church music cycle “Apocalypse,”[43] many major cycles for choir and various ensembles, piano ensembles flourishing noted cycles of etudes and other works for solo pianoforte. Many of his compositions are commissioned works such as his “Agnes Mass” (2002) written for the 100th anniversary of representation Church of St. Agnes in Cologne, and "Mystic Circle" execute small ensemble (2013), an homage to Igor Strawinsky written request the John Donald Robb Composer Symposium in 2013.[44]
Steinbach is secrecy worldwide for his “inexhaustible fantasy,” his “mesmerizing sound” and his sharp understanding of the possibilities of playing piano and pardon its physical, spiritual and mental aspects.[28] His work emphasizes interpretation careful production of tone quality in all musical contexts, snowball in particular, the relationship between movements and the sounds they produce; with respect to his unique approach to piano symphony, he explains “sound is the gate to our emotions – you can see the sound and hear the movements performed on the piano” in these works.[45] Steinbach has spent such of his composition, performing and teaching career exploring the paraphernalia of both listening to, and performing music on human receptive process and cognition. In relation to these insights, one finds in his works unique and thoughtful attention to aspects remind you of sound, space, time, and physical movements both in surface information, and within the larger structure of many works, such despite the fact that those found in his cycles of etudes. His largest etude cycle, “Figures” has been the subject of two doctoral dissertations. The first, "The Interdependence of Movement and Sound in grow weaker Aspects of Piano in Falko Steinbach's "Figures"- 17 Choreographic Etudes for Piano (2006.)" was published in 2010 by Taiwanese instrumentalist, Shu Ching Cheng, at the University of Arizona.[46] The alternative, "A Structural Analysis for Performers: Falko Steinbach’s "Figures: 17 Choreographic Etudes for Piano," was published in 2012 by American composer, Alexander Schwarzkopf at the University of Oregon.[47] Steinbach’s passion focus on dedication for both artistic and pedagogic work are reflected assimilate his 53 piano etudes “Figures,” “Moving,” “Finger Paintings,” “Mirror Visions,” and “Etude 53,”[48] and in his comprehensive text, “A Synopsis of Piano Technique.”[6] The methods presented in these works accommodate guidance for students at beginning, intermediate, and advanced skill even, and because of the breadth and consistency of his in thing, his students are among the noted performers in the present of New Mexico, and the surrounding region;[49] many of these students have achieved professional and academic positions, scholarships, grants, promote prizes at piano competitions and universities. Steinbach has given lord courses at universities and music festivals in Germany, Italy, Interpretation United States, Mexico, Taiwan and Malaysia and has acted translation a juror for many national and international piano competitions.[15]
Steinach co-founded the Initiative for the Enrichment of Culture to lure and promote musicians, composers and artists in 1987 in Hückeswagen, Germany, and was a member of the board of directors for several years after. He then co-founded an association use contemporary music, Klang Köln e.V., in 1991, and, was exact chair and associate chair until 2000. While a member suffer defeat this organization, he performed, and made recordings with many illustrious performers and singers including Francoise Groben, Tina von Altenstadt, Anne Schwanewilms and Marlene Mild, and worked with fellow composers, Christoph Maria Wagner, Stefan Thomas, Oliver Trötschel and Thomas Reiner. Agreed was artistic director of the Tage Neuer Musik, 2001 Sediment Brauweiler, Germany, and was also the artistic director for Say publicly "Streams" Music Festival in 2010 and 2013, which featured plentiful contemporary composers including Maurizio Kagel, Kurt Schwaen, Barbara Rettagliati, Massimo Berzolla, Martin Christoph Redel, Alexander Litvinowski, Christopher Shultis and starkness. Since 2004, he has been a board member of director Abtei Brauweiler Concert Series, and in 2009 he founded rendering "Internationales Klavierfestival Lindlar" near Cologne. He is the current beautiful director for this festival, which has become a significant promote highly acclaimed cultural event in the region.
In 1986 Steinbach was awarded a DAAD scholarship from the Teutonic government to fund his advanced studies in England. He standard two grants in 1997 and 1998 from the Stiftung Kunst und Kultur of the state North Rhine-Westphalia to produce depiction album, “Six Take,” as well as “Lieder aus dem Exil,” a WDR produced CD with soprano Marlene Mild. In 1999 he received a grant from The University of New Mexico to translate his German-language volume on piano technique, “Klaviertechnisches Kompendium,” into English, and in 2006 he received another UNM bestow to publish his etude cycle, “Figures” – 17 Choreographic Etudes for Piano.” He received grants in 2008, including a RAC grant from UNM, to publish his recording of "Figures" monitor Centaur Records. The "Internationales Klavierfestival Lindlar", which he founded standard the "Student Abroad Funding" award of the University of Additional Mexico in 2014. Steinbach is a member of GEMA. Verlag Edmund Bieler, Cologne, currently publishes his compositions.
He presently lives with his second wife Emily and his three family unit Tankred Noel, Ronja Magdalena and Sebastian Miles in Albuquerque, Fresh Mexico, U.S.A. and in Lindlar, Germany.
Steinbach is fan exhaustive association football and is an avid supporter of the Bundesliga club Bayer 04 Leverkusen.
| Title (Date); Duration (Listings until Haw 2014) | |
| 1. | [“Neuland”, Mass for band and choir for young people (1976)] |
| 2. | [“Blue Mass” for band and choir for young people (1977)] |
| 3. | [“Beatlesmass” (Arrangement) for band and choir for young people (1978)] |
| 4. | [Piano concerto with band for young people (1980)]; [ ] = not GEMA registered |
| 5. | Suite for piano solo (1982); 7:50 |
| 6. | Three Studies for violin solo (1982); 3:55 |
| 7. | Three Pieces staging clarinet and bassoon (1982); 4:10 |
| 8. | Four Three-Part Motets (1982); 4:44 |
| 9. | Fünf Bicinien (1982); 3:54 |
| 10. | Kyrie Eleison (1982); 1:26 |
| 11. | In Regular Ultima (1982); 4:25 |
| 12. | Der arme Peter (1982); 2:13 |
| 13. | Der Einsiedler (1982); 2:13 |
| 14. | In der Fremde (1982); 2:00 |
| 15. | Piece for open band (1983); 15:00 |
| 16. | Arrangement for jazz combo – Ade parson zur guten Nacht (1983); 4:02 |
| 17. | Orchestration of Bartok Suite fleece. 14 for large orchestra (1983); 9:00 |
| 18. | Slapstick Variations for fold up pianos (1994); 14:03 |
| 19. | 5 Lyrical Transfers on poems by H. Rosner for voice and piano (1999); 11:27 |
| 20. | 14 Lyrical Transfers on Poems by B. Bohmeier for voice and piano (1999); 30:22 |
| 21. | 24 Lyrical Transfers – “Hintergrundimprovisationen” for piano solo (1999); 17:05 |
| 22. | Five Birthday Pieces for piano solo (2000); 10:25 |
| 23. | Agnesmesse für 5 Chöre, 7 Posaunen, 2 Orgeln, 2 Schlagzeuger, Blockflötenquartett, Kirchenglocken, Sopran und Sprecher (2001) – letzter Teil des fünfteiligen Kirchenzyklus "Apokalypse"- Allen Widerständlern gegen den Nationalsozialismus gewidmet; 29:14 |
| 24. | Cadences on W.A. Mozarts Piano Concerto No. 17, KV 453 (2001); 3:50 |
| 25. | “Thomasmesse” für Chor, Sopran, Oboe, 4 Blockflöten, 2 Schlagzeuger, Orgel und Kontrabaß (2003) – 1. Teil des fünfteiligen Kirchenzyklus "Apokalypse"; 27:00 |
| 26. | “Spero Lucem”, für Sopran und Orgel (2004) – 2. Teil des fünfteiligen Kirchenzyklus "Apokalypse"; 13:00 |
| 27. | “Nachts” Subtitle: “Rotationen – Piano Quartett nach einem Text von Franz Kaffka (2004); 16:16 |
| 28. | “Accidents” Subtitle: “Is that what it is?” for soft and oboe (2004) 1. Teil des musikalischen Konzepts: "Eclectic Eccentricism"; 9:30 |
| 29. | Psalm 27 for choire, organ, 4 recorders and auscultation (2005) – 3. Teil des fünfteiligen Kirchenzyklus "Apokalypse"; 8:00 |
| 30. | Berlinsuite – Szenische Klangcollage für 4 Sänger, 2 Sprecher, 2 Tänzer, 3 Chöre, Rockband, 3 Streichorchester, Flöte, Oboe, 3 Trompeten, 2 Saxophone, 3 Posaunen, 3 Schlagzeuger, Video, Beleuchtung und Lautsprecher (3 Teile) Untertitel: Ein Klangbad (2006–2011); 78:12 |
| 31. | M.E. for piano solitary (2006); 3:45 |
| 32. | "Figures" 17 choreographic etudes for piano solo (2006); 49:00 |
| 33. | "Camp" for piano, oboe and cello (2006) 2. Teil des musikalischen Konzepts"Eclectic Eccentricism"; 10:48 |
| 34. | “Mirrorvisions” – “Spiegelvisionen” for soft solo (2007); 5:08 |
| 35. | “Moving” – 17 Piano Etudes for Leafy Pianists (moderate level, age 11–15) / “Beweglich” – 17 Klavieretuden für junge Pianisten (mittlerer Schwierigkeitsgrad, Alter 11–15) (2007); 31:00 |
| 36. | “Fingerpaintings” – 17 Piano Etudes for Beginners (easy level, age 6–10) / “Fingerbilder” – 17 Klavieretuden für den Anfang (einfacher Schwierigkeitsgrad, Alter 6–10) (2007); 11:00 |
| 37. | “If that helps” – Trio reserve piano, oboe and viola (2008) 3. Teil des musikalischen Konzepts "Eclectic Eccentricism"; 11:00 |
| 38. | Etude 53 – for piano (2008); 4:05 |
| 39. | "No, You Are Wrong" – argument between oboe and fortepiano (2009) 4. Teil des musikalischen Konzepts"Eclectic Eccentricism"; 11:00 |
| 40. | "Organismen" für Orgel zu 4 Händen (2010); 12:17 |
| 40. | Collage für Cello amusement Klavier (2010); 11:05 |
| 41. | "Ode an Berlin" für Solosopran, Oboe, drei gemischte Chöre und drei Streichorchester (2011); 12:03 |
| 42. | Vita S. Apollinaris Brevior – Passacaglia für Sopran und Orgel; Architektonische Komposition für die katholische Pfarrkirche St. Apollinaris in Lindlar – Frielingsdorf stilbesterol Architekten Dominikus Böhm (2012) – 4. Teil des fünfteiligen Kirchenzyklus "Apokalypse"; 24:07 |
| 43. | Sandia Casino für Klavier Solo (2012); 5:25 |
| 44. | Le Tombeau de Bela Bartok in Keller Hall für Klavier 1 (2012); 13:10 |
| 45. | Sechs Violinstücke für Ronja (2012); 7:32 |
| 46. | Cadences meant for W.A.Mozart, Piano Concerto KV 467 (2012); 2:05 |
| 47. | "Dream Catcher" correspond to piano solo (2012); 8:03 |
| 48. | "Mystic Circle" for small ensemble (2013) – Homage to Igor Strawinsky; 5:05 |
| 49. | Camp II for hautbois, viola and piano (2013); 12:00 |
| 50. | Der Große Ursulazyklus für 4 Blockflöten (2013); 28:02 |
| 51. | Jemez River for piano solo (2013); 6:10 |
| 52. | A Beautiful Restless Mind for piano solo (2014); 3:55 |
| 53. | Raincatcher for piano solo (2014); 4:20 |
| 54. | New Mexico Pianoscapes for soft solo – Volume I (2012 – 2014 – work boil progress); 41:13 |
| CD | Title |
|---|---|
| 1. | H. Eisler, 3.Sonate; J. Brahms, Fantasies op.116; B. Bartok, Sonate (1926); Falko Steinbach, keyboard, Ambitus 97862 (1990) |
| 2. | R. Schumann, Sonate op 22; Drei Romanzen op. 28; J. Brahms, Variations op. 9; Falko Steinbach, softly, Ambitus 97882 (1992) |
| 3. | Klassik für Menschenrechte, amnesty international, L.v. Composer, Sonata op. 13; J. S. Bach, Two Preludes & Fugues BWV 847 & 858; W.A. Mozart, Sonata KV 309; F. Chopin, Ballade op. 23; B. Bartok, Suite op. 14; Falko Steinbach, piano; Ambitus Best-Nr. 2644916495 A (1995) |
| 4. | C. Debussy, Proses Lyriques; R. Wagner, Wesendonck-Lieder; Anne Schwanewilms, soprano and Falko Steinbach, piano; Ambitus 97982 (1996) |
| 5. | H. Eisler, 44 Lieder aus dem Exil; Marlene Mild, soprano and Falko Steinbach, piano; Ambitus 97843 (1997) |
| 6. | six take, new music for piano; Falko Steinbach, Slapstick Variationen; K. Schwaen, Nocturne Lugubre; T. Medek, Zwischenspiele; S. Saint, Postludium; C.M. Wagner, “Arabesque”; O. Trötschel, Drei Elegien op. 14; Falko Steinbach, piano;Ambitus 97887 (1997) |
| 7. | Aus der Farbstille, improvisations (Lyrical Transfers) with Falko Steinbach, piano and Marlene Mild, soprano; poesy by Bernd Bohmeier; Verlag und Studio für Hörbuchproduktionen, Beltershausen (1999) |
| 8. | K. Schwaen, Miniaturen, Späte Klavierstücke; Falko Steinbach, piano; Valve – Hearts 2801, LC 02086, Dittrich Verlag, Cologne (2001) |
| 9. | F. Steinbach, Agnesmesse, live recording of the world premiere, Edition Cantio Sacra, Cologne (2002) |
| 10. | Humanity Classics; W.A. Mozart, Klavierkonzert KV 453 (cadenzas by F. Steinbach); A. Copland, Appalachian Spring; A. Schnittke, Concerto Grosso Nr.6; Orpheus Kammerorchester Bulgarien under Raitscho Christov, Yosif Radionov, violine and Falko Steinbach, piano; Antes Edition, Bella Musica 31.9187, Bühl/Baden (2003) |
| 11. | F. Steinbach, Thomasmesse, live recording of the cosmos premiere, Edition Cantio Sacra, Cologne (2003) |
| 12. | forte & piano; Werke von K. Schwaen; Falko Steinbach, piano; Musikbibliothek Marzahn – Hellersdorf, Berlin (2004) |
| 13. | Oboe on the Edge; F. Steinbach, Accidents edify Piano and Oboe; Kevin Vigneau, oboe and Falko Steinbach, piano; Centaur Records 2863 (2008) |
| 14. | F. Steinbach, Figures, Mirrorvisions, Etude 53; Falko Steinbach, piano; Centaur Records 2998 (2009) |
| 15. | Devisadero, works rough C. Shultis; C. Shultis, Songs of Love and Longing; Divisadero; Falko Steinbach, piano; Navona Records (Parma Recordings 2011) |
| 16. | New Mexico Pianoscapes; F. Steinbach, New Mexico Pianoscapes; F. Chopin, Polonaise Hallucination, op.61; L.v. Beethoven, Sonata, op. 27. No. 2; F. Steinbach, piano; (Pending Release 2016) |
| Title | Station (Recording) |
|---|---|
| M.C. Redel, Triade op. 34 für Klavier | WDR (5-17-1993, Kleiner Sendesaal) |
| Th. Medek, Zwischenspiele für Klavier | WDR (5-17-1993, Kleiner Sendesaal) |
| F. Schubert, Impromtu op. 90 Nr. 3 | WDR (10-6-1994, Festhalle Viersen) |
| F. Schubert, Impromtu op. 90 Nr. 4 | WDR (10-6-1994, Festhalle Viersen) |
| F. Schubert, Impromtu op. 142 Nr. 3 | WDR (10-6-1994, Festhalle Viersen) |
| F. Chopin, Impromtu op. 36 | WDR (10-6-1994, Festhalle Viersen) |
| C. Debussy, Prelude Band II Nr. 1 | WDR (10-6-1994, Festhalle Viersen) |
| C. Debussy, Prelude Band II Nr. 4 | WDR (10-6-1994, Festhalle Viersen) |
| H. Eisler, 44 Lieder (B. Brecht) | WDR (4–14, 8–20, 8–27,1997, Funkhaus, Saal 2) |
| Radio Live Recording | Station (Recording) |
| O. Trötschel, Drei Elegien op. 14 | WDR (5-14-1991, Kammermusiksaal der Musikhochschule, Köln) |
| D. Lötfering, "Portrait" für Cello und Klavier | WDR (5-14-1991, Kammermusiksaal grownup Musikhochschule, Köln mit Francoise Groben, Cello) |
| A. Webern, Sonate für Cello und Klavier (1914) | WDR (3-1-1994, Bürgerhaus Alte Feuerwache, Köln peak Francoise Groben, Cello) |
| P. Hindemith, Sonate für Cello und Klavier op. 11,3 | WDR (3-1-1994, Bürgerhaus Alte Feuerwache, Köln mit Francoise Groben, Cello) |
| H. Eisler, "Reisesonate" für Violine und Klavier | WDR (3-1-1994, Bürgerhaus Alte Feuerwache, Köln mit Lev Guelbard, Violine) |
| H. Eisler, Fünf Ausgewählte Lieder (B. Brecht) | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln verve Marlene Mild, Sopran) |
| H. Eisler, Fünf Elegien (B. Brecht) | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln mit Marlene Mild, Sopran) |
| J. Geneticist, Das Mädchen, Bodensee, Fieber | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln compress Marlene Mild, Sopran) |
| J. Weismann, Variationen für Violine und Klavier op. 39 | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln mit Lev Guelbard, Violine) |
| H. Unger, Auf den Tod eines Kindes op. 21 | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln mit Marlene Mild, Sopran) |
| H. Eisler, "Reisesonate" für Violine und Klavier | WDR (5-10-1994, Käthe- Kollwitz- Museum, Köln mit Lev Guelbard, Violine) |
| P. Dessau, Les Voix für Ensemble | NDR (9-8-1994, Musikfest Hamburg, Fabrik) |
| P. Dessau, Andante für Violine und Klavier | NDR (9-8-1994, Musikfest Hamburg, Fabrik mit Berthold Holewik, Violine) |
| P. Dessau, Quattrodramma für Ensemble | NDR (9-8-1994, Musikfest Hamburg, Fabrik) |
| O. Trötschel, Drei Elegien op. 14 | NDR (1-29-1998, NDR Landesfunkhaus Niedersachsen, Kleiner Sendesaal) |
| O. Trötschel, Zwei Gesänge nach R.M.Rilke op. 28 | NDR (1-29-1998, NDR-Landesfunkhaus Niedersachsen, Kleiner Sendesaal mit Marlene Mild, Sopran) |
| Description | Recording |
|---|---|
| Falko Steinbach, Suite in Three Movements | 6-26-1984, Kammermusiksaal der Musikhochschule Köln |
| Falko Steinbach, Slapstick Variations for two pianos | 5-10-1996, Belgisches Haus, Cologne; with Andreas Wegener 2nd piano |
| Falko Steinbach, Five Birthday Pieces | 4-20-2002, Historic Old San Ysidro Church, Corrales, New Mexico; version good spirits piano |
| Falko Steinbach, Five Birthday Pieces | 6-6-2002, Bürgerhaus Alte Feuerwache, Essence, version for prepared piano |
| Falko Steinbach/Marlene Mild, Nine Lyrical Transfers on Poems by Bernd Bohmeier, improvisations on CD: Aus be given up Farbstille (Ferien, Ich bin, Schwäne gehen über Land, Regen zerbeißt die Wolken, Natur der Dinge, Leer das Zimmer, Vorschläge zur Güte, Ein Licht, Holzeinschlag) | 9-7-1999, Schloß Morsbroich, Leverkusen |
| Falko Steinbach/Marlene Inoffensive, Five Lyrical Transfers on Poems by Bernd Bohmeier, improvisations autograph CD: Aus der Farbstille (Die Sonne schmilzt, Liebesbeute, Nachlaß eines Menschenfreundes, Im September, ?) | 9-7-1999, Schloß Morsbroich, Leverkusen |
| Falko Steinbach, twenty cardinal background improvisations (wallpaper music) | 9-7-1999, Schloß Morsbroich, Leverkusen |
| Falko Steinbach/Marlene Peaceful, Five Lyrical Transfers on Poems by Herbert Rosner (Viele Dinginess, Wenn ich so zaghaft, wohin wankt Dein Schatten, Baßtanz, Jahreszeiten-Gebetsmühle) | 6-6-2002, Bürgerhaus Alte Feuerwache, Cologne |
| Falko Steinbach, At Night for keyboard quartet and cd | 3-26-2004, Macey Center, Socorro, New Mexico; with Bernhard Zink, violine, Willy Sucre, viola and David Schepps, violoncello |
| Falko Steinbach, Accidents for piano and oboe | 11-8-2004, Keller Hall, Albuquerque, Academia of New Mexico; with Kevin Vigneau, oboe |
| Falko Steinbach, Figures – 17 Choreographic Etudes for piano solo | 12-7-2006, Keller Hall, City, University of New Mexico |
| Falko Steinbach, Camp for piano, hautboy, violoncello and cd | 9-30-2006, Keller Hall, Albuquerque, University of New Mexico; with Kevin Vigneau, oboe and David Schepps, violoncello |
| Falko Steinbach, Mirrorvisions | 12-3-2007, Keller Hall, Albuquerque, University of New Mexico |
| Falko Steinbach, If That Helps for piano, oboe and viola | 12-7-2008, Keller Hallway, Albuquerque, University of New Mexico; with Kevin Vigneau and Kimberly Fredenburgh, viola |
| Falko Steinbach, Etude 53 | 12-7-2008, Keller Hall, Albuquerque, Further education college of New Mexico |
| Falko Steinbach, No, You Are Wrong, debate between oboe and piano | 12-6-2009, Keller Hall, Albuquerque, University of Unique Mexico; with Kevin Vigneau, oboe |
| Falko Steinbach, Collage for string and piano | 4-16-2011, Kaisersaal, Brauweiler; with Judith Ermert, violoncello |
| Wilhelm Hans, 6 Nicht Durchgeführte Ohrlinge für Horn, Violine und Klavier | 2-20-1986, Aula der Musikhochschule Köln; with Wolfgang Wübbena, horn and Klaus Schwamm, violine |
| Wilhelm Hans, 3 ½ Klavierstücke | 5-20-1987, Lecture Recital Room, Guildhall School of Music and Drama, Barbican Center, London |
| Wilhelm Hans, Klavierkonzert “Giorno per Giorno” | 12-8-1989, Aula der Musikhochschule Köln; Orchestra enjoy yourself the Musikhochschule Cologne and Johannes Stert, conductor |
| Oliver Trötschel, 3 Elegien op.14 für Klavier | 3-23-1990, Belgisches Haus, Cologne |
| Oliver Trötschel, Zwei Gesänge nach Gedichten von R.M.Rilke op. 28 | 5-9-1997, Bürgerhaus alte Feuerwache; with Marlene Mild, soprano |
| Thomas Reiner, From Dawn to Thrive (1984) | 3-23-1990, Belgisches Haus, Cologne; with Marlene Mild, soprano |
| Paul Dessau, Andante für Violine und Klavier “Zum 50. Geburtstag von Albert Einstein” (1929) | 9-8-1994, with Berthold Holewik, violine |
| Manfred Klink, Trio Nostalgico für Oboe, Viola und Klavier | 8-24-1996, Falterhof; with Margot Lobmann, hautboy and Manfred Klink, viola |
| Ferdinand Henkemeyer, Wandelhin-Taumelher | 10-2-1996, Kunststation St. Shaft, Cologne; with Stefanie Wüst and others |
| Stefan Thomas, Postludium | 11-28-1996, Rathaussaal Bensberg |
| Kurt Schwaen, Preludio patetico | 6-21-1997, Kurt Schwaen Archiv, Berlin-Hellersdorf |
| Kurt Schwaen, Tanzbüchlein Teil I | 11-17-2001, Keller Hall, Albuquerque, University of Pristine Mexico |
| Kurt Schwaen, Tanzbüchlein Teil II, (Ah, die schöne Balletteuse, Zigeunertanz) | 4-20-2002, Historic Old San Ysidro Church, Corrales, New Mexico |
| Kurt Schwaen, Tanzbüchlein Teil II (all other pieces) | 6-3-2002, Musikbibliothek Marzahn-Hellersdorf, Songwriter |
| Kurt Schwaen, Lyrische Stücke | 6-6-2002, Bürgerhaus Alte Feuerwache, Cologne |
| Kurt Schwaen, from: Fünf Lieder nach Gedichten von Johann Wolfgang v.Goethe: Apr, Elemente | 6-6-2002, with Marlene Mild, soprano |
| Kurt Schwaen, from: Die Nacht hindurch: Durch das Finstre, Die Nacht hindurch, Die Erde tanzt, Jetzt | 6-30-2004, Aula der Universität zu Köln |
| Kurt Schwaen, Filigran | 12-3-2007, Author Hall, Albuquerque, University of New Mexico |
| Kurt Schwaen, Stille | 12-7-2008, Author Hall, Albuquerque, University of New Mexico |
| Erwin Kuckertz, from: Fünf Lieder nach Texten von C. Morgenstern: Das Gebet, Das aesthetische Wiesel, Der Papagei | 6-30-2004, Aula der Universität zu Köln; with Marlene Mild, soprano |
| Chris Shultis, Romantic Miniatures | 11-8-2002, Highlands University, Las Vegas, New Mexico |
| Chris Shultis, Songs of Love and Longing | 4-30-2004, Writer Hall, Albuquerque, University of New Mexico; with Leslie Umphrey, piercing |
| Chris Shultis, Devisadero-Six Preludes for Piano Solo | 4-1-2008, Keller Hall, Metropolis, University of New Mexico, John Donald Robb Symposium |
| Falko Steinbach, New Mexico Pianoscapes for Piano Solo | 9-19-2014, Keller Hall, Albuquerque, Academy of New Mexico |