University of Southern California Dissertations and Theses

A survey of the unaccompanied choral music of Wolfram Buchenberg

(USC Thesis Other)

A survey of the unaccompanied choral music of Wolfram Buchenberg

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content
A SURVEY OF THE UNACCOMPANIED CHORAL MUSIC

OF WOLFRAM BUCHENBERG

By

Samuel William Barbara

__________________________________________________

A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)

DECEMBER 2013

Copyright 2013 Samuel William Barbara

ii

To my dear friend the late Dr. Roger Doyle, dedicated conductor, scholar and
educator, whose humble support and unwavering commitment inspired me to
follow in his path.

iii

Acknowledgements

First and foremost, I would like to thank Wolfram Buchenberg, for his
contribution to the choral art and his continued passion for music education. I
am most grateful for the support he has provided me throughout the process,
without which this project would not have been possible. Additionally, I would
like to recognize my advisor, Dr. Jo-Michael Scheibe for his unwavering
commitment to my development. His incomparable work ethic, outstanding
musicianship and devotion to his students are truly inspirational. I gratefully
acknowledge the other members of my doctoral advisory committee at the
University of Southern California, Drs. Nick Strimple, Cristian Grases, Beatriz
Ilari, and Bryan Simms, for their outstanding support throughout this process.
Lastly, I would like to extend my sincerest thanks to my family, for constantly
encouraging me to follow my dreams; most specifically, I want to thank my loving
wife, Kimberly, who has supported me through the most challenging times and
whose patience is humbling and inspirational.

iv

Table of Contents
Dedication ii
Acknowledgements iii
List of Tables vi
List of Examples vii
Abstract x
Introduction 1
Chapter 1: Biography 4
Early Years and Formal Education: 1962-1993 4
A Burgeoning Professional: 1993-2006 7
Recent Successes: 2006-present 13
Chapter 2: Stylistic Characteristics 19
Introduction 19
Musical Influences 21
Harmonic Language 30
Text Sources 35
Conclusion 42
Chapter 3: An Overview and Annotated Catalogue of the 45
Unaccompanied Choral Works
Introduction 45
An Overview 46
Arrangements 46
Original Works with Semantic-free Texts 49
Original Works for Men’s and Women’s Chorus 53
Original Works for Mixed Chorus 57
Annotated Catalogue of the Unaccompanied Choral Works 62
Introduction 62
Mixed Choir 65
Original Compositions 65
Arrangements 70
Men’s Choir 73
Original Compositions 73
Arrangements 74
Women’s Choir 75
Original Compositions 75
Arrangements 76

v

Children’s and Youth Choir 77
Original Compositions 77
Arrangements 78
Other 78
Original Compositions 78

Chapter 4: A Descriptive Analysis of Selected Unaccompanied 80
Choral Works
Introduction 80
Magnificat 81
Sound Fields-Space Vibrations-Oscillations 87
I Saw Three Ships 92
Spell to Conjure the Echo’s Shadow 96
Four Spiritual Songs 103
Conclusion 115
Summary and Conclusions 116
Bibliography 118
Appendices 120
Appendix A: E-mail Interview with Wolfram Buchenberg 120
Appendix B: Interview with Wolfram Buchenberg 127
Appendix C: List of Unaccompanied Choral Works 134
Appendix D: List of Complete Choral Works 139
Appendix E: Discography 143
Appendix F: List of Complete Instrumental Works 145
Appendix G: Vitae 148

vi

List of Tables

Table 1. Modal Centers – Buchenberg, Sieben 102
Zaubersprüche, “Spruch um des Echos Schatten
zu beschwören.”

Table 2. Overarching Tonal Layout – Buchenberg, 104
Vier geistliche Gesänge.

Table 3. Tonal Implications Based on Pitch Centricity 108
and Chord Combination – Buchenberg,
Vier geistliche Gesänge, “Erbarme dich unser.”

Table 4. Tonal Centers and Harmonic Sequences 114
– Buchenberg, Vier geistliche Gesänge,
“Ich bin das Brot des Lebens.”

vii

List of Examples

Example 2.1. Wolfram Buchenberg, Klangfelder-Raumschwing- 23
ungen-Oszillationen, mm. 76-80.

Example 2.2. Wolfram Buchenberg, Sieben Zaubersprüche,” mm. 24
69-72.

Example 2.3. Perotin, Sederunt, mm. 1-4. 26

Example 2.4. Wolfram Buchenberg, Vier geistliche Gesänge, 27
“Erbarme dich unser,” mm. 62-64.

Example 2.5. Wolfram Buchenberg, Magnificat, mm. 1-6. 28

Example 2.6. Wolfram Buchenberg, Von 55 Engeln behütet, mm. 32
1-6.

Example 2.7. Wolfram Buchenberg, Zwei Stücke, “Beschwörung,” 37
mm. 33-34.

Example 2.8. Wolfram Buchenberg, Zwei Stücke, “Beschwörung,” 39
mm. 22-24.

Example 3.1. Wolfram Buchenberg, arr., Gegrüßt seist du Maria, 47
mm. 1-7.

Example 3.2. Wolfram Buchenberg, arr., O Freude über Freude!, 48
mm. 29-36.

Example 3.3. Wolfram Buchenberg, arr., O Freude über Freude!, 49
mm. 255-270.

Example 3.4. Wolfram Buchenberg, Mubo!!!, mm. 23-25. 51

Example 3.5. Wolfram Buchenberg, Mubo!!!, mm. 71-73. 51

Example 3.6. Wolfram Buchenberg, Wechselgesang, mm. 53
114-117.

Example 3.7. Wolfram Buchenberg, Veni, sancte Spiritus, 54
mm. 21-27.

Example 3.8. Wolfram Buchenberg, Almáttigr Guđ!, mm. 55
141-144.

viii

Example 3.9. Wolfram Buchenberg, Licht – Licht vom Licht, 56
mm. 90-94.

Example 3.10. Wolfram Buchenberg, Als vil in gote, als vil in 58
vride, mm. 1-6.

Example 3.11. Wolfram Buchenberg, Als vil in gote, als vil in 58
vride, mm. 68-71.

Example 3.12. Wolfram Buchenberg, Veni, dilecte mi!, 59
mm. 9-13.

Example 3.13. Wolfram Buchenberg, Tombeau de Josquin 61
Desprez, mm. 21-24.

Example 4.1. Wolfram Buchenberg, Magnificat, mm. 3-6. 82

Example 4.2. Wolfram Buchenberg, Vier geistliche Gesänge, 83
“Lasst uns umkehren zum Herrn,” mm. 41-44.

Example 4.3. Wolfram Buchenberg, Magnificat, mm. 23-25. 84

Example 4.4. Wolfram Buchenberg, Magnificat, mm. 33-37. 85

Example 4.5. Wolfram Buchenberg, Magnificat, mm. 62-65. 86

Example 4.6. Wolfram Buchenberg, Klangfelder-Raum- 88
schwingungen-Oszillationen, mm. 32-35.

Example 4.7. Wolfram Buchenberg, Klangfelder-Raum- 89
schwingungen-Oszillationen, mm. 86-95.

Example 4.8. Wolfram Buchenberg, Klangfelder-Raum- 90
schwingungen-Oszillationen, mm. 1-4.

Example 4.9. Wolfram Buchenberg, Klangfelder-Raum- 91
schwingungen-Oszillationen, mm. 111-115.

Example 4.10. Wolfram Buchenberg, I saw three ships, mm. 1-6. 94

Example 4.11. Wolfram Buchenberg, I saw three ships, mm. 18-22. 95

Example 4.12. Wolfram Buchenberg, I saw three ships, mm. 28-31. 96

Example 4.13. Wolfram Buchenberg, Sieben Zaubersprüche, 99
“Spruch, um des Echos Schatten zu beschwören,”
mm 1-4.

ix

Example 4.14. Wolfram Buchenberg, Sieben Zaubersprüche, 100
“Spruch, um des Echos Schatten zu beschwören,”
mm. 29-32.

Example 4.15. Wolfram Buchenberg, Vier geistliche Gesänge, 105
“Du bist der Herr, unser Gott,” mm. 1-4.

Example 4.16. Wolfram Buchenberg, Vier geistliche Gesänge, 107
“Erbarme dich unser,” mm. 10-12.
Example 4.17. Wolfram Buchenberg, Vier geistliche Gesänge, 109
“Erbarme dich unser,” mm. 46-50.

Example 4.18. Wolfram Buchenberg, Vier geistliche Gesänge, 111
“Lasst uns umkehren zum Herrn,” mm. 26-30.

Example 4.19. Wolfram Buchenberg, Vier geistliche Gesänge, 113
“Ich bin das Brot des Lebens,” mm. 25-28.

All musical examples were reproduced by kind permission of Edition
Ferrimontana, Ober-Mörlen, © Edition Ferrimontana and Carus-Verlag,
Stuttgart, © Carus-Verlag. Examples from unpublished manuscripts were
reproduced by kind permission of Wolfram Buchenberg. All rights reserved.

x

Abstract

Wolfram Buchenberg (b. 1962) is one of the most celebrated living
composers in Germany and he continues to add to an already rich and extensive
choral output. Constantly receiving commissions and having been regularly
performed and recorded by some of Germany’s most acclaimed ensembles,
Buchenberg is at the forefront of the modern choral movement in this country.
Despite his national prominence, however, little is known of Buchenberg’s work
outside of his native country, and almost no English language literature exists on
his music. One of the largest and most substantial portions of the composer’s
work is for voices, and of particular interest are his compositions for
unaccompanied chorus, an area in which he has been especially prolific. This
dissertation examines the unaccompanied choral music of Wolfram Buchenberg,
as a means for understanding the composer’s distinct style, and with the added
intention of elevating awareness outside of Germany about this important
contributor to the choral repertoire.
The study begins with a biography, tracing the composer’s development
from childhood through to the present day. Personal interviews with the
composer serve to enhance an understanding of his unique style and are
accompanied by conversations with prominent German choral professionals who
attest to the significance of his contribution. The second chapter provides a
discussion regarding stylistic characteristics and musical influences, using
examples from the a cappella choral repertoire to highlight such features. The
third chapter presents an overview and annotated catalog of Buchenberg’s entire
unaccompanied choral output, and chapter four presents a descriptive analysis of

xi

selected unaccompanied choral works. Appendices, including interview
transcripts, lists of the complete choral and instrumental works, and a
discography, help to provide a broader context within which to view the music
featured in the study.

1

Introduction
Wolfram Buchenberg is among the most highly regarded living composers
in Germany and he continues to add to an already varied and complex output.
While Buchenberg has successfully composed for a variety of mediums, ranging
from solo instrumental to works for Symphony Orchestra, more than half of his
compositions are written for voices. His compositions explore an array of
experimental techniques and demonstrate a unique musical language. Of
particular interest are his works for a cappella chorus, an idiom within which
Buchenberg has been especially prolific. This dissertation focuses on the
unaccompanied choral music of Wolfram Buchenberg, as a means for
understanding the composer’s distinct style, with the added intention of elevating
awareness outside of Germany about this important contributor to the choral
repertoire.
Having been published by prominent international companies and
recorded professionally by distinguished German choral ensembles, Wolfram
Buchenberg has begun to achieve wider recognition; however, despite an already
significant national prominence, little is known about the composer on the global
stage. Among the numerous factors that may be contributing to this lack of
awareness, is the composer’s more recent decision to personally oversee all
distribution of his music. For this reason, widespread distribution is difficult, if
not impossible, but Buchenberg invests considerable energy in establishing and
maintaining personal contact with conductors worldwide, and is adamant that
much can be done without the influence of publishing companies. Up to this

2

point, he has largely relied on word of mouth, frequent performances, and master
classes for purposes of marketing his music. And, while word is spreading quickly
about the composer’s work, much is yet to be done in order to establish the global
awareness deserving of such a prominent composer.
Interviews with renowned German choral conductors such as Volker
Hempfling, Max Frey, Martin Steidler, and Matthias Beckert, all whom have
presented numerous performances of and are intimately acquainted with
Buchenberg’s music, unanimously attest to his ingenuity and the significance of
his contribution to the choral repertoire. Numerous professional recordings,
including a recent album presented by Cantabile Regensburg that focuses solely
on the a cappella choral music, have been released. World-renowned
professional ensembles such as the Calmus Ensemble and the BBC singers have
recently programmed Buchenberg’s music, and outstanding performances by
leading collegiate ensembles, including the University of Southern California
Thornton Chamber Singers, the East Carolina State University Chamber Singers,
the University of Miami Frost Chorale, and the Louisville Cardinal Singers, have
assisted in further elevating global awareness. Performances at national choral
conventions in United States have been met with positive reception and would
suggest a growing interest in the composer’s work in this market. Yet to date, no
comprehensive study of his life and work has been conducted, and with the
exception of a brief translation of an interview by Arne Reul in the International
Choral Bulletin, no English language literature exists. This dissertation provides a
closer look into the life and music of Wolfram Buchenberg and will serve as the
seminal scholarly study on this highly accomplished composer.

3

In order to better understand the composer’s work, the study begins with a
biography, which traces his development from childhood through to the present
day. Personal interviews with the composer reveal a variety of interesting
perspectives on Buchenberg’s compositional process and help the reader to better
understand his music. Additionally, interviews with prominent choral
professionals, coupled with a limited selection of German language articles, serve
to enhance this understanding. An examination of significant performances,
recordings, and commissions will highlight the significance of Buchenberg’s
contributions. The second chapter discusses stylistic characteristics and musical
influences, using musical examples from his a cappella choral repertoire in order
to highlight such features. Conclusions drawn by the author, regarding musical
lineage and influence, are enhanced by the composer’s own thoughts on the topic.
The third chapter presents an overview and annotated catalog of Buchenberg’s
entire unaccompanied choral output, demonstrating the depth and variety of
music that exists within this body of work. Chapter four takes a closer look at
selected unaccompanied choral works, which collectively exemplify the
composer’s most prominent stylistic characteristics, demonstrating his ingenuity
and highlighting those qualities that have earned him the well-deserved
reputation he currently celebrates.

4

Chapter 1: Biography
Early Years and Formal Education: 1962-1993
Born in Engelbolz, Germany in 1962, Wolfram Buchenberg grew up on a
farm in the southwest Bavarian region of the Upper Allgäu, along the Alps lining
the Austrian border. In 1974, he visited the music program at the Gymnasium in
Marktoberdorf and subsequently enrolled in its boarding school, thus embarking
upon what Buchenberg describes as, “an important and life changing experience,”
resulting from the formative musical experiences he encountered while
participating in the school’s instrumental and vocal programs.
1
The following
year, Buchenberg joined the Jugendchor Ostallgäu (Eastern Allgäu Youth Choir)
in Marktoberdorf and became deeply inspired by the ensemble’s director, Arthur
Groß, a charismatic conductor whom he admired for his ability to “lead the choir
to incredible quality”.
2
It was from this rich musical environment that
Buchenberg’s passion for choral music was cultivated; through these ensemble
experiences, Buchenberg learned, “from the inside out, how a choir works, what it
sounds like, what causes trouble, etc.”.
3

Upon graduating from the Gymnasium in Marktoberdorf, Buchenberg
applied to and was accepted into the Hochschule für Musik und Theater
München (Conservatory of Music and Theater in Munich). Although his course of
study focused primarily on music education, Buchenberg recalls initially

1
Wolfram Buchenberg, e-mail message to author, August 30, 2013.

2
Ibid.

3
Wolfram Buchenberg, interview by Jasmin Steiner, December 17, 2008, translated by the
author, PDF file of transcript, used by permission.

5

contemplating the possibility of composing early on in his undergraduate years,
while singing in a play that his music theory professor, Meinrad Schmitt, had
written and composed. Following this formative experience, Buchenberg began
seriously considering that he too might enjoy writing music for others to perform,
so he went to work writing compositional exercises in the style of some of his
favorite composers (i.e. Claude Debussy and Richard Strauss). Upon completion,
Buchenberg showed the finished compositions to Professor Schmitt, who strongly
encouraged him to sit the conservatory’s entrance exam for compositional
studies.
4

After passing the music education exit exam with distinction in 1987,
Buchenberg acquired a part-time teaching position at the Conservatory of Music
and Theater in Munich, where he began teaching methods and keyboarding for
secondary school music educators in 1988—an appointment he has continuously
held for the past twenty-five years. Buchenberg was eager to continue his musical
studies at the institution, however, and enrolled directly in the Conservatory’s
composition program.
5
Despite his extensive training in music education and
Professor Schmitt’s earlier encouragement regarding his compositional
aspirations, Buchenberg maintains that he “came to composition much like the
Virgin came to be with child: unintentionally but not completely ‘innocently’”.
6

Through this edgy statement, Buchenberg alludes to that fact that, although he
had genuinely harbored interest in composition as an undergraduate student, he

4
Ibid.

5
Wolfram Buchenberg, curriculum vitae, PDF document, used by permission.

6
Buchenberg, interview by Jasmin Steiner.

6

had hoped to pursue graduate studies in music theory, rather than composition.
Incidentally, however, the Conservatory of Music and Theater in Munich did not
offer a degree in music theory in 1988 and, as a result, Buchenberg instead
enrolled in its compositional program, “[s]ince the study of composition included
music theory and the accompanying subjects of counterpoint, analysis, harmony
and orchestration”.
7
Regardless of the practical motivations behind his initial
decision to enroll in the composition program, it is clear that Buchenberg
excelled while studying under Professor Dieter Acker, as he graduated with
distinction in 1992, at which point he was admitted into the postgraduate
certificate program and awarded a fellowship to continue his studies.
8

In addition to his academic pursuits at the Conservatory of Music and
Theater in Munich between 1982 and 1993, Buchenberg played an increasingly
active role in the local and national choral community, serving as a frequent
lecturer at choral conducting seminars sponsored by the Südtiroler Sängerbunde
(South Tyrolean Singers Association) and an active speaker at assorted vocal
training and choral music festivals throughout southern Germany.
9
Additionally,
Buchenberg sang in the Conservatory’s renowned Madrigal Choir during this
time—a formative experience, he says, which taught him how to “compositionally
deal with the living instrument that is a choir”.
10
With his ever-increasing

7
Ibid.

8
Buchenberg, curriculum vitae.

9
Ibid.

10
Werner Pees, “Interview mit Wolfram Buchenberg, dem Komponisten der Vesper zum
Bamberger Bistumsjubiläum [Interview with Buchenberg, the composer of the Vespers for the
Bamberg Diocese anniversary],” Erzbistum Bamberg, last modified September 6, 2006,

7

understanding of the choral instrument and a new, highly capable vehicle for
expression, Buchenberg began to write more challenging and virtuosic music.
Poised for success in this nurturing environment, the composer wrote
“Beschwörung” and “Störung” (Incantation and Disruption) in 1989 for the
Conservatory’s Madrigal Choir, works that would later be published as Zwei
Stücke (Two Pieces).
11
Tailored specifically to the strengths and capabilities of
this particular ensemble, the Madrigal Choir performed Zwei Stücke at the BBC’s
biennial “Let the Peoples Sing” choral competition in 1993, under the direction of
Professor Max Frey, and won first prize in the “Contemporary Choral Music”
category, thus garnering Buchenberg his first taste of widespread recognition and
acclaim as a composer.
12

A Burgeoning Professional: 1993-2006
Following the positive reception of Zwei Stücke at the “Let the Peoples
Sing” competition, an increasing number of choral organizations reached out to
Buchenberg for commissions and publishers began to take note of his work.
13
In
1995, Edition Ferrimontana published several of Buchenberg’s unaccompanied
choral compositions, including Zwei Stücke and Magnificat, marking the first

http://www.kath.de/dkd/bistum/bamberg/newsdetail.php3?newsid=8286&ref=bamberg?bistu
m=4.

11
Wolfram Buchenberg, “Zwei Stücke,” (Frankfurt, Germany: Edition Ferrimontana, 1995).

12
Arne Reul, “Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram Buchenberg in the
Bavarian Allgäu,” trans. Holden Ferry, International Choral Bulletin 31, no. 4 (2012): 73.

13
Ibid.

8

widespread availability of and awareness surrounding his work.
14
Over the next
two years, Buchenberg worked on commissions for both the World Harp
Congress and the Munich Radio Orchestra and Edition Ferrimontana published
several more of Buchenberg’s compositions, namely folksong arrangements
intended for performance by school or community youth choirs.
15
1997 proved a
very busy year for Buchenberg, due to the acceptance of two additional
commissions in close succession: first, the Archdiocese of Munich-Freising
commissioned Buchenberg to compose a setting of the Proper for the so-called
Aschermittwoch der Künstler (Ash Wednesday of the artists), which would later
be published as Vier geistliche Gesänge (Four sacred songs), and secondly, the
Arbeitskreis Musik in der Jugend (the German federation of youth choirs and
instrumental ensembles), commissioned Buchenberg as part of their “Composers
writing for children’s and youth choirs” project.
16
As a result of the commission
for the Arbeitskreis, Buchenberg composed the fanciful and lively set entitled
Sieben Zaubersprüche (Seven Spells), which premiered in Halle during the
spring of 1998, performed by the Girl’s choir of Schola Cantorum Leipzig.
17
The
Mitteldeutschen Rundfunk (Central German Radio) consequently recorded a
performance of the work later that same year.
18

14
Wolfram Buchenberg, “Magnificat,” (Frankfurt, Germany: Edition Ferrimontana, 1995).

15
Buchenberg, curriculum vitae.

16
Wolfram Buchenberg, “Vier geistliche Gesänge [Four sacred songs],” (Stuttgart, Germany:
Carus-Verlag, 2003); Buchenberg, curriculum vitae.

17
Wolfram Buchenberg, “Sieben Zaubersprüche [Seven magic spells],” (Frankfurt, Germany:
Edition Ferrimontana, 1998).

18
Buchenberg, curriculum vitae.

9

Although Sieben Zaubersprüche received frequent performances,
Buchenberg has commented that “composing music for a children’s choir that is
both exciting and do-able really is like trying to square the circle,” because, “the
less experienced a choir is, the more difficult it is [to compose for them],” while
remaining true to his musical vision.
19
In spite of his expressed preference to
compose for more advanced choirs, however, Buchenberg also believes that
adults “shouldn’t underestimate kids,” in respect to what they are capable of
singing, rhythmically and lyrically and, because of this, he has continued working
to compose music for young singers that proves both engaging and challenging.
20

As part of this resolve, Buchenberg accepted a commission from the Südtiroler
Sängerbunde in the summer of 1999 and composed the children’s musical König
Laurin und sein Rosengarten (King Laurin and his rose garden).
21
Originally
performed in South Tyrol, König Laurin has only grown in popularity over time,
as evidenced by the regularity of performances given by secondary schools, youth
philharmonic ensembles, and children’s theater groups across Germany since its
premier.
22

19
Buchenberg, “Sieben Zaubersprüche.”; Reul, “Behind the Pied Piper’s Seven Hills: Paying a
Visit to Wolfram Buchenberg in the Bavarian Allgäu,” 72.

20
Ibid., 72.

21
Buchenberg, curriculum vitae.

22
A basic search yields numerous performances, some of which include the concluding
performance of the 2005 “Latscher Kulturtage [Latscher Cultural Day]” summer festival, a
performance in June of 2008 as a part of the Maintal-Sängerbund’s [Maintal singers association]
annual “Chorfest [Choral festival],”a recent presentation at the St. Gotthard Gymnasium in
Niederalteich, and a performance on July 14, 2013 by the Bayern Youth Philharmonic and Choir
as a part of the “Kleines Sommerfestival [Small summer festival]” in Gauting, Germany.

10

By the end of the 1990’s, these early publications had brought an increased
awareness about Buchenberg’s music; this momentum was furthered by an
increasing number of performances of his folk song arrangements and original
music for youth choirs. At the turn of the century, however, Buchenberg’s
compositional output grew increasingly diverse as he received more frequent
commissions. Many of the resulting works involved settings of Biblical texts as
well as more eclectic spiritual sources, such as writings from esteemed medieval
theologians like Master Eckhart and Anselm of Canterbury.
23
Employing these
powerful, but lesser-known sacred texts, has represented a significant trend in
Buchenberg’s compositional output; the composer notes that, “through [his]
music,” these sacred texts, “[are able to] reach a wider audience.”
24

The first of several sacred music commissions arose during the 1999-2000
season, when Buchenberg accepted a commission to compose a German mass for
the inauguration of the newly constructed Münchner Herz-Jesu Kirche (Munich
Sacred Heart Church), under the leadership of Cardinal Wetter. The work,
involving four-voiced mixed choir, small choir, brass quartet and organ, was well
received and garnered further national recognition: the German Choral Society
lauded it as an “excellent” example of “new choral music,” and a subsequent
performance was later recorded by the Bavarian Broadcasting corporation.
25
In
2001, Cantabile Limburg commissioned Buchenberg to write a culminating

23
Reul, “Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram Buchenberg in the
Bavarian Allgäu,” 72.

24
Ibid.

25
Buchenberg, curriculum vitae.

11

composition for its twentieth anniversary concert. The finished work, entitled
Plenitudo temporis – Fülle der Zeit (The Fullness of Time), set the medieval
writings of Dominican monk Meister Eckhart—on life beyond death, space, and
time—to music, and constituted a major musical undertaking. It was composed
for four choirs and eleven brass musicians. During the summer of 2001, the
Bavarian Music Academy in Marktoberdorf honored Buchenberg by asking him
to be the institution’s first composer-in-residence; shortly following an
acceptance of this position, Fülle der Zeit premiered at Limburg Cathedral to an
enthusiastic reception, being described as, “a difficult, extremely challenging
work,” verging on “almost unearthly beauty,” that the audience met with “jubilant
applause”
26

As word of Buchenberg’s music spread, choral organizations across
Germany took increasing interest and he accepted two more commissions in the
following year. The first, from the Musica Sacra International (Sacred Music
International) festival, resulted in Als vil in gote, als vil in vride (When you are in
God, then you are in peace).
27
The latter commission, from the Münchner
Singkreis (currently the Munich Concert Choir), yielded Cántico di frate sole –
Sonnengesang des hl. Franz von Assisi (Canticle of Brother Sun – Canticle of the
Sun, by St. Francis of Assisi) in 2002, which commemorated the organization’s

26
Heinz Kleiter, “Ein Gesamtkunstwerk aus Raum und Klang [A complete art work of space and
sound],” Eintracht Hasselbach, last modified November 12, 2001,
http://www.mgv-eintracht.de/muku02/canta bile/0111120.htm.

27
Wolfram Buchenberg, “Als vil in gote, als vil in vride [When you are in God, then you are in
peace].” (Stuttgart, Germany: Carus-Verlag, 2003).

12

fiftieth anniversary.
28
In 2004, Werner Pees, music director at the Catholic
Cathedral in Bamberg, programmed Buchenberg’s German Mass for a Pentecost
service and was deeply taken by the effect the work had on congregants and
choral singers alike. Consequently, he commissioned Buchenberg to compose a
Vespers service for the 1,000th anniversary of the archdiocese of Bamberg;
Buchenberg set the text, which was assembled by Prelate Albrecht, to a
composition for four-voiced mixed choir, small choir, organ, and brass quintet.
29

Later that same year, Buchenberg composed his Missa pro puellis (Mass for
girls), for the Girl’s Choir of Mainz, along with a major orchestral work, entitled
1756-1791, for the Augsburg Philharmonic, in anticipation of Mozart Year in
2006.
2006 brought Buchenberg a new level of recognition, when his motet “Ich
bin das Brot des Lebens” (I am the bread of life) from Vier geistliche Gesänge
was performed at the homecoming celebration for Pope Benedict XVI in
Regensburg, Germany.
30
In this same year, Buchenberg composed Da pacem
sabbati! (Give the peace of the Sabbath!) for the Swabian Art Summer festival
and his Gloria for choir and big band, the latter of which was premiered by the
Bavarian Youth Jazz Orchestra, the German Youth Chamber Choir, and the
Youth Choir of the Bavarian-Swabia Choral Association, in commemoration of
the twenty-fifth anniversary of the Bavarian Music Academy in Marktoberdorf on

28
Buchenberg, curriculum vitae.

29
Pees, “Interview mit Wolfram Buchenberg, dem Komponisten der Vesper zum Bamberger
Bistumsjubiläum.”

30
Buchenberg, “Vier geistliche Gesänge.”

13

July 25, 2009.
31
Buchenberg also received an invitation from Europa Cantat
(Europe sings) in 2006 to serve as the federation’s first composer-in-residence,
and he rounded out this eventful year by participating in the “Dialogue of
Cultures” event in the Ukraine, and composing O nata lux (Oh, light born), which
premiered at the Bavarian Radio Symphony Orchestra’s 2006 Christmas
concert.
32

Recent Successes: 2006-present
In the years following 2006, Buchenberg rapidly expanded his
compositional output and continued t0 garner international acclaim. Choral
audiences in the United States were more formally introduced to Buchenberg’s
music during a performance of “Ich bin das Brot des Lebens” at the 2005
American Choral Directors Association National Conference in Los Angeles,
delivered by the Louisville Collegiate Chorale, under the direction of Kent
Hatteberg.
33
As a result of ongoing word-of-mouth marketing, a number of
notable choirs based in the United States have since programmed works by the
composer. The University of Miami Frost Chorale, under the direction of Jo-
Michael Scheibe, performed the Magnificat at the American Choral Directors
National Conference in 2007 and released an outstanding recording of the work

31
Buchenberg, curriculum vitae; “Jubiläum: das Festkonzert am 25.Juli [Anniversary: the concert
on July 25
th
],” Bayerische Musikakademie Marktoberdorf, accessed September 24, 2013.

32
Buchenberg, curriculum vitae.

33
Cliff Ganus, telephone interview with the author, September 9, 2013.

14

in 2008 and has continued to champion Buchenberg’s music since.
34
Also under
Scheibe’s direction, the University of Southern California Thornton Chamber
Singers performed Klangfelder-Raumschwingungen-Oszillationen (Sound
fields-space vibrations-oscillations) numerous times throughout the 2011-2012
academic year as part of the ensembles’ national and international concert
tours.
35

Back in Europe, Buchenberg was invited to participate in the composer’s
roundtable discussion group at the 2008 World Choral Symposium in
Copenhagen, Denmark and during the 2010-2012 choral season, he received the
unique title of “City Composer” in Hagen, Germany.
36
During this appointment,
Buchenberg wrote a partial setting of Pharaoh Akhenaten’s Hymn to the Sun and
composed Im Lichtland des Himmels (In the light country of Heaven) for
chamber choir, large choir, mezzo-soprano solo, and symphony orchestra. This
position proved particularly fruitful, as Buchenberg also composed the seven-
movement orchestral work Sieben Sagen (Seven Tales) while serving as the “City
Composer” for Hagen.
37
Sieben Sagen premiered at Theater Hagen in July of
2011, as performed by the Hagen Philharmonic Orchestra, several local school

34
Portrait of the Soul, University of Miami Frost Chorale, conducted by Jo-Michael Scheibe, Arsis
CD166, 2008, compact disc; Buchenberg, “Magnificat.”

35
Serving in the capacity of assistant conductor, the author participated in the preparation and
performance of the work and maintained close contact with the composer throughout the process.
The composition was met with enthusiastic reception along the tour, which included stateside
performances in Arizona and Colorado, as well as numerous performances in New Zealand and
Australia as a part of the ensemble’s 2012 twenty-fifth Anniversary summer tour.

36
Buchenberg, curriculum vitae.

37
Buchenberg, curriculum vitae.

15

youth choirs, and the children’s Ivancic Ballet School and was subsequently
recorded and released on CD.
38

In 2012, Buchenberg was commissioned by German conductors Martin
Steidler and Florian Helgath to write a joint choral work for their two respective
choirs, the Heinrich Schütz Ensemble of Vornbach and the Munich Via Nova
Choir.
39
The outcome of this commission resulted in the 16-voiced Tombeau de
Josquin Desprez, which premiered in February of 2012 in Passau, Germany, and
was met with “frenzied applause.”
40
Not long after, in July of 2012, the Spektral
label released a CD entitled Buchenberg Chorwerke, performed by Cantabile
Regensburg under the direction of Matthias Beckert, providing listeners with a
comprehensive overview of a cappella choral works composed by Buchenberg
between 1995 and 2009.
41
Although more than fifteen individual compositions of
Buchenberg’s have been performed and recorded on compilation CDs over the
last decade, the Cantabile Regensburg CD represents the principal recording
solely devoted to his choral compositions.
42
The songs selected for inclusion on
the Cantabile Regensburg CD have been hailed “an exemplary assessment” of
cumulative body of Buchenberg’s a cappella choral music and demonstrate that,

38
Michael Brandhoff, “Sieben Sagen [Seven sayings],” Westdeutsche Allgemeine Zeitung, July 14,
2011, accessed September 24, 2013, http://www.derwesten.de/staedte/hattingen/sieben-sagen-
id4866716.html.

39
Martin Steidler, e-mail message to author, September 19, 2013.

40
Hermann Schmidt, “Kaum zu übertreffen: Schütz Ensemble und Via-Nova-Chor beim
Konzertwinter [Hard to beat: the Schütz-Ensemble and Via-Nova-Choir’s winter concert],”
Passauer Neue Presse, February 13, 2012, accessed September 24, 2013,
http://www.pnp.de/nachrichten/kultur_und_panorama/kultur/342089_Kaum-zu-uebertreffen-
Schuetz-Ensemble-und-Via-Nova-Chor-beim-Konzertwinter.html.

41
Buchenberg Chorwerke, Cantabile Regensburg, conducted by Matthias Beckert, Spektral SRL4-
12108, 2012, compact disc.

42
Wolfram Buchenberg, discography, PDF document, used by permission.

16

“even sophisticated music can have immediate listener appeal.”
43
Barbara Doll of
the Landshuter Zeitung (Landshuter Newspaper) commented on the recording
saying, it possesses “powerful, timeless lyrics and sounds that are as touching as
they are unsettling, delicately interpreted by an excellent choir.”
44
Longtime
professor of choral music at the Conservatory of Art and Theater in Munich, Max
Frey, praised the composer, noting, “Buchenberg has for many years been one
our country’s best and most successful choral composers.” Continuing, he adds,
“‘Finally!’ one must say—thanks to the label SPEKTRAL [sic]—a representative
recording has been published of the selected a cappella choral works by Wolfram
Buchenberg.”
45
It is evident that Buchenberg’s music has long celebrated a place
in the standard German choral repertoire, and this recently released recording is
a distinction well-deserving of this highly regarded composer.
Currently, Buchenberg is in such high demand as a composer that he
commits the entirety of his compositional energy to commissions, and prominent
choral organizations are constantly soliciting new works, a reality that affords

43
Klaus Schmidt, “Neue CD von Wolfram Buchenberg aus Rettenberg sorgt für erlesenen
Hörgenuss: Anspruchsvolles, das berührt und bewegt, [New CD from Wolfram Buchenberg of
Rettenberg makes for fine listening: Ambitious, it is deeply moving and emotional.” Allgäuer
Zeitung, October 23, 2012, accessed September 24, 2013, http://www.all-
in.de/nachrichten/allgaeukultur/Kultur-cd-neue-hoeren-komponist-Neue-CD-von-Wolfram-
Buchenberg-aus-Rettenberg-sorgt-fuer-erlesenen-Hoergenuss;art2746,1220129.
44
Barbara Doll, “Zeitlos, gültiger Klänge: Cantabile Regensburg singt Chorwerke von Wolfram
Buchenberg [Timeless, quality sounds: Cantabile Regensburg sings choral works from Wolfram
Buchenberg},” Landshuter Zeitung, accessed September 24, 2013, http://www.cantabile-
regensburg.de/pressestimmen/artikel/2012-11-17_lz.pdf.

45
Max Frey, “Buchenberg Chorwerke [Buchenberg’s choral works],” Bayerischer Sängerzeitung,
no. 8/9 (September 2012): 6.

17

him the opportunity to be highly selective about the projects he undertakes.
46

Leading choral professionals who have won commissions and know his work well
have attested to his significance. Making note of Buchenberg’s masterful
understanding of choral sound, his unique harmonic language, and an
outstanding ability to enhance text through music, professor Martin Steidler
states, “I think he is one of the most important contemporary composers.”
47
Bob
Chilcott, frequent conductor of the BBC Singers, comments that Buchenberg’s
work exhibits a “fresh and imaginative” sound and proceeds to say that he
appreciates how, “coming from a very conservative German tradition,
[Buchenberg] has approached his music from a new angle.”
48
Conductor of the
acclaimed Kölner Kantorei, Volker Hempfling lauds Buchenberg for the quality of
his writing, adding that he is “unique in Germany (and far beyond).”
49
Professor
Hempfling commissioned a work for Kölner Kantorei’s fortieth anniversary
season, the result being Von 55 Engeln behütet (Guarded by 55 angels), a
composition that has since been widely performed throughout Germany; this
engaging work has been selected as the compulsory composition at the German
Choral Competition to be held in Weimar in May of 2014.
50

This brief overview of the life and work of Wolfram Buchenberg leaves
little doubt as to the significance of the composer’s contribution to the choral

46
Buchenberg, e-mail message to author, September 3, 2013.

47
Steidler, e-mail message to author, September 19, 2013.

48
Bob Chilcott, e-mail message to author, via Val Withams, assistant to Mr. Chilcott, September
6, 2013.

49
Hempfling, e-mail message to author, August 28, 2013.

50
Buchenberg, curriculum vitae.

18

repertoire. Well established and highly regarded among the German choral
community, this outstanding composer is only beginning to receive the
international notoriety deserving of a professional of his caliber. If the recent
trajectory is any basis for judgment, performances of Buchenberg’s music will
likely become more frequent in the coming years. It is hoped that through
frequent master classes, conference presentations, and festival performances, the
global choral community will gain increased exposure to the unique and
substantial body of work by the German composer Wolfram Buchenberg.

19

Chapter 2: Stylistic Characteristics
Introduction
An examination of the choral works by Wolfram Buchenberg reveals a
unique and engaging compositional style rife with harmonic and rhythmic
innovation. Furthermore, a survey of text sources used by the composer indicates
a highly sophisticated process that goes hand in hand with his distinctive style.
Yet making concrete stylistic classifications becomes complicated by the sheer
breadth and diversity of Buchenberg’s work, which ranges from children’s
musical games and folk song arrangements on one end of the spectrum, to
complex unaccompanied choral works for sixteen voices and large scale choral-
orchestral works on the other. For that matter, interviews with the composer
reveal a conscious avoidance of any sort of classification of his own work; he has
repeatedly expressed a belief that an attempt to create definitive labels is limiting
and unnecessary.
51
Even still, dialogue with the composer and a comparative
survey of the unaccompanied choral music does point to certain generalizable
stylistic characteristics.
A major portion of Buchenberg’s output, published and unpublished, is
the result of commissions that, to some extent, have guided his creative process.
In his 2008 interview with Jasmin Steiner, Buchenberg remarked that he only
takes commissions he feels will be intellectually engaging and are not overly

51
Buchenberg, interview by Jasmin Steiner.

20

restrictive.
52
He openly acknowledges his gratitude for the work, noting with
regard to his process that composition is:
Blood, sweat and tears. Contrary to the view of many undiscerning
individuals, it is work, arduous work. The fact that composition is work for
me has nothing to do with lack of inspiration. On the contrary. The more
ideas I have, the more challenging the work. More on this later.
Admittedly, work is tiresome. But to have work is sweeter than honey.
53

When further asked about what provides him with inspiration, Buchenberg
stated:
"Inspiration" comes mostly from the work itself. If you try looking around
and around, searching and discarding, then you will eventually find
something with which you can be reasonably satisfied. Sometimes, however,
a solution only comes to you in relaxed moments, for instance on a walk
when you really are not thinking about work at all. Because the
subconscious mind is always working, even in sleep, that which you cannot
draw out through work, is occasionally bestowed in such relaxed moments.
Therefore, it is important frequently to seek distance from your work. Then
energize and get going!
54

“An upcoming performance is highly motivating,” stated Buchenberg when asked
about what drives him to compose, “to be pressed for time is the world’s best
form of inspiration.”
55
In many respects, conditions have been and continue to be
ripe for creative output, and Wolfram Buchenberg’s pragmatic, hardworking, and
inspired approach to composition has produced a fascinating body of work
worthy of further study and performance.

52
Wolfram Buchenberg, e-mail message to author, September 3, 2013; Buchenberg, interview by
Jasmin Steiner.

53
Buchenberg, interview by Jasmin Steiner.

54
Buchenberg, e-mail message to author, August 30, 2013

55
Buchenberg, interview by Jasmin Steiner.

21

Musical Influences
Despite the composer’s intentional removal from the scholarly dialogue
regarding any distinctive classifications of his music, Buchenberg does not deny
his compositional influences and speaks openly when asked about potential
connections. Interviews with the composer reveal strong ties to the western
classical tradition, which is not surprising given his extensive formal musical
training that began at age twelve, when he enrolled in the music department at
Gymnasium Marktoberdorf.
56
Among others, Buchenberg speaks of his strong
affinity to the music of the French Impressionists Maurice Ravel (1875-1937) and
Claude Debussy (1862-1918), whose “colorful orchestral treatment” has
influenced his own work.
57
One hears such influence throughout Buchenberg’s
music, which is rich with triadic harmonies, related more by color than by
function. To this end, the composer speaks outwardly of his attention to tone
colors and holds Olivier Messiaen (1908-1992) in high regard, calling him “a
continuation of the lineage of ‘color musicians’.” Buchenberg also makes
reference to Anton Bruckner (1824-1896), whose expansive harmonies and brass
treatment have provided him with further inspiration. Also of great importance
to the composer, are what he called “long drawn out ‘sound fields,’” an idea
inspired by Bruckner and the twelfth century composer Perotin. Pointing further
to the diversity of the composer’s musical interests, is his affinity for the music of
Igor Stravinsky (1882-1971), whose machine-like and visceral rhythmic treatment

56
Buchenberg, curriculum vitae.

57
Buchenberg, interview by Jasmin Steiner.

22

can also occasionally be heard in Buchenberg’s music.
58
It is indeed a great luxury
to have a first-hand knowledge about a composer’s stylistic influences, and a
closer examination of the music of Wolfram Buchenberg within the context
created by these insights, provides an interesting glance into his diverse and
innovative style. That said, one must remember that at the very core of
Buchenberg’s philosophical approach is an avoidance of classification and a
predisposition in favor of new compositional territory, so it must be noted that
the conclusions provide only a starting point for a deeper understanding of
Buchenberg’s music.
Works such as Klangfelder-Raumschwingungen-Oszillationen and Als vil
in Gote, als vil in vride both explore “sound fields,” created by a layering effect in
which each voice-part performs melodic fragments within carefully selected pitch
sets at various tempi.
59
The technique produces colorful waves of sound, through
which melodic material is sporadically perceived, but that, from a distance, is
largely experienced as a unified aural fabric. Voices performing at individual
tempi are often grounded harmonically by some sort of repeating figure (note alto
and bass voices in Example 2.1).

58
Ibid.

59
Wolfram Buchenberg, “Als vil in gote, als vil in vride [When you are in God, then you are in
peace].” (Stuttgart, Germany: Carus-Verlag, 2003).

23

Example 2.1. Wolfram Buchenberg, Klangfelder-Raumschwingungen-
Oszillationen, mm. 76-80.

The term “sound fields” at least superficially suggests a possible
connection to the work of György Ligeti (1923-2006), whose Atmosphères for
Orchestra and Lux aeterna for mixed a cappella chorus exemplify a technique he
called “micropolyphony”. Eric Drott describes Ligeti’s technique, which also
produces so-called sound masses:
The circulation of independent voices within a narrow ambitus produces a
masking effect, the overlapping of parts interfering with their segregation
into distinct streams. Individual threads become difficult to discern and,
as a result, merge into a fused fabric.
60

Jonathan Bernard made note of the commonly discussed connection between
Ligeti’s “micropolyphonic” textures and related effects created by Iannis Xenakis
(1922-2001) and Krzysztof Penderecki (b. 1933) saying, “all three were involved
with techniques that dealt directly with masses of sound, with aggregations that

60
Eric Drott, “Lines, Masses, Micropolyphony: Ligeti’s Kyrie and the ‘Crisis of the Figure’,”
Perspectives of New Music 40, no. 1 (2011): 7.

24

in one way or another deemphasized pitch as a sound quality, or at least as a
privileged sound quality.”
61

Buchenberg’s “sound fields” roughly fit the above definitions, making a
comparison attractive; however, the composer denies direct influence stating:
Although ‘micropolyphony’ is really something else, the tight stretto
canons that occasionally occur in my music, are loosely related to this
compositional technique used by Ligeti. (See [my] “Spruch um des Echos
Schatten zu beschwören”). That said, my influence comes not from Ligeti,
but Benjamin Britten: A ceremony of carols for women's choir and harp -
No. 7, “This little babe!” This wonderful piece with its narrow triple canon
has influenced me a great deal!
62

Example 2.2. Wolfram Buchenberg, Sieben Zaubersprüche [Seven magic spells],
“Spruch um des Echos Schatten zu beschwören [Spell to conjure the echo’s
shadow],” mm. 69-72, stretto canonic entrances inspired by Britten’s “This Little
Babe.”

61
Jonathon W. Bernard, “Ligeti’s Restoration of Interval and Its Significance for His Later
Works,” Music Theory Spectrum 21, no. 1 (1999): 2.

62
Buchenberg, e-mail message to author, September 5, 2013

25

While Buchenberg acknowledges only an indirect connection to the
modern champions of “sound mass” music, he does note that a major source of
inspiration for his own “sound fields” are the famous Organa Quadrupla
(Viderunt omnes and Sederunt principes) by Perotin.
63
Although organum would
seem a far cry from the aleatoric techniques Buchenberg explores, such a
comparison brings attention to an important difference between Ligeti’s sound
masses and his own. As pointed out by Dott, the narrow range and tight-knit
canons used by Ligeti tend to obscure the individual line, whereas Buchenberg’s
melodic fragments emerge out of the fabric created by the layering of voices that
make up these “sound fields”.
64
The effect is similar to that of an impressionist
painting, which from a distance evokes a unified idea that, when viewed up close,
becomes a distorted collection of individual brushstrokes; such an analogy is apt,
given the composer’s love for the French Impressionists. One can imagine a
similar effect resulting from the rapid exchange of melodic fragments over a
sustained pedal tone in Perotin’s organum, which would have likely created a
mass of sound in an expansive and reverberant acoustic. Not unlike Perotin,
Buchenberg provides a foundation under which the “sound fields” are created. A
striking example of this technique can be found in the second movement of Vier
geistliche Gesänge, “Erbarme dich unser” (Have mercy on us); the treble voices
dance rapidly and in repetitive fashion above a firmly planted C major chord in

63
Buchenberg, interview by Jasmin Steiner.

64
Drott, “Lines, Masses, Micropolyphony: Ligeti’s Kyrie and the ‘Crisis of the Figure’,” 7.

26

first inversion, not unlike the technique used by Perotin in his two Organa
Quadrupla (see Examples 2.3 and 2.4, below, for comparison).
65

Example 2.3. Perotin, Sederunt, mm. 1-4.

65
Perotin, “Sederunt,” (CPDL); Wolfram Buchenberg, “Vier geistliche Gesänge,” (Stuttgart,
Germany: Carus-Verlag, 2003).

27

Example 2.4. Wolfram Buchenberg, Vier geistliche Gesänge, “Erbarme dich
unser,” mm. 62-64.

While Buchenberg’s music is regularly characterized by a rich and varied
harmonic vocabulary, one also often experiences a certain element of simplicity
and stasis that provides the listener with time to fully enjoy the tone colors. Such
prolonged vertical sonorities also provide an underpinning for melodic material,
which navigates through the rich pillars of sound, creating forward momentum
by energizing the harmonies through color shifts. Melodic material is routinely
influenced by elements of chant. An early example of these techniques can be
seen in Buchenberg’s stunning setting of the Magnificat text, (see Example
2.5).
66

66
Wolfram Buchenberg, “Magnificat,” (Frankfurt, Germany: Edition Ferrimontana, 1995).

28

Example 2.5. Wolfram Buchenberg, Magnificat, mm. 1-6, elements of chant.

Given his penchant for prolonged triadic harmonies and the use of chant, a
comparison to the music of Arvo Pärt (b. 1935), who became famous for his
tintinnabuli (bell) technique, would by no means be outlandish; however, further
inquiry indicates the composer does not consider Pärt’s music as having been

29

instrumental in his own stylistic development. Although he respects Pärt greatly
for his ability to remain true to the principles of his self-created style, Pärt’s
music does not particularly resonate with Buchenberg.
67
While he admits his
experience with Pärt’s music is somewhat limited, he makes the following
comment that reveals important information, regarding a core element of the
composer’s philosophical approach to composition:
On one hand I appreciate simplicity and the courage it takes to seek
simplicity, and I appreciate the consistency with which Pärt maintains this
mindset. On the other hand "simple" and "bad" sometimes stand very
close together. Simplicity and lack of ingenuity cannot always be easily
distinguished from one another.
68

Buchenberg elaborates further, recounting an experience he had at the World
Choral Symposium in Copenhagen (2008), where he was profoundly touched by
an unaccompanied folk tune sung in unison by the Finnish vocal group Rajaton,
following their stunning and otherwise complicated performance. The
composer’s underlying realization centers on the belief that music need not be
complex in order to be effective.
69
This philosophy, coupled with a discerning
taste and a drive to achieve the highest quality, manifests itself in Buchenberg’s
music and has resulted in a body of work that is extremely attractive to listeners
and singers alike, making him widely respected by composers and conductors at
the national and global levels.

67
Buchenberg, e-mail message to author, September 5, 2013

68
Ibid.

69
Ibid.

30

Harmonic Language
Among those choral conductors who know Buchenberg’s music well and
have experienced success preparing and performing it, there exists little
disagreement that his music possesses a unique and engaging harmonic
language. On the whole, those who participated in this study agree that tonality,
at least in terms of a reliance on triadic harmonies, is a key element of
Buchenberg’s musical language. It is this very element that many singers and
conductors find particularly attractive about his music; in essence, one feels at
home with the colorful tertian harmonies, but is routinely surprised with the
innovative ways in which they are used. Such innovations appear in the form of
fresh voicings, unique extensions of tertian harmony, and unexpected harmonic
relationships, all with a primary focus on color rather than function. In fact, when
asked about his interest in functional harmony Buchenberg commented:
Basically, I place a great value in harmony; whether it is functional or not,
seems to me rather secondary. Crucial for me, is the ability of a harmony
to produce tension as well as different color values. With that, I mean one
can build and release harmonic tension, depending on which sounds are
used. The tension increases with the intensity of the dissonance.
Simultaneously, the degree of dissonance also influences the "color" of
sound. I find bitonal sounds, such as a mixture of A-flat major and D
major, to be iridescent in color. Messiaen wrote music packed with
wonderful colors using his modes of limited transposition, which allow
similar bitonal sounds. His way of dealing with harmony is the reason why
I like his music.
70

The above statement speaks clearly to the composer’s interest in harmony as a
means for achieving color, and that, rather than relying upon function to achieve

70
Buchenberg, e-mail message to author, August 31, 2013

31

tension and release, he depends on dissonance within given chord colors to create
momentum.
An overarching study of his work does reveal certain relationship
tendencies, namely a movement from an expansive major chord, often in an
unstable inversion, to another major chord with a root either a third or a tritone
apart, produces a unique brightening effect and seems to be among the
composer’s favorite relationships. Such a combination exemplifies this aspect of
Buchenberg’s harmonic language, in that it demonstrates the use of unstable
voicings and tension-driven root relationships to create forward momentum and
colorful sonorities that, while removed from functional harmony, are by no
means jarring.
71
In fact, they often provide a freshness and lift that, in retrospect,
feel almost inevitable. The composer also routinely colors triadic harmonies with
the second scale degree. Example 2.6, below, illustrates these techniques and
provides an excellent insight into core elements of Buchenberg’s harmonic
vocabulary. Note the unstable inversion of B-flat major with an added second and
the open fifth over G-flat major, which simultaneously creates a sense of lift and
tension that make a return to the second inversion B-flat feel natural.

71
These techniques will be addressed at greater length in chapter 4.

32

Example 2.6. Wolfram Buchenberg, Von 55 Engeln behütet, mm. 1-6, unstable
inversions, color shifts, and root movement by third.

Once again, it should be mentioned that Buchenberg is outward about his
discontent over hard and fast classifications and that he does not, in the least,
concern himself with widespread generalizations that have been made about his
compositional style. Among such generalizations is a belief that his music is
primarily tonal and that he does not, therefore, adhere nicely among the ranks of
his avant-garde counterparts. In a 2008 interview, Buchenberg addressed these
generalizations:
I do not classify my music. Why should I? What is gained by that? For
people to engage with such matters is boring! "Modern, not avant-garde,
excellent reputation among the world composers, ...not removed from
tonality." To all of these claims, I will not comment, because to engage
with such vague terms and unsubstantiated statements, brings one onto
shaky ground. (This is not meant to sound as bad as it may, but I simply
do not know what "modern" means; I know nothing of my reputation
among the world of composers, and that my music does not remove itself

33

from tonality may loosely apply to my choral music, I wish people good
luck in finding tonality in some of my instrumental works!).
72

There exists here an important acknowledgement regarding the composer’s use
of tonal elements, namely that, despite his employing it more frequently in the
vocal works, he feels in no way limited by tonality and is adamant that
widespread generalizations not be made.
Even despite his desire to avoid being pigeonholed, reference has been
made to the identifiability of Buchenberg’s music, based on certain recurring
elements. Matthias Beckert, professor of choral conducting at the music
conservatories in Hannover and Würzburg, has expressed a personal
appreciation for the richness of Buchenberg’s harmonic language and the
ingenuity he brings to the process. Beckert concisely stated that, “[Buchenberg’s]
style is always tonal, but pushes the limits of tonality.”
73
Buchenberg addressed
the generalization of his style as tonal and its identifiability:
With reference to such an “easily identifiable style” I am always a bit
skeptical. It is my impression that my instrumental music is noticeably
different from my vocal music. Both mediums offer uniquely different
limitations and possibilities, and I try to match these possibilities to the
potential of the various ensembles for which I write. Therefore, my vocal
music certainly has a simple, more fundamental harmonic language than
my instrumental music. The choral singer must be able to find their note
and be able to place it in the context of some overarching tonality. On the
other hand, an instrumentalist finds their note by physical placement and
can execute wild jumps within an atonal context without problem. Even
still, despite these differences between my handling of vocal and
instrumental music, there certainly exist stylistic traits that remain
constant.
74

72
Buchenberg, interview by Jasmin Steiner.

73
Matthias Beckert, e-mail message to author, August 27, 2013.

74
Buchenberg, interview by Jasmin Steiner.

34

In this statement, Buchenberg clearly acknowledges an “overarching tonality”
that exists in much of his vocal music, suggesting attention to harmonic
relationships on the macro level. He also brings attention to one of the hallmarks
of his style; that is, the great care he exercises when writing for voice, an
instrument he knows extremely well, having sung in choral ensembles since he
was a young boy.
Numerous conductors have commented on his unique style and have
attested to his deep understanding of the vocal mechanism, which results in a
level of nuance and singability unique among his contemporaries. Professor
emeritus Max Frey and past conductor of the Madrigal Choir at the Munich
Conservatory of Music has performed numerous of Buchenberg’s compositions;
he stated the following regarding the composer’s musical language:
The writing style is tonal with an unusually colorful and expressive
harmony and a lively, complex rhythmic palate. His compositions are
always oriented towards the possibilities of the human voice, both in terms
of range as well as the demands of expression and dynamics.
75

Professor Volker Hempfling commented on Buchenberg’s unique compositional
voice and the richness of his ideas, adding, “[the music is] always very singable –
he knows what he can expect of singers.”
76
In his 2012 interview with Arne Reul,
Buchenberg touched on elements of his style and his approach to writing for
voice:
I think that there are always links in my music with older choral literature.
I want to compose music that is always melodic and singable, I will never
demand anything that is unpleasant and potentially even vocally
damaging. While I am composing, I always try out everything myself. If I

75
Max Frey, e-mail message to author, August 30, 2013.

76
Volker Hempfling, e-mail message to author, August 28, 2013

35

wouldn’t inflict something on myself as a singer, then I won’t inflict it on
any choir either.
77

Experts who intimately know the composer’s work agree that he possesses a
unique compositional voice characterized by a rich and colorful harmonic
language and a high level of singability born out of deep understanding of the
vocal mechanism.

Text Sources
An extremely inquisitive individual, Buchenberg is constantly in search of
projects that will expand his compositional skills and fuel his intellectual
curiosity. This fact alone makes generalizations regarding Buchenberg’s
compositional style difficult, as a result of the sheer variety of music that he has
composed. However, were one to attempt any such generalizations, the
previously discussed music, which is characterized by more expansive colorful
harmonies and sustained vocal lines, might be contrasted by the quicker, more
rhythmically vital and polyphonic work found in some of his secular
compositions. Additionally, the vast majority of works on this side of the
spectrum are characterized by the use of untraditional texts.
An appropriate exemplar for this particular style is the seven-movement
collection Sieben Zaubersprüche for eight-part treble voices.
78
While each of the
movements is entitled with a different spell, or saying (for example, “Spruch, um

77
Reul, “Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram Buchenberg in the
Bavarian Allgäu,” 72.
78
Wolfram Buchenberg, “Sieben Zaubersprüche [Seven magic spells],” (Frankfurt, Germany:
Edition Ferrimontana, 1998).

36

einen Mann zu finden” (Spell, on how to find a man)), the text is entirely created
by the composer using syllables he invented. It is important to include this
technique in a discussion on Buchenberg’s stylistic characteristics, in that he
routinely employs such invented texts in unique and innovative ways, thus
resulting a wide range of sounds and colors. Furthermore, it should be noted that
Buchenberg’s use of these self-created words and syllables are not used as a
supplement or accompaniment to another text, but rather they are the entire text
for the composition.
The use of so-called nonsense syllables is by no means a new technique in
choral composition, but Buchenberg demonstrates a unique level of attention to
the sounds themselves and the corresponding colors, in essence creating a new
wordless syntax and thus necessitating an alternate designation. When asked
about his approach, the composer related that:
Instead of “nonsense” I would say rather "semantic-less" or say "semantic-
free". It is true that my self-invented sound syllables are meaningless at
the level of word meaning. But just at this level! Alas, there is ultimately
another level: the sound of the language. Any “meaningless" word itself
has a certain auditory shape and tonal quality, and therefore – whether
one likes it or not – also contains a gestural and emotional expression. It is
precisely this aspect and level of speech that interests me, because it is
often not consciously perceived. In most cases, one is busy trying to listen
to the meaning of words and therefore does not pay attention to shape of
the sound. Conversely, when one uses meaning-free words, the listener
has no other choice but to listen to their sound, gesture and emotional
expression. This is, in my opinion, a more fundamental level of language
than the semantic level.
79

This astute observation makes clear the high level of importance Buchenberg
places on texts and their relationship to the sound he is creating. By eliminating
the layer of words with meaning, the composer is attempting to bring greater

79
Buchenberg, e-mail message to author, August 31, 2013.

37

attention to the sounds, textures and harmonies he creates. Some of his earliest
experiments with semantic-free sound syllables can be found in the challenging
Zwei Stücke published in 1995 by Edition Ferrimontana. At one point in the first
of the two compositions, “Beschwörung” (Incantation), Buchenberg calls for
singers to select from a list of self-invented words and recite them at varying
dynamic and pitch levels, following a rapid and complex rhythmic passage (see
Example 2.7). The specificity with which Buchenberg approaches this process is a
testament to effort he invests in finding the sounds that best serve his vision.

Example 2.7. Wolfram Buchenberg, Zwei Stücke, “Beschwörung,” mm. 33-34.

In addition to the use of self-created words and syllables as a primary text
source, Buchenberg has experimented with spoken text to create a variety of
interesting effects. At measure 41 in his Magnificat setting, the composer

38

provides very specific directions as to how the treble voices are to recite the text,
while the male voices create a sustained homophonic texture below.
80
Also,
occasionally indicating dynamic adjustments, he specifies that the spoken lines
are to operate completely independently of one another and are to be
“murmured” at a quick speaking tempo. The result is quite profound and, on
hearing the aural effect it creates, one is left with little doubt that the composer
knew exactly what he was trying to accomplish. Such specific directions are found
throughout Buchenberg’s music, indicating an extraordinary attention to detail.
In the third movement of Vier geistliche Gesänge, “Lasst uns umkehren
zum Herrn (Let us turn to the Lord),” Buchenberg indicates that the bass soloist
should “articulately” recite the text at very specific points in the music and at a
forte dynamic; leaving very little to chance, the composer makes a note that the
bass soloist has found the correct speaking tempo when the text ends just before
measure sixty-two.
81
Rhythmic speaking is also routinely employed, one of the
most challenging examples being found in “Beschwörung,” the second of his
award-winning Zwei Stücke (see Example 2.8).
82

80
Buchenberg, “Magnificat.”

81
Buchenberg, “Vier geistliche Gesänge.”

82
Buchenberg, “Zwei Stücke.”

39

Example 2.8. Wolfram Buchenberg, Zwei Stücke, “Beschwörung,” mm. 22-24.

Though these semantic-free texts are routinely used, Buchenberg also
makes use of more traditional texts, the majority of which are in either Latin or
German. Max Frey commented on the uniqueness and the depth of the texts he
sets, citing this as one of the most attractive features of the composer’s music.
83

Expressing a clear proclivity for ancient sources, Buchenberg has sought to
breathe new life into some of the most commonly set Biblical texts. In describing
his own take on the Magnificat, he demonstrates great attentiveness to the
relationship between text and music:
In the Magnificat, which I set to music just for the Vespers, the text reads
"He has filled the hungry with good things." What are the gifts? The most
beautiful and profound answer to this question that I know comes from
Meister Eckhart. Logically, he says, in his excessive love God has

83
Frey, e-mail message to author, August 30, 2013.

40

presented only the finest, highest and best he has to give - namely himself
in his Son. And I have taken the liberty to set the music in this way. While
the Schola sings the original text from Luke with "gifts", I let the choir sing
softly in the background: "The hungry he has filled with themselves".
84

Here the composer makes reference to the medieval philosopher and theologian
Meister Eckhart (1260-1328), whose writings have profoundly influenced his own
work. Published by Carus-Verlag in 2003, Als vil in gote, als vil in vride is a
highly engaging setting of a little-known text by Eckhart. The text, written in
Middle High German, is among a number of sermons or Reden der
Unterweisungen (Speeches of Indoctrination) given by the Dominican Monk.
Singers are required to acquaint themselves with the alternate German
pronunciation, but detailed notes accompany the publication making an
authoritative performance possible.
85

Another more recent composition utilizes an unusual text source, namely
the unpublished Von 55 Engeln behütet, which draws from the ancient
Weingartner Reisesegen (Weingartner Travel Blessing). Although the earliest
extant copy is dated in the thirteenth century, the text is likely considerably older
and is thought to have originated from the Rheinland.
86
Like Als vil in gote, als
vil in vride, performance of the work requires additional language study in order

84
Buchenberg, “Magnificat”; Werner Pees, “Interview mit Wolfram Buchenberg, dem
Komponisten der Vesper zum Bamberger Bistumsjubiläum [Interview with Buchenberg, the
composer of the Vespers for the Bamberg Diocese anniversary],” Erzbistum Bamberg, last
modified September 6, 2006,
http://www.kath.de/dkd/bistum/bamberg/newsdetail.php3?newsid=8286&ref=bamberg?bistu
m=4.

85
Wolfram Buchenberg, preface to “Als vil in gote, als vil in vride,” 3 (Stuttgart, Germany: Carus-
Verlag, 2003).

86
Andreas Pfisterer, liner notes to Buchenberg Chorwerke, Cantabile Regensburg, conducted by
Matthias Beckert, Spektral SRL4-12108, 2012, compact disc.

41

to accomplish the Old High German dialect, but a comprehensive survey of
historical and language issues was commissioned by the composer and is freely
available on the internet.
87

Available only in unpublished manuscript, Da pacem sabbati! (2007)
makes use of text from the tenth and thirteenth books of the “Confessions of St.
Augustine.” The late fourth century text consists of a dialogue between St.
Augustine and God, in which he reflects on his sinful younger days and his
arduous spiritual path. Buchenberg’s setting wonderfully evokes the emotional
discord present in this descriptive and painful text.
A survey of the texts utilized by Wolfram Buchenberg in the
unaccompanied choral music revels a diverse and engaging range of sources. It is
highly evident that the composer takes great care when selecting texts and works
hard to bring them to life through his music. To this end, Buchenberg states:
I think text and music should mutually serve one another! Ideally, the text
gains significance and urgency through the music; conversely, through good
writing, the music gains a depth and an added dimension it might not
otherwise have had. Incidentally, good texts are often a source of
inspiration! Effectively, the music springs forth from the text and, in turn
serves it, not only by giving it greater meaning, but by transferring it to a
wider audience. (How many texts do we know only because they have been
set to music!?).
88

Not only does the composer demonstrate an ability to breathe new life into the
most commonly set texts, but he has also exhibited a passion for bringing
attention to profound and unusual ancient sources. Furthermore, his self-created

87
Almut Mikeleitis-Winter, “Aussprachehilfe und Information zu Wolfram Buchenberg’s ‘Von 55
Engeln Behütet’ (Weingartner Reisesegen) [Pronunciation help and information about Wolfram
Buchenberg’s ‘Guarded by 55 angels’ (Weingartner travel blessing)],” Landesmusikrat Baden-
Württemberg e.V., accessed September 21, 2013, http://www.lmr-
bw.de/Portals/7/Weingartner%20Reisesegen_Aussprachehilfe.pdf

88
Buchenberg, e-mail message to author, August 30, 2013

42

semantic-free texts provide the listener with a unique aural experience that
brings primary focus to vowel and consonant combinations and their associated
tone colors. This experimental technique is approached with a level of
seriousness that has resulted in a wholly unique musical syntax deserving of
further attention.

Conclusion
The unaccompanied choral music of Wolfram Buchenberg provides
interesting insight into the compositional style of this accomplished and highly
regarded composer. Although hard and fast classifications are difficult given the
scope of his output, the current survey has identified certain generalizable
characteristics, which are corroborated by the composer and numerous choral
professionals who know his work well.
Perhaps the most discernible of the stylistic characteristics found in the
choral music is the layering effect created by voices performing melodic material
at different tempi independently from one another, which result in so-called
“sound fields”. His refined and varied approach to this aleatoric technique is
highly effective and could certainly be considered one of his compositional
trademarks. Among those scholars and conductors who are well acquainted with
the composer’s work, there exists nearly unanimous consensus that while tonal
elements permeate the choral music, a wholly unique and engaging musical
language has been developed. The composer himself agrees that while tonality
plays a role, functional harmony is of no particular concern and that the driving

43

factor behind his use of triadic harmonies is to achieve tone colors. This non-
functional implementation of triadic harmony and the use of extended harmonies
should not be seen as jazz-influenced, but rather as having been inspired by the
work of Ravel and Debussy. The composer also indicates a strong belief that great
profundity can exist in musical simplicity, a perception that goes hand in hand
with his affinity for chant. Finally, a highly discerning taste for text sources
coupled with the frequent use of invented semantic-free words and syllables,
wonderfully compliments an already rich and inventive musical syntax, resulting
in a deeply spiritual and intellectually engaging body of work.
Martin Steidler, professor of choral conducting and director of the
Madrigal Choir at the Munich Conservatory of Music is well acquainted with the
music of Wolfram Buchenberg. Steidler, who confirms that the composer’s music
has been enthusiastically received throughout Germany and has made its way
into the standard repertoire of accomplished German choirs, summarized the
core elements of his style, saying:
There is always a spiritual depth to Buchenberg’s music that one
inherently senses through his text selections. Although his sense for
harmonic effects is often based on tonal harmonies, he has nevertheless
developed his own distinctive language. The compositions are always very
well written and highly suitable for choirs; it is never just an intellectual
end in itself and there are no unnecessary difficulties, as is often the case,
especially in the German avant-garde.
89

That the music of Wolfram Buchenberg has achieved widespread acclaim
throughout Germany is not surprising given the nature of his work, which
manages to be innovative and engaging without being obscure, for the sake of

89
Martin Steidler, e-mail message to author, September 19, 2013.

44

obscurity itself; however, there often exists a level of virtuosity that presents even
the most accomplished choirs with a worthwhile challenge. Audience, conductor
and singer alike will profit from a more widespread dissemination of the music of
Wolfram Buchenberg, which is characterized by a level of depth unique among
contemporary composers.

45

Chapter 3: An Overview and Annotated Catalog of the
Unaccompanied Choral Works

Introduction

While a detailed analysis of each of the unaccompanied choral works is not
possible within the scope of this study, the reader will profit from an overview of
this diverse collection of music. A broad array of interesting material can be
found, ranging from elaborate folk arrangements to complex multi-movement
works and unaccompanied motets for as many as sixteen voices. Representative
musical examples with brief descriptions will introduce compositions not
discussed in the other chapters and provide a starting point for further
investigation. Additionally, each of the unaccompanied compositions will be
briefly introduced in the form of an annotated catlog along with salient musical
features, such as forces, dates, text sources, commission information, and more.
Publisher information is included for those scores that are freely available and
conductors are encouraged to contact the composer directly for access to
unpublished material. This survey simultaneously provides a broad overview of
this substantial portion of the composer’s output, while presenting information
that can benefit choral conductors and scholars as they explore programing
possibilities.

46

An Overview
Arrangements
The composer has produced a substantial number of unaccompanied folk
arrangements from a variety of text sources, many of which have been published
by Carus-Verlag as a part of the Lore Ley collections. One of Buchenberg’s most
widely performed works, an arrangement of the popular German folksong Kein
schöner Land (No country more beautiful), is available for mixed or treble chorus
and can be found in these compilations.
90
In total, ten of Buchenberg’s a cappella
arrangements have been published by Carus-Verlag through this series (Carus
2.201 and 2.202). Additionally, Edition Ferrimontana has released a series of
accessible settings of traditional songs for four-part male chorus.
91
Homophonic
textures and straightforward functional harmonies characterize these well-
crafted arrangements (see Example 3.1).

90
Wolfram Buchenberg, “Kein schöner Land,” (Stuttgart, Germany: Carus-Verlag, 2006);
Wolfram Buchenberg, “Kein schöner Land,” (Stuttgart, Germany: Carus-Verlag, 2009).

91
See annotated catalog in the second half of this chapter for publisher information on the various
Edition Ferrimontana arrangements. See appendix C for a complete alphabetical listing of the
arrangements, both published and unpublished.

47

Example 3.1. Wolfram Buchenberg, arr., Gegrüßt seist du Maria [Hail, Mary],
mm. 1-7.

In addition to the published arrangements, a number of more elaborate
settings are available directly from the author. A more detailed study of
Buchenberg’s arrangement of the English carol I saw three ships is undertaken in
chapter 4 and reveals a sophisticated and varied approach. Similarly innovative is
the eight-minute long O Freude über Freude! (Oh joy above joy!), an
arrangement comprised of three German carols that was commissioned by the
Chor des Bayerischen Rundfunks (Bayern Radio Chorus) in 2012 for their
Christmas album, which was yet to be released at the time of the study.
92
In
September of 2013 the composer learned that the composition would published
by Carus-Verlag.
93
This accessible and engaging arrangement is harmonically
straightforward, but is by no means confined to a single key. Multiple tonal shifts,
rhythmically charged accompaniment figures, and limited use of aleatoric
techniques add considerable interest. Note the driving bass syncopation in

92
Buchenberg, e-mail message to the author, May 15, 2012.

93
Buchenberg, e-mail message to the author, October 4, 2013.

48

Example 3.2 that simultaneously provides a harmonic foundation while adding
rhythmically energy.

Example 3.2. Wolfram Buchenberg, arr., O Freude über Freude!, mm. 29-36.

Example 3.3 demonstrates another use of the “sound fields” technique; the
performance note in the center of the page instructs the sopranos and altos to
perform the melody at their own individual tempi, thus drifting apart from one
another.

49

Example 3.3. Wolfram Buchenberg, arr., O Freude über Freude!, mm. 255-270,
“sound field” over firm harmonic foundation.

Original Works with Semantic-free Texts
Buchenberg makes use of semantic-free texts in his Zwei Stücke EF
(1900), published in 1995 by Edition Ferrimontana (see chapter 2, Examples 2.7

50

and 2.8, for depictions).
94
Published in the same year Mubo!!! (EF 1928), for
eight-part mixed choir, is one of the more elaborate compositions to make use of
a semantic-free text.
95
This energetic work is nearly eight minutes long and
employs a diverse range of experimental techniques. Irregular rhythms, dynamic
extremes, complex interval work, and high tessitura would present difficulties for
even the most advanced choirs, but conductors in search of a unique challenge
may be interested in further exploration of the composition. Buchenberg creates
a number of interesting textures through offset rhythmic figures and builds
significant tension through rapidly repeated statements (see Example 3.4). Using
these same repeated sixteenth-note figures, he generates a dramatic build at
measure 71, as demonstrated in Example 3.5. At a rapid 152 to the quarter note,
the execution of these effects requires great skill.

94
Wolfram Buchenberg, “Zwei Stücke,” (Frankfurt, Germany: Edition Ferrimontana, 1995).

95
Wolfram Buchenberg, “Mubo!!!,” (Frankfurt, Germany: Edition Ferrimontana, 1995).

51

Example 3.4. Wolfram Buchenberg, Mubo!!!, mm. 23-25, offset rhythms and
rapidly repeated hythmic fragments.

Example 3.5. Wolfram Buchenberg, Mubo!!!, mm. 71-73.

52

The self-published Wechselgesang (Antiphonal) for two four-part mixed
choirs also makes use of a semantic-free text by the composer. In the
performance notes, Buchenberg calls for a brighter, more forward sound that he
refers to as “quasi African,” and asks the choirs to stand some distance apart
facing one another. Performed at a slightly slower tempo than Mubo!!! (quarter-
note equals 120) the rhythms are significantly more accessible, but a similarly
unique and vibrant energy is created.
96
Example 3.6 portrays the rhythmically
vital texture Buchenberg is experimenting with throughout. Syncopated rhythms
and tight canonic entrances in paired voices generate significant tension straight
to the work’s energetic conclusion. After a lengthy build enhanced by a gradual
accelerando, the composition ends with a fortissimo shout, as the choristers turn
their heads “jerkily” to the audience.

96
Buchenberg, “Mubo!!!”.

53

Example 3.6. Wolfram Buchenberg, Wechselgesang [Antiphonal], mm. 114-117,
rhythmically charged texture, tight canonic exchange, and syncopated rhythms in
paired voices.

Original Works for Men’s and Women’s Chorus
Although works for mixed chorus represent the largest portion of the
unaccompanied choral music, Buchenberg has written a number of original
compositions for a cappella men’s and women’s choir. A closer look at “Spruch
um des Echos Schatten zu beschwören” (Spell to conjure the echo’s shadow) from
Sieben Zaubersprüche (EF 2133) in chapter 4 sheds light on core elements of the
composer’s style and reveals a proficiency in writing for women’s voices.
97

97
Wolfram Buchenberg, “Sieben Zaubersprüche,” (Frankfurt, Germany: Edition Ferrimontana,
1998).

54

Further evidence of this talent is exemplified in his setting of Veni, sancte
Spiritus (Come, Holy Spirit) (EF 2052) for four-part women’s chorus, which was
published in 1997. Chant based elements and colorful harmonies are found
throughout the short composition that is suitable for intermediate choirs.
Example 3.7 illustrates these techniques.
98

Example 3.7. Wolfram Buchenberg, Veni, sancte Spiritus, mm. 21-27, chant-
based melody over color chords.

98
The performance note indicates that the chord should be changed on the underlined syllable.

55

Commissioned by the professional ensemble Die Singphoniker, Almáttigr
Guđ! (Almighty God!) for six male voices was completed in 2007.
99
Extreme
ranges and complex musical material make the work less accessible by all but the
highest caliber ensembles, however accomplished Barbershop groups could
certainly program the composition. The fourteenth century Icelandic religious
poem The Lily by Eystein Ásgrimsson, translated into English by Eirikr
Magnusson in 1870, serves as the textual basis; this unique poem praises God
through worldly things such as fish, hills, marshes and twinkling stars. Example
3.8 provides a glimpse at the work, demonstrating the extreme ranges, which are
found throughout.

Example 3.8. Wolfram Buchenberg, Almáttigr Guđ!, mm. 141-144, extreme
ranges.

99
Buchenberg, e-mail message to the author, November 19, 2012.

56

Also for advanced six-part male ensemble, Licht – Licht vom Licht (Light
– light from light) was recorded in 2006 by Die Singphoniker and released on the
ensemble’s twenty-fifth anniversary album.
100
In similar fashion to Almáttigr
Guđ!, extreme ranges and tight harmonies present the singer with significant
challenges. Vocalists are also required to sustain dissonant harmonies for
extended periods, and at one point, solo voices are asked to perform sixteenth-
note repetitions of a cluster chord over several bars. Example 3.9 illustrates this
word painting effect, which the composer uses to depict “beams of light.”

Example 3.9. Wolfram Buchenberg, Licht – Licht vom Licht, mm. 90-94, word
painting (beams of light).

100
25 Jahre Singphoniker, Nur das Beste! [25 years of Singphoniker, only the best!], Die
Singphoniker, CPO 8753001, 2007, compact disc.

57

Original Works for Mixed Chorus
More than half of the twenty-three original compositions for
unaccompanied voices are written for mixed chorus. Several of Buchenberg’s
unaccompanied compositions have been touched upon in chapter two and a
detailed study of some of his most well known works from this collection is taken
up in chapter four. Even still, in order to provide a more representative sampling,
a few of his self-published works will be introduced here.
Als vil in gote, als vil in vride was published in 2003 by Carus-Verlag
(Carus 7.352) and is set to a Middle High German text by Meister Eckhart.
101

Comparatively moderate tessitura and regular rhythms throughout make the
work more approachable, but there are moments that require a sustained D2 in
the bass. The primarily homophonic composition is approximately nine minutes
long and contains one of Buchenberg’s most striking examples of the “sound
fields” technique. The note next to the opening tempo marking indicates that
singers should perform their line at the speed of their own pulse, which creates a
very gradual drifting apart; this drifting effect coupled with a steady dynamic
increase results in a massive build up of tension that expands over twenty-nine
measures (Example 3.10). One also finds in this composition excellent examples
of Buchenberg’s incorporation of chant elements, which he often sets against
sustained harmonic backdrops, as in Example 3.11.

101
Wolfram Buchenberg, “Als vil in gote, als vil in vride.” (Stuttgart, Germany: Carus-Verlag,
2003).

58

Example 3.10. Wolfram Buchenberg, Als vil in gote, als vil in vride, mm. 1-6,
“sound field” created by a gradual drifting apart of voices.

Example 3.11. Wolfram Buchenberg, Als vil in gote, als vil in vride, mm. 68-71,
elements of chant.

One of Buchenberg’s more recent self-published compositions Veni,
dilecte mi! (Come, my beloved!) (2009), has received significant attention.
Excellent recordings of the work are available and the composition was featured,

59

in its entirety, as a part of a recent article in the International Choral Bulletin.
102

Colorful extended harmonies coupled with flowing eighth-note figures create a
mystical atmosphere throughout (see Example 3.12).

Example 3.12. Wolfram Buchenberg, Veni, dilecte mi!, mm. 9-13, colorful
extended harmonies and flowing eighth notes.

The sixteen-part Tombeau de Josquin Desprez (2011) is one of
Buchenberg’s most elaborate compositions for unaccompanied mixed chorus.
Tall homophonic pillars are contrasted by dense polyphonic masses of sound and
elements of chant provide moments of great calm. Although great independence

102
The work was performed at the biannual conference of the National Collegiate Choral
Organization in November of 2011 by the Louisville Cardinal Singers and a recording, accessible
as of October 5, 2013, was freely available on YouTube at
http://www.youtube.com/watch?v=xqHWt4KQ1w0. It was also recorded by the German
ensemble Cantabile Regensburg in 2012 by the Spektral label (SRL4-12108). See also Arne Reul,
“Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram Buchenberg in the Bavarian
Allgäu,” pages 74-80, for a complete version of the score.

60

is required of singers, excellent voice leading make some of the most challenging
harmonic passages more accessible. The self-published composition was written
for the combined choirs Via Nova Chor of Munich and Heinrich-Schütz-
Ensemble of Vorbach, under the direction of Florian Helgath and Martin Steidler,
respectively.
103
Example 3.13 provides a snapshot of the dense texture
Buchenberg creates.

103
Martin Steidler, e-mail message to the September 19, 2013

61

Example 3.13. Wolfram Buchenberg, Tombeau de Josquin Desprez, mm. 21-24,
dense polyphonic texture.

62

The preceding examples offer a sampling of unaccompanied choral music
by Wolfram Buchenberg that, when viewed in conjunction with material
presented in the other chapters, are representative of this portion of the
composer’s work to date. What follows is a catalogue of the complete
unaccompanied compositions, which will serve to round out the overview
previously presented and provide a helpful resource for those seeking more
information about this body of work.

Annotated Catalogue of the Unaccompanied Choral Works
Introduction
The following catalog of the unaccompanied choral music of Wolfram
Buchenberg is in five sections: mixed choir, men’s choir, women’s choir,
children’s and youth choir, and other. Subsequent subdivisions within each
primary category are made for original compositions and arrangements.
If the title of a work differs between sources, preference is given to the
published version and the alternate title will be listed in parentheses. If a
composition consists of separate movements, the title of each movement (in
quotation marks) will appear below the title of the work (in italics) next to their
respective Roman numeral and, similar to the titles of works, preference in
movement titles is given to the published version, when available. The following
list contains categories that, if applicable, will appear below the title of each
entry, followed by a description of its respective characteristics and formatting.

63

Date: Every attempt has been made to catalog each composition
chronologically within each voicing, according to when the piece originated as a
distinct entity. Therefore, chronological preference belongs first to the date that
the composition was written, when such information is accessible, followed by its
respective date of publication, if available; in cases where there is no date of
publication available, however, the date on which the work publicly premiered
will be provided, if known.
Alternate Title: Existing alternate titles for a composition entry and/or
alternate titles to its existing movements will appear here in parenthesis.
Subtitle: If appropriate, the subtitle for a given work and/or its
movements will appear here.
Forces: Performing forces will appear under this heading, organized first
by existing obbligato or solo vocals, if present, followed by choral voicing.
Text: If adapted from a preexisting source, the date, author(s) and/or
source of the text will appear here. Otherwise, the absence of this heading implies
that the composer created the text.
Language: The language(s) used in the text of the work will appear here.
Texts that use semantic-free syllables or words will be noted as such here.
104

Dedication: If a dedication is included in the published version of the
composition’s score, it will appear here, verbatim, in quotations.

104
Wolfram Buchenberg, e-mail message to author, August 31, 2013.

64

Publisher: If the composition entry has been published, the name of the
publisher will appear here and the publisher number will follow the publisher’s
name in parentheses, along with the title of a published collection or anthology
that the composition is part of. To date, the composer has self-distributed an
increasing number works, separate from established publishing companies; these
will be noted as “unpublished manuscripts”. Any person wishing to obtain copies
of the composer’s unpublished works should contact him directly to access scores
and request permission for performance. At the date of this study’s publication,
Mr. Buchenberg could be contacted by email at: wolfram.buchenberg@gmx.de.
Commission: If an organization or an individual commissioned a
composition from the composer, details as to when, for whom, and for what the
work was commissioned, will be included in this section.
Musical Features: General musical characteristics that may aid in initial
programming considerations may be briefly touched upon here.
Duration: The approximate running time of a composition will appear
here. Preference is given to determining duration based upon the composer’s
notes in a score; otherwise, average recorded performance times forms the basis
for a work’s respective duration.
Notes: Additional significant information and any analytical commentary
about the composition entry will appear here.

65

Catalog of the Unaccompanied Choral Works of Wolfram Buchenberg
I. Mixed Choir
A. Original Compositions
1. Zwei Stücke
i. "Beschwörung"
ii. "Störung"

Date: October 1989 (composed); 1995 (published)
Forces: Soprano and tenor solos; 8-part mixed choir
Language: Semantic-free
Dedication: “Dedicated to Max Frey.”
Publisher: Edition Ferrimontana (EF 1900)
Musical Features: Suitable for advanced choirs; rhythmically and
harmonically complex; baritone and bass divisi; wide ranges and
extreme tessitura; makes use of aleatoric techniques; rhythmic
speaking; range of tempi (q = 60-120); wide dynamic palate
Duration: 8 minutes
Notes: This piece was written specifically for the Madrigal choir at
Munich’s Conservatory for Music and Theater, which Buchenberg
performed with for eleven years. Under the direction of Max Frey, the
Madrigal choir performed this at the BBC's "Let the Peoples Sing"
international choral competition choir in 1993 and won 1
st
prize within
the category of Contemporary Choral Music.

2. Magnificat

Date: July 8, 1994 (composed); 1995 (published)
Forces: Soprano solo; 8-part mixed choir
Text: Luke 1:46-55
Language: Latin
Publisher: Edition Ferrimontana (EF 1908)
Musical Features: Suitable for advanced choir; long sustained
harmonies and moderately challenging rhythmic passages; primarily
homophonic; no added divisi; wide ranges and extreme tessitura;
makes use of aleatoric techniques; range of tempi (q = 66-96); extreme
dynamic contrast; chant based elements
Duration: 5 minutes 30 seconds

3. Vidi calumnias et lacrymas!

Date: November 25, 1994 (composed); 1996 (published)
Forces: Baritone solo; 6-part mixed choir
Text: Ecclesiastes 4:1-3,3:12-15

66

Language: Latin
Publisher: Edition Ferrimontana (EF 1785)
Musical Features: Suitable for intermediate to advanced choir;
sustained harmonies and moderately challenging rhythmic passages;
no added divisi; wide ranges and extreme tessitura; range of tempi
(q = 104-144); wide dynamic palate; dramatic text setting
Duration: 5 minutes

4. Mubo!!!

Date: January 22, 1995 (composed)
Forces: 8-part mixed choir
Language: Semantic-free
Publisher: Edition Ferrimontana (EF 1928)
Musical Features: Suitable for advanced choirs; rapid complex
syncopated rhythms; divisi in all voices; wide ranges and extreme
tessitura; up tempo (q = 152); wide dynamic palate
Duration: 7 minutes 40 seconds

5. Vier geistliche Gesänge
i. “Du bist der Herr, unser Gott”
ii. “Ebarme dich unser”
iii. “Lasst uns umkehren zum Herrn”
iv. “Ich bin das Brot des Lebens”
Date: August 1997 (composed); 2003 (published)
Alternate Title: Proprium zum Aschermittwoch
Forces: Soprano solo and bass speaker; 8-part mixed choir
Text: The composition’s text largely draws from the contemporary Ash
Wednesday liturgy; however, Buchenberg’s text expands upon this
source, rather than strictly duplicating it. Text settings per movement:
Book of Wisdom 11:13 (movement I); Book of Baruch 2:3; Psalms 51:3-
6,12-14,17 (movement II); Joel 2:13; Genesis 3:19; Psalms 51:3; Psalms
102:12,25,103:13-17 (movement III); and Psalms 1:2-3; John 6:35,51
(movement IV).
Language: German
Publisher: Carus-Verlag (CV 7.351)
Commission: Commissioned by the Archdiocese of Munich-Freising
to be a Proper setting for the “Ash Wednesday of the Artist” worship
celebration, organized by Cardinal Wetter
Musical Features: Suitable for advanced choirs; rhythmically and
harmonically complex; divisi in second bass; wide ranges and extreme
tessitura; makes use of aleatoric techniques; rhythmic speaking; wide
range of tempi; great dynamic diversity; optional gospel response for

67

mixed choir, organ and congregation included for use in a worship
service
Duration: 15 minutes
Notes: Performed by the Munich Conservatory of Music and Theater
under the direction of Max Frey, the work premiered on February 25,
1998 in the Münchner Theaterkirche (Munich Theater Church).
Although Buchenberg has expressed his preference that all movements
are performed as a whole, movements are often isolated and performed
independently. In particular, “Ich bin das Brot des Lebens” is
consistently performed as a freestanding piece; particularly following
its performance at the visit of Pope Benedict XVI to Regensburg in
2006. Subsequent to this performance, “Ich bin das Brot des Lebens”
was recorded onto a CD by the Bavarian Broadcasting company;
consequently, this movement has arguably become Buchenberg’s most
frequently performed work, for which he is most commonly
recognized.

6. Wechselgesang

Date: July 23, 1999 (composed)
Forces: Two 4-part mixed choirs
Language: Semantic-free
Publisher: Unpublished manuscript
Musical Features: Suitable for intermediate choirs; primarily
polyphonic in antiphonal style; moderately challenging syncopated
rhythms; uptempo (q = 120); no added divisi; moderate tessitura;
some rhythmic speaking; composer indicates two choirs are to stand
facing one another and use a “quasi-african” tone quality
Duration: approximately 5 minutes

7. Rundgesang

Date: April 4, 2000 (composed)
Forces: 4-part mixed choir
Publisher: Unpublished manuscript

8. Als vil in gote, als vil in vride

Date: July 25, 2001 (composed); July 2003 (published)
Forces: Soprano solo and bass speaker; 8-part mixed choir
Text: Adapted from Talks of Instruction, a 14
th
century text written by
Dominican monk and theologian, Meister Eckhart (1260-1328)
Language: Middle High German
Publisher: Carus-Verlag (CV 7.352)
Commission: Commissioned by Dolf Rabus, the founding director of
the Bavarian Music Academy in Marktoberdorf and the
founder/director of the Musica Sacra International Festival, for its

68

2002 event.
Musical Features: Suitable for intermediate to advanced choirs;
primarily homophonic; no added divisi; moderate tessitura; makes
use of aleatoric techniques; semantic-free texts; range of tempi (q =
66-72); extreme dynamic contrast
Duration: 8 minutes 15 seconds

9. Klangfelder Raumschwingungen Oszillationen

Date: January 3, 2003 (composed); 2003 (published)
Forces: 8-part mixed choir
Language: Semantic-free
Publisher: Unpublished manuscript
Commission: German Youth Chamber Choir
Musical Features: Suitable for advanced choir; long sustained
harmonies; repetitive rhythmic passages require great control;
primarily homophonic; no added divisi; wide ranges and extreme
tessitura; makes use of aleatoric techniques; consistent tempo (h =
96/q = 136); extreme dynamic contrast
Duration: 7 minutes
Notes: Klangfelder premiered in 2003 during the Choral Festival of
the German Federation of Singers at Friedrichstadt Passage, a
shopping mall in Berlin.

10. Weingartner Reisesegen

Date: August 19, 2003 (composed)
Forces: 5-part mixed choir
Text: Text setting of the “Weingartner Reisesegen,” a German poem
from the 12th century that served as a travel blessing
Language: Old High German
Publisher: Unpublished manuscript

11. Da pacem sabbati!

Date: August 16, 2007 (most current version composed)
Forces: 8-part mixed choir
Text: Books ten and thirteen of The Confessions of St. Augustine ca.
the 4
th
century
Language: Latin
Publisher: Unpublished manuscript
Commission: Swabian Art Summer festival
Musical Features: Suitable for advanced choir; rhythmically and
harmonically complex; mixture of polyphonic and homophonic
material; no added divisi; wide ranges and extreme tessitura; wide
range of tempi (q = 60 to q = 138); extreme dynamic contrast
Duration: 7 minutes

69

12. Von 55 Engeln behütet

Date: August 2, 2008 (composed)
Subtitle: Weingartner Reisesegen
Forces: 6-part mixed choir
Text: Text setting of the “Weingartner Reisesegen,” a German poem
from the 12th century that served as a travel blessing
Language: Old High German
Publisher: Currently an unpublished manuscript; however, to date,
the composer is negotiating with Carus-Verlag regarding a possible
published release of this work in the near future
Commission: Commissioned by Volker Hempfling for the Kölner
Kantorei’s 40th anniversary season
Musical Features: Suitable for intermediate to advanced choirs;
moderate tessitura; q = 60; mixture of homophonic and polyphonic
material
Duration: 4 minutes 15 seconds

13. Veni, dilecte mi

Date: November 30, 2009 (composed)
Forces: 7-part mixed choir
Text: Song of Solomon 7:12-13
Language: Latin
Publisher: Unpublished manuscript
Commission: Buchenberg wrote this piece for Michael Käsbauer, a
student of his at the Conservatory of Music and Theater in Munich
who founded a chamber choir.
Musical Features: Suitable for intermediate to advanced choirs;
primarily homophonic; complex extended harmonies; no added divisi;
moderate tessitura; makes use of aleatoric techniques; q = 60
Duration: 6 minutes
Notes: Michael Käsbauer’s chamber choir premiered this piece in
Munich on February 10, 2010; at this performance, Käsbauer
contrasted Buchenberg’s setting of this text with an earlier text setting
composed by Palestrina.

14. Tombeau de Josquin Desprez

Date: October 10, February of 2012 (premiered)
Forces: 16-part choir
Text: Epitaph in St. Gudula, Brussels
Language: German
Publisher: Unpublished manuscript
Commission: German conductors Martin Steidler and Florian
Helgath commissioned Buchenberg to compose this joint choral work

70

for their two respective choirs, the Heinrich Schütz Ensemble of
Vornbach and the Munich Via Nova Choir
Musical Features: Suitable for advanced choirs; rhythmically and
harmonically complex; high soprano tessitura; wide range of tempi
and meters; great dynamic diversity; chant based elements
Duration: 12 minutes 15 seconds
B. Arrangements
1. Swing low
Date: October 1987 (composed)
Forces: 6-part mixed choir
Text: Spiritual
Language: English
Publisher: Unpublished manuscript

2. Nobody knows de trouble
Date: March 10, 2000 (composed)
Forces: 4-part mixed choir
Text: Spiritual
Language: English
Publisher: Unpublished manuscript

3. Ihr Kinderlein kommet
Date: October 16, 2001 (composed); 2002 (published)
Forces: 4-part mixed choir
Text: Written by Catholic priest Christoph von Schmid in 1798
Language: German
Publisher: Carus-Verlag (CV 2.090; Hodie Christus natus est II
anthology)

4. Stille Nacht, heilige Nacht
Date: October 17, 2001 (composed); 2002 (published)
Forces: 4-part mixed choir
Text: Lyrics by Joseph Franz Mohr; original melody composed by:
Franz Xaver Gruber
Language: German
Publisher: Carus-Verlag (CV 2.090; Hodie Christus natus est II
anthology)

71

5. Adeste fideles
Date: October 17, 2001 (composed); 2002 (published)
Forces: 4-part mixed choir
Text: Traditional Christmas carol; Latin text and melody commonly
attributed to John Francis Wade ca. 1743; English text translated by
Frederick Oakeley 1841; German text translated by Friedrich Heinrich
Ranke 1826
Language: A macaronic alternation of Latin, English, and German
Publisher: Carus-Verlag (CV 2.090; Hodie Christus natus est II
anthology)

6. Stille Nacht
Date: October 17, 2001 (composed); 2006 (published)
Forces: 4- to 7-part mixed choir
Language: German
Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology)

7. Der Heiland ist geboren
Date: November 14, 2001 (composed); 2002 (published)
Forces: 4-part mixed choir
Text: Traditional East Austrian folksong
Language: German
Publisher: Carus-Verlag (CV 2.090; Hodie Christus natus est II
anthology)

8. Bunt sind schon die Wälder
Date: December 1, 2001 (composed); 2006 (published)
Forces: 4-part mixed choir
Text: The Swiss poet Johann von Salis-Seewis Gaudenzdorfer wrote
“Herbstlied” (Autumn Song) in 1782, from which the text is adapted;
melody composed by: Johann Friedrich Reichardt
Language: German
Publisher: Carus-Verlag (CV 2.090; Hodie Christus natus est II
anthology)

9. Ich hab die Nacht geträumet
Date: 2006 (published by Carus-Verlag); 2009 (published by Bosse-
Verlag)
Forces: 4- to 7-part mixed choir (Carus-Verlag vs.); 2 and 3 equal
voices (Bosse-Verlag vs.)
Text: Text written by August Zarnack; melody composed by Christoph
Friedrich Nicolai
Language: German

72

Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology); Bosse-
Verlag (BE 2338; Chor aktuell Basis anthology)

10. Ach bittrer Winter
Date: February 2006 (composed)
Forces: 4- to 7-part mixed choir
Text: Text written by Ambraser Liederbuch 1582; melody composer
unknown
Language: German
Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology)

11. Nun will der Lenz uns grüßen
Date: February 2006 (composed)
Forces: 4- to 7-part mixed choir
Text: Text written by Neidhardt von Reuenthal; melody composer
unknown
Language: German
Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology)

12. In stiller Nacht
Date: May 5, 2006 (composed)
Forces: 4- to 7-part mixed choir
Text: Traditional melody and text from the German Niederrhein
region
Language: German
Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology)

13. Kein schöner Land
Date: 2006 (composed and published)
Forces: 4- to 7-part mixed choir
Text: Text and melody by Zuccalmaglio, Anton Wilhelm Florentin von
(1803 - 1869)
Language: German
Publisher: Carus-Verlag (CV 2.201; Lore-Ley anthology)

14. Ich sah drei Schiffe
Date: December 17, 2006 (composed)
Forces: 6-part mixed choir
Text: Traditional British Christmas carol
Language: Versions are available in either German or English
Publisher: Unpublished manuscript

73

15. O Freude über Freude!
Date: December 5, 2011 (composed)
Forces: 6- to 8-part mixed choir
Text: Arrangement of three traditional German Christmas carols
Language: A macaronic alternation of Latin and German
Publisher: Currently an unpublished manuscript; however, to date,
the composer is negotiating with Carus-Verlag regarding a possible
published release of this work in the near future

16. Aber Heidschi bumbeidschi
Date: March 9, 2013 (composed)
Forces: 4-part mixed choir
Text: Traditional folksong from South Bohemia
Language: Bavarian dialect of Old High German
Publisher: Unpublished manuscript
Commission: Buchenberg composed this work for Matthias Beckert,
director of the Cantabile Regensburg choir, to be premiered at the
Bavarian Choir Competition in November 2013

II. Men’s Choir
A. Original Compositions
1. Untitled
i. “Die Fülle der Zeit im Abgrund Gottes”
ii. “Der Geist weht wo er will”
Date: July 31, 1991 (composed)
Forces: 8-part men’s choir
Language: Semantic-free
Publisher: Unpublished manuscript
Commission: Composed for Bernd Englbrecht, former conductor of
the Renner-Ensemble of Regensburg

2. Almáttigr Guð!

Date: 2007 (published)
Forces: 6-part men’s choir
Text: Eystein Ásgrimsson, an Icelandic Augustinian monk ca. 15
th

century
Language: English
Publisher: Unpublished manuscript
Commission: Written for the Signphoniker Men's Ensemble
Musical Features: Suitable for advanced choir; rhythmically and

74

harmonically complex; mixture of polyphonic and homophonic
material; wide range of tempi and meters; wide ranges and extremely
high/low tessitura; extreme dynamic contrast; chant based elements
Duration: 5 minutes
B. Arrangements
1. Gegrüßt seist du, Maria

Date: September 18, 1988 (composed); 1995 (published)
Forces: 4-part men's choir
Text: Various verses from Luke chapter 1
Language: German
Publisher: Edition Ferrimontana (EF 1914)

2. Tochter Zion

Date: October 6, 1988 (composed); 1995(published)
Forces: 4-part men's choir
Text: Text written by Ranke, Friedrich Heinrich (1798 - 1876) in 1826;
melody by Händel, Georg Friedrich (1685 - 1759) in 1747
Language: German
Publisher: Edition Ferrimontana (EF 1915)

3. Resonet in laudibus

Date: September 1989 (composed); 1995 (published)
Forces: 4-part men's choir
Text: 14
th
century Christmas carol
Language: Latin
Publisher: Edition Ferrimontana (EF 1913)

4. Macht hoch die Tür
Date: October 1992 (composed)
Forces: 4-part men’s choir
Text: Advent carol from the 17th Century
Language: German
Publisher: Edition Ferrimontana (EF 1918)

5. Es ist für uns eine Zeit angekommen

Date: September 25, 1993 (composed); 1995 (published)
Forces: 4-part men’s choir
Text: A Swiss carol ca. 1900
Language: German
Publisher: Edition Ferrimontana (EF 1917)

75

6. In dulci jubilo

Date: September 26, 1993 (composed); 1995 (published)
Forces: 4-part men’s choir
Text: Traditional Christmas carol; the text is believed to have been
written by the German mystic Heinrich Seuse ca. 1328
Language: A macaronic alternation of Medieval German and Latin
Publisher: Edition Ferrimontana (EF 1916)

III. Women’s Choir
A. Original Compositions
1. Veni, sancte Spiritus
Date: March 2, 1997 (composed)
Forces: 4-part women’s choir
Text: This text comes from the Roman Liturgy and is often referred to
as the ‘Golden Sequence’ for the Mass for Pentecost; the text has been
attributed to a number of authors, including King Robert II the Pious
of France (970-1031), Pope Innocent III (1161-1216), and the
Archbishop of Canterbury, Stephen Langton (d. 1228)
Language: Latin
Publisher: Edition Ferrimontana (EF 2052)
Musical Features: Suitable for intermediate to advanced choir; long
sustained harmonies contrasted by rapidly moving syncopated
rhythms; primarily homophonic; no added divisi; moderate tessitura;
range of tempi (q = 69-152, h = 96); extreme dynamic contrast; chant
based elements
Duration: 3 minutes 30 seconds

2. Sieben Zaubersprüche
i. “Spruch, um den Mond zu trösten”
ii. “Spruch, um des Echos Schatten zu beschwören”
iii. “Spruch, um einen Mann zu finden”
iv. “Spruch, um ihn wieder los zuwerden”
v. “Spruch, um böse Träume zu verscheuchen”

vi. “Spruch, um einen Sack Flöhe zu hypnotisieren”

vii. “Spruch, um einen Furunkel zu bannen"

76

Date: December 31, 2007 (composed); 2008 (published)
Forces: 8-part girl's or women's choir
Language: Semantic-free
Publisher: Edition Ferrimontana (EF 2133)
Commission: Commissioned by the Arbeitskreis Musik in der
Jugend as part of their as part of their “Composers write for children’s
and youth choirs” project
Musical Features: Suitable for intermediate to advanced choirs;
rhythmically and harmonically complex; no added divisi; mixed
meters; wide ranges and extreme tessitura; makes use of aleatoric
techniques; rhythmic speaking; wide range of tempi; semantic-free
texts
Duration: 15 minutes
Notes: This composition premiered in the spring of 1998, performed
by the girl’s choir of the Schola Cantorum of Leipzig; in September of
that same year the Central German Broadcasting recorded a
performance of the work
B. Arrangements
1. Es ist für uns eine Zeit angekommen
Date: June 13, 1999 (composed); 1999 (published)
Forces: 3-part women’s choir
Text: A Swiss carol ca. 1900
Language: German
Publisher: Carus-Verlag (CV 2.099; Hodie Christus natus est I
anthology)

2. Kein schöner Land
Date: January 14, 2007 (composed); 2009 (published)
Forces: 6-part women’s choir
Text: Text and melody by Anton Wilhelm von Zuccalmaglio (1803 -
1869)
Language: German
Publisher: Carus-Verlag (CV 2.202; Lore-Ley II anthology)

3. Bunt sind schon die Wälder
Date: January 19, 2007 (composed); 2009 (published)
Forces: 6-part women’s choir
Text: The Swiss poet Johann von Salis-Seewis Gaudenzdorfer wrote
“Herbstlied” (Autumn Song) in 1782, from which the text is adapted;
melody composed by: Johann Friedrich Reichardt
Language: German
Publisher: Carus-Verlag (CV 2.202; Lore-Ley II anthology)

77

4. In stiller Nacht
Date: December 6, 2008 (composed); 2009 (published)
Forces: 4-part women’s choir
Text: Traditional melody and text from the German Niederrhein
region
Language: German
Publisher: Carus-Verlag (CV 2.202; Lore-Ley II anthology)

5. Maria durch ein Dornwald ging
Date: Unknown
Forces: Two 6-part women’s choirs
Text: Traditional German Christmas carol
Language: German
Publisher: Unpublished manuscript

IV. Children’s and Youth Choir
A. Original Compositions
1. Goli goggoli!!!
Date: August 1998 (composed); 2009 (published)
Subtitle: Ein Kinderspiel für 120 Kinder und 30 Heulschläuche (A
children’s play for 120 Children und 30 howling hoses)
Forces: 6-part children’s choir
Language: Semantic-free
Publisher: Bosse-Verlag (BE 2338; Chor aktuell Basis anthology)
Notes: Although this piece technically incorporates the use of several
“howling tubes,” it is not accompanied in the traditional sense and
offers children numerous opportunities to interact with the music
rhythmically, physically, and through an ad lib approach that allows
for self-expression within an interdependent group context

2. Gulla, mille gullala bena
Date: June 2001 (composed); 2003 (published)
Forces: 4-part children’s choir
Language: Semantic-free
Publisher: Carus-Verlag (CV 12.322)
Commission: Commissioned by the German Music Council

3. Silere et audire
Date: September 2007 (composed)
Forces: 4- to 6-part canon for children’s choir
Text: Text written by Meister Eckhart and Anselm of Canterbury

78

Publisher: Unpublished manuscript
B. Arrangements
1. Der Winter ist vergangen
Date: March 19, 2001 (composed); 2009 (published)
Forces: 2 and 3 equal voices
Text: Traditional German folksong from the 16
th
century; possibly
from Old Dutch/Flemish origins
Language: German
Publisher: Bosse-Verlag (BE 2338; Chor aktuell Basis anthology)

2. Wahre Freundschaft
Date: March 24, 2001 (composed); 2009 (published)
Forces: 2 and 3 equal voices
Text: German folksong ca. 18
th
century
Language: German
Publisher: Bosse-Verlag (BE 2338; Chor aktuell Basis anthology)

3. Au clair de la lune
Date: 2009 (published)
Forces: 2 and 3 equal voices
Text: Traditional French folksong of the 18
th
century; author unknown
Language: French
Publisher: Bosse-Verlag (BE 2338; Chor aktuell Basis anthology)

4. Über den Berg
Date: 2009 (published)
Alternate title: Über den Berg ist mein Leibster gezogen
Forces: 2 and 3 equal voices
Text: Traditional Finnish folksong; German translation by Gisela
Knebusch-Tiedke
Language: German
Publisher: Bosse-Verlag (BE 2338; Chor aktuell Basis anthology)

V. Other
A. Original Compositions
1. Die Autorocker
Date: June 9, 1990 (composed)
Forces: 4-part canon
Language: German

79

Publisher: Edition Ferrimontana (EF 2078)
Musical Features: Suitable for beginning choirs
Duration: 1 minute 30 seconds

2. Licht – Licht vom Licht
Date: August 28, 2004 (composed)
Forces: 3 male solos; 6-part men’s or women’s choir
Text: Written by Saint Symeon, the New Theologian (ca. 949-1022)
Language: German
Publisher: Unpublished manuscript
Musical Features: The setting for men’s choir involves three soloists
and is suitable for advanced choir; rhythmically and harmonically
complex; mixture of polyphonic and homophonic material; wide range
of tempi and meters; wide ranges and extreme tessitura; extreme
dynamic contrast
Duration: 5 minutes

3. Lobe den Herrn!
Date: May 1, 2009 (composed)
Forces: 5 solo voices
Text: Psalm 104
Language: German
Publisher: Unpublished manuscript
Musical Features: Written for five solo voices; suitable for advanced
singers; rhythmically and harmonically complex; mixture of
homophonic and polyphonic material; wide range of tempi and
meters; extreme dynamic contrast; chant based elements
Duration: 11 minutes 30 seconds

80

Chapter 4: A Descriptive Analysis
of Selected Unaccompanied Choral Works

Introduction
Wolfram Buchenberg has demonstrated talent as a composer of both
instrumental and vocal music. However, in spite of expressing no overwhelming
preference between composing for instrumental or vocal mediums, Buchenberg
acknowledges that his years of first-hand participation in choral ensembles have
instilled in him an intimate understanding of choral practices, and that this
insight continues to significantly influence his compositional output.
105

Consequently, this extensive personal experience has added extra depth and
dimension to his choral works in particular. The previous chapters have
demonstrated widespread, national and international acknowledgement of the
significance of Buchenberg’s contribution to the choral repertoire and recent
projects and performances point to a special interest in the unaccompanied
music.
106
For that matter, well over two-thirds of his original compositions are for
a cappella choir.
107
For these reasons, the current chapter will focus solely on the
unaccompanied choral music, paying special attention to selected works that the
composer believes collectively exemplify his style. A detailed look at some of

105
Wolfram Buchenberg, interview by Jasmin Steiner, December 17, 2008, translated by the
author, PDF file of transcript, used by permission.

106
The recording released by Cantabile Regensburg in 2012 and master classes sponsored by
Chor.com on September 13 and 14, 2013 focused solely on the a cappella repertoire. See
“Chorwerke von und mit Wolfram Buchenberg [Choral works by and with Wolfram Buchenberg],”
accessed September 29, 2013, http://www.chor.com/workshops/detail/va/chorwerke-von-und-
mit-wolfram-buchenberg/.

107
See the list of complete choral works found in the appendix.

81

Buchenberg’s most widely celebrated compositions will offer an excellent starting
point for understanding the composer’s unique and engaging musical language.

Magnificat
As was briefly discussed in chapter one, Buchenberg harbors a particular
fondness for elements of chant, examples of which can be found throughout his
repertoire.
108
A detailed look at Magnificat (1995), one of the composer’s first
published works, provides insight into his harmonic vocabulary, as well as the
means by which he incorporates elements of chant.
109
Additionally, the work
provides a look at some of his early experiments with aleatoric techniques.
The composition begins with a prominent soprano solo in the style of
Gregorian chant. At first glance, the melody seems to suggest a tonality of either
G major or E minor, but a firmly planted C major chord in the lower voices soon
turns the sustained E feel into the third and the F-sharp becomes a color note.
Indeed, the pitch F-sharp continues to emerge subtly out of fabric of C major and
a Lydian inflection is strongly implied. The static C major gently colored by this
raised fourth, coupled with a layering of the chant-like melody above, creates a
captivating affect and sets the stage for this beautifully crafted work (see Example
4.1).

108
See also Veni, sancte Spiritus! [Come, Holy Spirit!] (1997) for four-part treble choir, published
by Edition Ferrimontana (EF 2052) and Als vil in gote, als vil in vride [When you are in God,
then you are in peace] (2003) for eight-part mixed choir, published by Carus-Verlag (CV 7.352).

109
Wolfram Buchenberg, “Magnificat,” (Frankfurt, Germany: Ferrimontana, 1995).

82

Example 4.1. Buchenberg, Magnificat, mm. 3-6, C major harmonic foundation
with a Lydian inflection.

A sustained open fifth (E and B) in the top two voices, over an unstable C
major chord in the lower register, signals a move to the next musical idea at
measure 13 and is the first occurrence of a color chord created by the possible
implication of two triads simultaneously sounded. Such a bitonal implication
occurs frequently in Buchenberg’s music, but it is rarely obvious; routinely, he
walks a thin line between what could be seen as a single triad with a color tone
(often an added second or a fourth) and the simultaneous juxtaposition of two
triads. Example 4.2, below, from Vier geistliche Gesänge demonstrates this
commonly used relationship, which often clouds any definitive explanation; open

83

fifths over D-flat and A-flat suggest a possible bitonal implication, but the E-flat
feels more like an added color tone in this case.
110

Example 4.2. Buchenberg, Vier geistliche Gesänge, “Lasst uns umkehren zum
Herrn,” mm. 41-44, tonal ambiguity, D-flat major with added second.

Similarly, in the material preceding measure 23 in the Magnificat, the B
seems to function more like an added second, given that the E fits into the A
major chord in second inversion, which appears subtly in the lower voices;
however, following a series of rich triads with added color tones and a prominent
statement of the main melodic idea, Buchenberg presents the first moment of
true harmonic ambiguity. Example 4.3 demonstrates the technique described
above; firmly established open fifths in the upper voices imply a triad built on A

110
Wolfram Buchenberg, “Vier geistliche Gesänge,” (Stuttgart, Germany: Carus-Verlag, 2003).

84

while the lower voices outline B-flat major. The thinner texture provides a level of
transparence that makes this reflective moment stand out.

Example 4.3. Buchenberg, Magnificat, mm. 23-25, bitonal color chord.

Capitalizing on this ambiguity, Buchenberg creates further tension by
slowly adding voices to the texture and increasing the dynamic, without
providing a definitive tonal basis. A build in the style of falsobordone chant is
further enhanced by the use of mixed meters, which helps bring the text stress to
life. Ultimately, some level of resolve is achieved when, at measure thirty-three,
all eight voices sing an A major chord with an added F-sharp. The high sopranos
figuratively shout to the heavens, singing “fecit potentiam in brachio suo” (He
hath shown might in his arm) on a high B. With the addition of the B to the
chord, Buchenberg again plays with a possible bitonal implication, although with
the exclusion of the A in the first bass, one almost hears it as a quartal harmony

85

built on C-sharp. Some tension is released in measure thirty-seven with what
could be read as an E minor seven in third inversion; surprisingly, this
momentarily audible chord provides a level of stability given the lower vocal
registers and the more compact voicing. Example 4.4 illustrates this climactic
moment and the subsequent release of tension.

Example 4.4. Buchenberg, Magnificat, mm. 33-37.

Using the unstable D in the bass as a pivot point, Buchenberg transitions
into an aleatoric section that calls for the women to speak the text while the men
repetitively harmonize the words “et exaltavit humiles” (and hath exalted the
humble). Harmonies are again rife with ambiguity as various color chords
primarily center on E-flat, B-flat, and D momentarily find repose on a D minor
chord in measure forty-eight. A subtle half-step drop begins a gradual build to a

86

colorful chord based on two juxtaposed open fifths (G-flat and D-flat with E-flat
and B-flat) that seamlessly transition back to the C major chord found at the
opening; the chord is voiced in such a way to facilitate half-step movement in all
voices except the second alto, resulting in a subtle resolution.
A third and final major build based on opening material leads to an
exciting CODA, which could be mistaken for early falsobordone chant were it not
for the instability and the dissonance created by the resultant chords (see
Example 4.5 below). The sustained G in the upper voice suggests the possibility of
a dominant chord in C, but ultimately serves to color a rich F major triad that
functions almost like a plagal cadence. Finally, the main chant melody appears in
a slightly varied form, reinvigorating the Lydian color and bringing a profound
and captivating closure to the work.

Example 4.5. Buchenberg, Magnificat, mm. 62-65, harmonically unstable
falsobordone style chant.

87

Sound Fields-Space Vibrations-Oscillations
A further discussion of the frequently employed aleatoric “sound fields”
technique is enhanced by a closer look at Klangfelder-Raumschwingungen-
Oszillationen.
111
The composition was commissioned in 2002 by the German
Youth Chamber Choir and premiered in 2003 during the choral festival of the
German Federation of Singers at Friedrichstadt Passage, a shopping mall in
Berlin. The performance, under the direction of Karl Zepnik, was a part of the so-
called “Escalator Concert” and, as such, the singers were asked to ride up and
down the escalators during the aleatoric section of the work. Buchenberg’s
unique harmonic language, coupled with his use of semantic-free texts, creates a
variety of atmospheric colors and textures.
Once again exhibiting the depth of his imagination, Buchenberg explores
new ways through which to depict the supernatural; in a sense, his use of a
semantic-free text is entirely fitting, given the abstract nature of the subject
matter, which defies precise description. Largely homophonic in nature, this
deceptively difficult composition requires utmost control by the singers in order
to achieve the colorful resonance desired by the composer. Routinely, singers are
asked to collectively close to a nasal consonant at a loud dynamic level, making
resonance and, ultimately tuning, very difficult to achieve. The composer also
makes use of repeated syllables in multiple voices to create a homophonic
oscillating effect that requires tremendous rhythmic precision in order for the
harmonies to remain intact. Example 4.6 represents the composer’s depiction of

111
Wolfram Buchenberg, “Klangfelder-Raumschwingungen-Oszillationen,” (unpublished
manuscript, January 3, 2003), PDF file.

88

these oscillations, calling for singers to perform the syllables “without accent: as a
fixed, oscillating tone.”

Example 4.6. Buchenberg, Klangfelder-Raumschwingungen-Oszillationen, mm.
32-35, treble voices, without emphasis, as a fixed oscillating sound.

Perhaps the most challenging effect to achieve is the “sound field” that
occurs between measures sixty-five and ninety-five. Beginning with a soft but
driving unison C in the bass line, Buchenberg slowly adds to the texture in a very
controlled manner and calls for a steady dynamic increase. Eventually, all voice
parts except the basses are asked to perform their individual line at a tempo of
their respective choosing, resulting in an increasingly cacophonous texture.
Meanwhile, the basses are required to maintain a steady tempo and, for that
matter, maintain pitch, a feat that proves rather difficult, especially given the low
tessitura. A vamp at measure ninety-four provides an opportunity for all voices to
synchronize and, once all singers are caught up, the director signals the choir to
proceed. Measures 86 through 95 are excerpted below (Example 4.7) and
demonstrate the “sound field” technique (note that the upper three voices have

89

already been instructed to sing at their own tempos, while basses are to have
remained unified throughout). Immediately following this vamp, an exciting
homophonic passage in eight parts provides a wonderful climax, made all the
more potent by the tremendous tension built by the preceding “sound-field.”

Example 4.7. Buchenberg, Klangfelder-Raumschwingungen-Oszillationen, mm.
86-95, “sound field” and transitional vamp leading to climax.

Formal unity is achieved by way of recurring melodic and harmonic
material and significant moments of tension and resolve, propelling the eight-
minute long composition forward. A haunting melody with a Mixolydian
inflection is delivered at the outset and serves to round out the form, which

90

loosely adheres to an ABA’CBA structure. Additionally, elements of the opening
motive are heard throughout and serve to further unify the composition (see
Example 4.8).

Example 4.8. Buchenberg, Klangfelder-Raumschwingungen-Oszillationen, mm.
1-4, main theme in C Mixolydian.

While functional analysis is not possible, triadic structures do appear
throughout in a variety of unique forms. A broad overview of pitch centricity
reveals a significant focus on the pitches D and G-flat, with secondary emphasis
on the pitches C and A-flat respectively. In fact, a sort of oscillation between these
pairs of pitches (C-D and A-flat-G-flat) occurs throughout. The significant pull
between C and D is made evident in the unifying melody (see Example 4.8).
Although triadic structures are rarely built with D as the root, the entire
composition ultimately leads to that pitch. Another such oscillation occurs
between A-flat and G-flat; triads built on these two pitches occur throughout the
composition and routinely overlap. One is often tempted to view the resultant
combination as a G-flat major triad with the added second, a chord that does
routinely occur in Buchenberg’s music; however, it would seem more likely that
he is implying bitonal harmonies here, as the roots of each are firmly planted.
Example 4.9 nicely demonstrates this oscillating effect. Notice the exchange

91

between the lower voices in contrast to the steady, yet ambiguous harmonic
fabric created by the upper voices, which collectively imply both A-flat and G-flat.
Buchenberg has succeeded in creating an oscillating effect not only at the textual
level, but melodically and harmonically as well.

Example 4.9. Buchenberg, Klangfelder-Raumschwingungen-Oszillationen, mm.
111-115, oscillating effect.

Buchenberg’s imaginative text coupled with a colorful harmonic language
results in an engaging composition that manages to be innovative and, at the
same time, widely palatable. His own highly refined aleatoric “sound fields”
technique results in a beautiful order despite the apparent chaos, which is
achieved through a careful selection of melodic material and by grounding the

92

masses of sound harmonically. Finally, unity is created through repeated melodic
material and a pitch centricity that results in a subtle oscillating effect, further
demonstrating a level of depth and sophistication worthy of further attention.

I Saw Three Ships
A conversation about the unaccompanied choral music of Wolfram
Buchenberg would indeed be lacking without brief mention of his choral
arrangements, which make up nearly three-fourths of his published works. In
fact, an unaccompanied setting of the popular German folk song Kein Schöner
Land has garnered international attention and is, by the composer’s own
admission, his most widely recognized work.
112
While he expresses gratitude for
this attention, Buchenberg downplays his skills in this area and is hopeful that he
will ultimately be known primarily for his original compositions. In regards to
composing arrangements, Buchenberg recently remarked:
I don’t focus on it that much anymore. I do enjoy it because I like folklore
and folksongs, but in the end it’s more a craftsman’s job tackled with
significantly less doubt than when I compose my own works. Some of
these arrangements were actually created for performance by schools or
youth choirs, so you could say it’s my practical service to humanity.
113

Even still, his arrangement efforts have resulted in a substantial and practical
body of work worthy of further attention by the choral community. Settings range
from simple two and four part unaccompanied works to more complex

112
Wolfram Buchenberg, “Kein schöner Land,” (Stuttgart, Germany: Carus-Verlag, 2006); Reul,
“Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram Buchenberg in the Bavarian
Allgäu,” 72

113
Ibid.

93

arrangements for a variety of instrumentations. While many of the arrangements
are based on German folk tunes, Buchenberg also draws from a range of
international sources including songs from England, Israel, Greece, Russia, and
France.
114

The setting of Kein Schöner Land would certainly provide an accurate
insight into the composer’s unique approach to arranging; however, given the
widespread attention this setting has already received, it stands to reason that the
reader will instead profit from a closer look at the lesser-known arrangement of
the traditional English Christmas carol, I saw three ships.
115
Also available in
German, this accessible and engaging setting for six-part mixed chorus (SSATBB)
is available directly from the author and would be a fine addition to any holiday
program.
Finding ways to create variety and harmonic interest is no doubt one of the
greatest challenges faced by a composer who is setting a strophic folk song.
Buchenberg has managed to accomplish both of these things in his arrangement
of a song that could very easily become highly repetitive and uninteresting.
Rather than move straight into the melody, he sets the stage with an engaging
introduction that fans outward from a single pitch and, moving through a series
of seventh chords, opens up to a prominent D major chord, which serves a
definitive dominant function (Example 4.10).

114
For a more information regarding the arrangements and how to obtain them, refer to chapter
three or see the list of complete choral works located in the appendix.

115
Wolfram Buchenberg, “I saw three ships,” (unpublished manuscript, December 17, 2006), PDF
file.

94

Example 4.10. Buchenberg, I saw three ships, mm. 1-6, colorful fanning out to
the dominant.

The occasional color chord and a syncopated accompaniment in the bass
voices enhance a fairly straightforward delivery of verse one, which ends
definitively in G major. At the opening of verse two, Buchenberg modulates
directly into C major, a change that occurs subtly by way of a repurposing of the
introductory material. A three-against-two cross relationship between the upper
and lower voices (see Example 4.11), coupled with a series of secondary
dominants and momentary modal borrowing, bring further interest to the second
verse.

95

Example 4.11. Buchenberg, I saw three ships, mm. 18-22, three-against-two cross
relationship.

Returning to the home key (G major), Buchenberg creates a lively and
syncopated bell-like accompaniment behind the melody, which utilizes an
onomatopoeic text and intervals of a fourth and fifth to create a wonderful effect
(see Example 4.12). An open fifth in the bass voices support transitional material
in the upper voices that turn the G major chord into a dominant seventh,
preparing a direct modulation back into C. Verse four finds the melody in the
tenor voice while the remaining five voices provide a sustained homophonic
backdrop devised of dominant and tonic chords with added color tones. Driving
open fifths in the bass ring in the final verse, which for the first time, aligns
rhythmically in all voices and signals the approaching closure. The introductory

96

material is then repeated verbatim; however, this time a four bar statement
brings the arrangement to a definitive and definitive close.

Example 4.12. Buchenberg, I saw three ships, mm. 28-31, syncopated bell-like
accompaniment.

Spell to Conjure the Echo’s Shadow
Buchenberg is indeed at home writing for all voice configurations, and the
frequently performed Sieben Zaubersprüche highlights core elements of the
composer’s style while demonstrating his ability to write for female voices.
116
Set
to semantic-free texts conceived of by Buchenberg himself, each movement is the

116
Wolfram Buchenberg, “Sieben Zaubersprüche,” (Frankfurt, Germany: Edition Ferrimontana,
1998).

97

composer’s musical realization of one of seven quirky magic spells. The seven
movements are translated as follows:
1) Spell, to comfort the moon
2) Spell, to conjure up the echo’s shadow
3) Spell, to find a man
4) Spell, to get rid of him again
5) Spell, to chase off bad dreams
6) Spell, to hypnotize a sack of fleas
7) Spell, to banish a boil
The set, first performed by the Girl’s Choir of Schola Cantorum Leipzig in
1998, was recorded and broadcast by Mitteldeutscher Rundfunk (Central German
Broadcasting) in the same year. Not surprisingly, given the level of national
attention the set had received, the work was published by Edition Ferrimontana
(EF 2133) shortly thereafter and the collection has made its way into the standard
treble choir repertoire in Germany as well as abroad.
117
This engaging and playful
set would prove rather challenging for a beginning choir; however, accomplished
girl’s and women’s choirs can profit greatly from the experience.
Buchenberg explores a rich harmonic palate throughout Sieben
Zaubersprüche and even experiments with rhythmic speaking of his invented
semantic-free texts. Running just over fifteen minutes in length total, it is
recommended that all seven movements be performed in succession;
nonetheless, certain sections are occasionally excerpted without reducing the

117
A basic Google search using the phrase “Buchenberg Sieben zaubersprüche” produces
numerous hits from both distributors and performance organizations that have performed or will
perform the work.

98

overall effect. In accordance with the composer’s advice, the second movement,
“Spruch, um des Echos Schatten zu beschwören” (Spell to conjure the echo’s
shadow), will be used as an exemplar for the unique and attractive style
associated with this work.
This short second movement provides a look into Buchenberg’s use of
semantic-free texts and the experimental nature with which he brings them to
life. Also of interest, is the unique way in which the composer creates significant
tension and forward momentum through fairly limited harmonic means. This is
even more impressive given the limited nature of the melodic material he uses
and the repetitive nature of the texts. As was mentioned in chapter 2, Buchenberg
takes great interest in allowing the listener to fully experience the various colors
created by different vowel and consonant combinations, free of distraction from
text meaning, and this is very well accomplished here. Although meaning does
not exist on a textual level, Buchenberg manages to paint a vivid image of a rather
surreal concept, namely the “shadow of an echo.” Although Buchenberg confesses
it requires some imagination, he asserts, if a single pitch can cast a shadow, so
too can an echo. Note in Example 4.13 how the soprano voices function as the
shadow cast by the alto fragments.
118

118
Buchenberg, e-mail message to the author, September 29, 2013.

99

Example 4.13. Buchenberg, Sieben Zaubersprüche, “Spruch, um des Echos
Schatten zu beschwören,” mm 1-4, shadow effect.

This short pentatonic fragment heard at the outset serves as the primary
melodic material for the movement, providing unity throughout. While the
constant repetition of this fragment and its component parts do create a fair
amount of tension, even greater momentum is built through prominent and
colorful harmonic shifts. For the first ten measures, Buchenberg’s experiments
with various vowel colors and echo effects using the same five notes (C, D, F, G,
and A), when at measure 10 he subtly adds the note B to the fabric, signaling a
sort of expansion outward and creating a brightening effect. At measure eighteen,
he moves the entire pitch set—in exactly the same melodic form as at the
beginning—upward by a whole step, this time including the sixth pitch, in this

100

case a C-sharp. This sort of slow outward expansion of a very confined pitch set is
found in various forms throughout Buchenberg’s music and it is particularly
effective here.
Following this initial build, the texture is drastically thinned while two
lower voices repeat an abridged form of the primary melodic fragment and are
dramatically offset by the first prominent homophonic statement in the upper
voices at a fortissimo dynamic. The G major chord with an added second
possesses a certain shimmering quality over the incessant fourths in the lower
voices and creates a wonderful echo quality—Buchenberg asks the singers to
rearticulate the chord on the same vowel, but at gradually decreasing dynamics
(see Example 4.14).

Example 4.14. Buchenberg, Sieben Zaubersprüche, “Spruch, um des Echos
Schatten zu beschwören,” mm. 29-32, echo effect.

101

The lower voices are now added to the texture, and an exchange between
the alto voices build further tension using only the interval of a fourth, ultimately
leading to another prominent homophonic statement by the upper four voices.
Baring a striking resemblance to its predecessor, this colorful, yet unstable, C
major chord uses the same echo effect. Both chords not only provide a unique
shimmer to the texture, but they establish important harmonic reference points
and help create formal unity—similar homophonic statements occur later and
serve as the climax for the movement.
The next fifteen measures are characterized by an increasingly dense
texture built from incessant echoing repetitions of short component parts of the
main melodic fragment. Oscillations between C and D major triads with an added
second are exchanged between lower and upper voices as the dynamics gradually
increase, building tension to a harmonic shift at measure fifty-five. The subtle
introduction of C-sharp implies an A major chord in the upper voices, making the
G-sharp in the lower voices feel less jarring. A similar oscillation occurs between
D major and E major, but this exchange is only briefly maintained, for the
introduction of B-flat and E-flat signal a further move solidified by exchange
between E-flat and F. All of these triads are facilitated by modal frameworks that
when viewed together indicate an overarching unity. Table 1 outlines the modal
structures that make up the movement.

102

Table 1. Modal Centers – Buchenberg, Sieben Zaubersprüche,
“Spruch um des Echos Schatten zu beschwören.”

Measures Section Tonal Center

1-17 A F Lydian

18-25 A’ G Lydian

26-38 B D (modal ambiguity)

39-53 C D Mixolydian

54-60 “ D Lydian

61-66 Transition E-flat/A-flat (modal ambiguity)

66-End A/B B-flat Lydian

With a steadily increasing harmonic rhythm, an extremely dense texture,
and a gradual increase in dynamics, Buchenberg builds significant forward
momentum toward the final two climactic homophonic statements. A B-flat triad
in root position with an added second appears, just as in measure 29; however,
this time it is sung by the outer four voices. Having established an expectation for
a second homophonic utterance, great expectation is built to the moment of
climax, which occurs at measure sixty-nine with the appearance of a prominent
E-flat triad in first inversion with an added second. Additional weight is given to
this climactic triad, as it is now sung by the middle four voices and symmetrically
framed by utterances of the primary melodic fragment in the outer voices. A sort
of spinning-out takes place over the final ten bars, leading to a final unison
statement of the primary melodic statement.

103

Four Spiritual Songs
Buchenberg's Vier geistliche Gesänge was commissioned by the
Archdiocese of München-Freising in 1997 for its Aschermittwoch der Künstler
event. Each of its four movements is based on a different setting, originally
released under the title Proprium zum Aschermittwoch (Proper for Ash
Wednesday). Since their publication under the current title in 2003, numerous
performances have been documented in Germany and the United States and
excellent recordings are readily available. The final movement, “Ich bin das Brot
des Lebens,” has brought significant consideration to the composer in recent
years. In 2006, the fourth movement was performed at a homecoming
celebration for Pope Benedict XVI in Regensburg, Germany, garnering even
wider spread attention for the work. While Buchenberg remains grateful for the
recognition that “Ich bin das Brot des Lebens” has afforded him, he is adamant
that the motet functions better as the final movement of a unified composition,
that is Vier geistliche Gesänge. Collectively, the four movements that make up
this outstanding work highlight many of the salient features of Buchenberg’s
compositional style.
Determinations regarding tonal structure of the composition as a whole is
complicated by the fact that Buchenberg does not make use of functional
harmony. That said, an analysis of focal pitches and modal centers on a broader
level does reveal an overarching unity. The opening movement prominently
features the pitch F and the second movement centers on D. The third movement
transitions from D Lydian to an unstable D-flat and the fourth movement begins

104

and ends in D Lydian, with a departure to F Lydian in the second formal section.
The first movement is tied into last by way of the motion to F, which solidifies
this pitch as a secondary focal point to the central D Lydian. Table 2 outlines
large-scale tonal centers and focal pitches, illustrating these relationships. A
descriptive analysis of each movement successively serves to further ellucidate
this overarching structure and demonstrates the means by which Buchenberg
connects the four motets to create an artistic whole.

Table 2. Overarching Tonal Layout – Buchenberg, Vier geistliche Gesänge.

Measure Section Tonal Center or Focal Pitch

Movement 1 – “Du bist der Herr, unser Gott”

1 A F (focal pitch – within G-flat major seven chord)

11 B G-flat – D-flat

28 A’ F (focal pitch – within G-flat major seven chord)

Movement 2 – “Erbarme dich unser”

1 A D (focal pitch)

46 B B major

62 C C Lydian - D major

Movement 3 – “Lasst uns umkehren zum Herrn”

1 A D Lydian

33 B D-flat

Movement 4 – “Ich bin das Brot des Lebens”

1 A D Lydian

47 B F Lydian

64 A’ D Lydian

105

A biting G-flat major seven begins the first movement, “Du bist der Herr,
unser Gott” (You are the Lord our God); but one would never expect this chord
given the sustained F that first erupts from three of the eight voices. The
remaining parts join emphatically on the words “Herr, erbarme dich!” (Lord, be
merciful!), outlining the first in a series of repeated utterances of the extended
harmony, which is voiced in such a way as to almost entirely obscure it from
formal definition. The G-flat major seven chord appears in first inversion, but the
seventh is so prominent in the voicing that it almost feels as if it is in third
inversion. Buchenberg routinely uses extended harmonies in such configurations,
giving more emphasis to the chord’s color than to its function (see Example 4.15).

Example 4.15. Buchenberg, Vier geistliche Gesänge, “Du bist der Herr, unser
Gott,” mm. 1-4, G-flat major seven with pronounced seventh.

106

Any doubt as to the importance of the pitch F is erased when, after several
measures of expansive harmony, the texture is suddenly reduced to a unison F. A
gradual diversification of the harmonic palate subtly builds tension and leads to
another major seven chord, this time an A major seven over E. Once again, the
extended G-flat is heard, only now it appears in root position. Emphasis on G-flat
and E respectively create a sort of inward pull toward F, which is still firmly
planted in the ear and is the ultimate focal point of the first movement. After the
significant tension built by this series of unstable extended harmonies, the D-flat
major chord that appears in measure twenty on the word “Herr” (Lord) is
extremely comforting, despite the added second and the instability of its
inversion. The upper three voices now add additional color to a string of already
rich harmonies, increasing tension and climax on a D-flat chord with an added
second. Using the third as a pivot point, Buchenberg brings back the opening
material, reintroducing the G-flat major seven; however, this time the chord is
built on F. The fabric gradually thins and the movement slowly winds down,
reducing itself to a single pitch.
Dropping a minor third, the second movement “Erbarme dich unser”
(Have mercy on us), opens in an extremely unsettled manner, an affect actually
called for by the composer. An almost frantic and syncopated dialogue between
the bass voices is abruptly interrupted by a loud and biting B-flat major seven
chord over A. The tightly voiced chord allows for a smooth outward expansion to
E major in measure ten, facilitating movement by a half step in all but one voice.
This descending harmonic movement by a minor third, as well as the tight

107

approach to voice leading, appears frequently in Buchenberg’s music (see
Example 4.16).

Example 4.16. Buchenberg, Vier geistliche Gesänge, “Erbarme dich unser,” mm.
10-12, tight voice leading.

The introduction of E major over the incessant repetitions of D in the bass
foreshadows a shift to an A-pedal, which occurs after the choir emphatically and
repeatedly sings a chord that feels like a bitonal combination of E major and B-
flat. The E present in this chord further solidifies the move to A, functioning as a
sort of dominant preparation, and the B-flat is strongly present in the driving
bass melody that begins the new section. Any resolve experienced by the thinner
texture is short lived, however, as a gradual addition of voices rapidly builds
tension through an ambiguous series of repeated color chords. Ultimately, the

108

texture thins out again and is eventually reduced to a single sustained unison B in
the alto. While a traditional formal analysis is not possible, a look at pitch
centricity and chord structures does bring attention to certain implied tonal
centers that reveal an overarching unity in the second movement (see Table 3).

Table 3. Tonal Implications Based on Pitch Centricity and Chord
Combination –Buchenberg Vier geistliche Gesänge,
“Erbarme dich unser.”

Measures Section Tonal Center

1-12 A D-pedal (B-flat major seven and E major alternate
above)

13-26 “ A-pedal (bitonal combination of B-flat major and E
major above)

27-45 Transition A-pedal (D minor seven above)

46-55 B B major (by way of E major with added F#)

56-61 “ G major prepares C major

62-70 C C Lydian

71-74 “ F major (C-pedal)

75-End “ D major

Functioning as a pivot point, the firmly planted B becomes the fifth of a
stable E major chord that almost appears out of nowhere and begins the second
formal section at measure 46. A soprano soloist sings “Erschaffe mir, Gott, ein
reines Herz” (Create in me, God, a clean heart) to a simple, lovely melody over a
pure and colorful aural fabric (see Example 4.17). This stunning moment
demonstrates Buchenberg’s ability to create simple beauty through limited

109

harmonic means that is also inextricably linked to the text. The passage is made
even more profound by the extreme tension that leads up to it.
Example 4.17. Buchenberg, Vier geistliche Gesänge, “Erbarme dich unser,” mm.
46-50, simple melody over color chords.

Movement from B major to G major (note the root motion by a descending
third motion) sets up a sustained C major chord in the male voices that serves as
a transition into the next formal section. Beautifully accentuating the text “Mach
mich wieder froh mit deinem Heil” (Make me happy again through your
Salvation), an exchange of bright D major and C major chords with added

110

seconds produce a unique and engaging effect.
119
The energetic closing section,
filled with ebullient fourths and pronounced statements by paired voices, ends
abruptly where it began with a unison statement in the bass voice.
The D pitch remains in the air and the unison A that begins movement 3
“Lasst uns umkehren zum Herrn” (Let us turn to the Lord), provides a seamless
transition into the new material. A very gradual expansion over twenty-seven
measures, both texturally and dynamically, is firmly planted in the D Lydian
mode until measure twenty-nine. Finally, a momentary sense of release is
achieved with the brief introduction of a C in the bass and the lowering of the
fourth, resulting in a shimmering bitonal chord made of C and D major; however,
the ultimate goal seems to be a prominent D major chord over A with the Lydian
sharp four reintroduced in measure thirty (see Example 4.18). Here Buchenberg
has demonstrated an ability to create incredible tension through fairly limited
means; by very gradually increasing the dynamic and slowly expanding the vocal
registers, while rigidly remaining within the same mode, not only does he create a
sense of outward expansion, but he builds great expectation for any note that falls
outside of the established modal framework.

119
See Example 2.4 in chapter 2 for a depiction of this technique.

111

Example 4.18. Buchenberg, Vier geistliche Gesänge, “Lasst uns umkehren zum
Herrn,” mm. 26-30, bitonal chord (C and D major) and destination chord.

The second half begins with a unison D that serves to unwind the extreme
build-up of tension preceding it. One would certainly expect a direct movement
from a unison D to a D-flat major chord to be jarring, but Buchenberg manages to
move here almost effortlessly; a descending tritone places the chord in second
inversion, which creates a sense of lift, and the addition of a second to the
harmony serves to color the harmony and soften the transition. This newly
established harmony serves as a static underpinning to paired soprano voices,
which sing open fifths above. The fifth built on A-flat provides a foundation while
slow and deliberate movements to either G and D or A and E produce haunting
color shifts. Ample time is provided for the ear to adapt to this unique sound

112

world, which serves as the foundation under deliberately spoken text, ultimately
closing out the third movement.
Aided by the fifth built on A that remains in the air, the D that opens
movement 4, “Ich bin das Brot des Lebens,” is rendered surprisingly subtle.
Again, one would expect a half-step transition from D-flat to D to be jarring, but
Buchenberg has already prepared the ear for such a relationship through what
has come before. A return to D Lydian also connects the movement to the
preceding material. By a sort of inward collapse of the open fifth, a mystical
cluster with a Lydian flavor is created and provides a backdrop for a chant-like
melody in the lower voices. The static nature of the upper voices is brilliantly
contrasted with triplet figures in the melody that create a subtle rhythmic
momentum. Some of Buchenberg’s most beautiful homophonic writing appears
in the next section, which is propelled forward by a unique harmonic sequence
that exemplifies his style. Here he alternates between descending third root
relations and movement by a tritone, resulting in a fresh and colorful sound (see
Example 4.19). Eventually coming full circle, the opening formal section reaches
its conclusion with two chords (measures 40-42) carved out of the D Lydian
framework (see Table 4 on page 114 for a mapping of tonal centers and harmonic
sequences).

113

Example 4.19. Buchenberg, Vier geistliche Gesänge, “Ich bin das Brot des
Lebens,” mm. 25-28, harmonic sequence in lower voices built on alternating root
movement by intervals of a third and tritone.

114

Table 4. Tonal Centers and Harmonic Sequences –Buchenberg,
Vier geistliche Gesänge, “Ich bin das Brot des Lebens.”

Measures Section Tonal Center

1-17 A D Lydian

18-24 Sequence F Lydian – D-flat major – G Lydian

25-28 “ G Lydian – E-flat major – A Lydian

29-33 “ A Lydian over F major – B major – G minor

34-39 “ D-flat and G-flat (tonal ambiguity)

40-42 “ D major with added sharp-4 and F-sharp with added
second (remnants of D Lydian)

43-46 Transition Direct modulation to F

47-53 B F Lydian

54-56 “ C Lydian

57-63 Transition B-flat major – E-flat major – A-flat major – D major

64-End A’ D Lydian

The “B” section combines the same Lydian cluster that has been heard
throughout (now built on F) with a “sound field” in the upper voices. Second
sopranos and first altos are asked to perform their line at a tempo of their
choosing, allowing the voices to drift apart and then reassemble at the fermata in
measure 56. All eight voices now convene to sing a series of expansive triads with
added color tones that ultimately find their way back to a firmly grounded D
major triad, approached once again by the interval of a tritone. An identical
restatement of the opening material begins what, at first, feels like a full return to

115

the “A” section, but Buchenberg instead slowly thins the texture until only two
voices remain, as if the final minor second was to be heard from a distance.

Conclusion

A descriptive analysis of some of Wolfram Buchenberg’s most engaging
and highly regarded work provides an excellent starting point for understanding
the composer’s style. While the selected works discussed in this chapter represent
only a small portion of Buchenberg’s overall compositional output, these
selections highlight the his strengths and bring attention to certain stylistic traits
that can be found throughout this substantial body of work. Furthermore, such a
survey should make apparent the level of sophistication one can expect to find in
other works by Wolfram Buchenberg, a point that, hopefully, will peak the
interest of choral scholars and audiences alike and ultimately lead to a greater
proliferation of his music.

116

Summary and Conclusions
The preceding chapters have helped shed light on the life and work of
Wolfram Buchenberg, an important living composer who has, up to this point,
been known primarily in his home country. An elevated national and
international awareness in recent years has led to a steady stream of
commissions, thus aiding in the further proliferation of his music. Globally
recognized choral organizations continue to give outstanding performances, the
result of which is a growing number of authoritative recordings of his work.
Furthermore, engagements with several publishing companies have provided an
avenue for wider distribution, and despite distance kept by the composer in
recent years, publishers continue to express interest. This steady increase in
momentum is well deserving of a composer who has worked humbly and
diligently for the past three decades, an effort that has yielded a substantial and
varied catalogue of music.
Wolfram Buchenberg’s extensive experience as a chorister has imbued in
him a love for and understanding of the human voice. This experience coupled
with an intensive formal music education has provided the perfect conditions for
a fruitful compositional career that has resulted in numerous significant choral
works. While the composer continues to produce for other mediums, increasing
demand for his vocal music has lead to a large and constantly growing choral
catalogue. Out of this collection, the unaccompanied choral music shines through
as some of his most profound work.
A discussion and overview of the unaccompanied works has revealed a
unique and varied output that has garnered an increasing international

117

awareness. Analysis of selected works has demonstrated a level of compositional
depth and innovation that is deserving of greater attention by the global choral
community. This study provides a starting point for understanding Wolfram
Buchenberg’s unique musical language and should serve as a resource for those
wishing to become better acquainted with his work. A wealth of innovative
material exists and conductors, singers and audiences alike will profit from the
study and performance of his music.

118

Bibliography

Beckert, Matthias (conductor). Buchenberg Chorwerke. Cantabile Regensburg.
SRL4-12108, 2012. compact disc.

Bernard, Jonathon W. “Ligeti’s Restoration of Interval and Its Significance for
His Later Works.” Music Theory Spectrum 21, no. 1 (1999): 1-31.

Brandhoff, Michael. “Sieben Sagen.” Westdeutsche Allgemeine Zeitung, July 14,
2011. Accessed on September 24, 2013.
http://www.derwesten.de/staedte/hattingen/sieben-sagen-id4866716.
html.

Buchenberg, Wolfram. Als vil in gote, als vil in vride. Stuttgart: Carus-Verlag,
2003.

–. Curriculum vitae. PDF document used by permission.

–. Discography. PDF document used by permission.

–. Goli goggoli!!!. Kassel: Bosse-Verlag, 2009.

–. Interview by Jasmin Steiner. Translated by author.
PDF file of transcript used by permission. December 17, 2008.

–. Kein schöner Land. Stuttgart: Carus-Verlag, 2006.

–. Kein schöner Land. Stuttgart: Carus-Verlag, 2009.

–. Magnificat. Frankfurt: Edition Ferrimontana, 1995.

–. Mubo!!!. Frankfurt: Edition Ferrimontana, 1995.

–. Sieben Zaubersprüche. Frankfurt: Edition Ferrimontana, 1998.

–. Veni, sancte Spiritus. Frankfurt: Edition Ferrimontana, 1997.

–. Vier geistliche Gesänge. Stuttgart: Carus-Verlag, 2003.

–. Zwei Stücke. Frankfurt: Edition Ferrimontana, 1995.

Doll, Barbara. “Zeitlos, gültiger Klänge: Cantabile Regensburg singt Chorwerke
von Wolfram Buchenberg.” Landshuter Zeitung. Accessed September 24,
2013. http://www.cantabile-regensburg.de/pressestimmen/artikel/2012-
11-17_lz.pdf.

119

Drott, Eric. “Lines, Masses, Micropolyphony: Ligeti’s Kyrie and the ‘Crisis of the
Figure’.” Perspectives of New Music 40, no. 1 (2011): 4-46.

Frey, Max, “Buchenberg Chorwerke,” Bayerischer Sängerzeitung, no. 8/9
(September 2012): 6.

Kleiter, Heinz. “Ein Gesamtkunstwerk aus Raum und Klang.” Eintracht
Hasselbach. Last modified November 12, 2001. Accessed September 24,
2013. http://www.mgv-eintracht.de/muku02/cantabile/0111120.htm.

Mikeleitis-Winter, Almut. “Aussprachehilfe und Information zu Wolfram
Buchenberg’s ‘Von 55 Engeln Behütet’ (Weingartner Reisesegen).”
Landesmusikrat Baden-Württemberg e.V. Accessed September 21, 2013.
http://www.lmrbw.de/Portals/7/WeingartnerReisesegen_Aussprachehilf
e.pdf.

Pees, Werner. Erzbistum Bamberg. “Interview mit Wolfram Buchenberg, dem
Komponisten der Vesper zum Bamberger Bistumsjubiläum.” Accessed on
September 24, 2013.
http://www.kath.de/dkd/bistum/bamberg/newsdetail.php3?newsid=828
6&ref=bamberg?bistum=4.

Pfisterer, Andreas. Liner notes. Buchenberg Chorwerke. Cantabile Regensberg,
conducted by Matthias Beckert, Spektral SRL4-12108, 2012. compact disc.

Reul, Arne, “Behind the Pied Piper’s Seven Hills: Paying a Visit to Wolfram
Buchenberg in the Bavarian Allgäu,” International Choral Bulletin 31, no.
4 (2012): 71-80.

Scheibe, Jo-Michael (conductor). Portrait of the Soul. The University of Miami
Frost Chorale. Arsis CD166, 2008. compact disc.

Schmidt, Hermann. “Kaum zu übertreffen: Schütz-Ensemble und Via-Nova-Chor
beim Konzertwinter.” Passauer Neue Presse. February 13, 2012. Accessed
September 24, 2013. http://www.pnp.de/nachrichten/kultur_und_ pano
rama/kultur/342089_Kaum-zu-uebertreffen-Schuetz-Ensemble-und-Via-
Nova-Chor-beim-Konzertwinter.html.

Schmidt, Klaus. “Neue CD von Wolfram Buchenberg aus Rettenberg sorgt für
erlesenen Hörgenuss: Anspruchsvolles, das berührt und bewegt.” Allgäuer
Zeitung. October 23, 2012. Accessed September 24, 2013. http://www.all-
in.de/nachrichten/allgaeukultur/Kultur-cd-neue-hoeren-komponist-
Neue-CD-von-Wolfram-Buchenberg-aus-Rettenberg-sorgt-fuer-erlesenen-
Hoergenuss;art2746,1220129.

120

APPENDIX A: E-MAIL INTERVIEW WITH WOLFRAM BUCHENBERG

Conducted and translated by Samuel Barbara

The following transcript is a translation of a series of responses to questions
posed by the author (original questions and responses in German), which were
received through e-mail correspondences over the course of approximately one
week’s time. The author translated all responses. See vitae in Appendix G for
credentials, which confirm the author’s authority to provide such translations.

Questions 1-3 were answered in an e-mail correspondence to the author that
was received on August 30, 2013

SAMUEL BARBARA. Was there any specific defining moment in your
musical education? Did you always know you would be a musician?

WOLFRAM BUCHENBERG. A very important and life changing
experience was to have the opprtunity to sing in the school choir of the
Marktoberdorf Gymnasium under the direction of Arthur Gross, beginning when
I was 12 years old. Arthur Gross is a charismatic personality, and he knew how to
inspire his pupils enormously and lead the choir to incredible quality. How many
international choral competitions this school choir won, often even ahead of
choirs from music conservatories! When I was accepted into the choir, they had
just performed the Bach motet "Sing to the Lord a new song" for double choir. It
was my first encounter with such music. You can imagine the impression this
made on me.

I must have known before I was 11 years old that I wanted to be a musician,
because at that time (September 1974) I left my parents' house to attend the
Musikgymnasium in Marktoberdorf. (The distance from my home village
Engelpolz to Marktoberdorf, 40 km, was too far to drive back and forth every day,
and additionally, there was no public transport on this route). Therefore, I had no
choice but to live in the boarding school. I only came home every few weeks, but
the music made this departure from home worthwhile and I have never regretted
the decision. Rather, I remember a great deal about my school days at
Marktoberdorf and I am very thankful for my time there.

SAMUEL BARBARA. What, if anything, serves as you primary source
inspiration?

WOLFRAM BUCHENBERG. "Inspiration" comes mostly from the work
itself. If you try looking around and around, searching and discarding, then you
will eventually find something with which you can be reasonably satisfied.
Sometimes, however, a solution only comes to you in relaxed moments, for
instance on a walk when you really are not thinking about work at all. Because
the subconscious mind is always working, even in sleep, that which you cannot

121

draw out through work, is occassionally bestowed in such relaxed moments.
Therefore, it is important frequently to seek distance from your work. Then
energize and get going!

SAMUEL BARBARA. What relationship should text have with the music?
Is one more important than the other?

WOLFRAM BUCHENBERG. I think text and music should mutually serve
one another! Ideally, the text gains significance and urgency through the music;
conversely, through good writing, the music gains a depth and an added
dimension it might not otherwise have had. Incidentally, good texts are often a
source of inspiration! Effectively, the music springs forth from the text and, in
turn serves it, not only by giving it greater meaning, but by transfering it to a
wider audience. (How many texts do we know only because they have been set to
music!?)

Questions 4-6 were answered in an e-mail correspondence to the author that
was received on August 31, 2013

SAMUEL BARBARA. Many of your texts are religious. What role does your
own faith play in the selection of and use of these texts?

WOLFRAM BUCHENBERG. Yes, many of the texts I set to music are
religious. For three reasons:
1) Because some of my commissions were specifically written for the liturgy (for
example the masses or the “Vier Geistliche Gesänge, which were originally set to
chant proper for Ash Wednesday).
2) Because there are incredibly good religious texts that go straight to the heart.
(For example, I am thinking of texts from Meister Eckhart and Symeon, the New
Theologian - texts that are glowing with intensity).
3) Because it is essential for me to graple with these texts (also musically). This,
in turn, has to do with the fact that music and faith are the two pillars on which
my life is founded. Were you to deprive me of one of these pillars, I would fall
into a sense of crisis. My life would fall apart.

SAMUEL BARBARA. You often use nonsense syllables instead of words.
Where do you gain inspiration for these sounds?

WOLFRAM BUCHENBERG. Instead of “nonsense” I would say rather
"semantic-less" or say "semantic-free". It is true that my self-invented sound
syllables are meaningless at the level of word meaning, but just at this level! Alas,
there is ultimately another level: the sound of the language. Any “meaningless"
word itself has a certain auditory shape and tonal quality, and therefore –
whether one likes it or not – also contains a gestural and emotional expression. It
is precicely this aspect and level of speech that interests me, because it is often
not consciously perceived. In most cases, one is busy trying to listen to the
meaning of words and therefore does not pay attention to shape of the sound.

122

Conversely, when one uses meaning-free words, the listener has no other choice
but to listen to their sound, gesture and emotional expression. This is, in my
opinion, a more fundamental level of language than the semantic level. Small
children, and yes, to some extent even animals, have access to this level of
language. It is this that most directly speaks to and touches our counterparts.
Even though I really am not a follower of Nietzsche's, I would still like to quote
one of his texts, which seems almost clairvoyant me in this regard: "The most
intelligible aspect of a language is not the word itself, but the tone, strength,
modulation, tempo with which a string of words are spoken – in short, the music
behind the words, the passion behind the music, the person behind this passion:
in effect, everything that cannot be written down.”(Note estate Nietzsche, quoted
in Eugen Biser: The friend. Approaches to Jesus, p. 55)

SAMUEL BARBARA. Do you place a high level of importance on
traditional functional harmony?

WOLFRAM BUCHENBERG. Basically, I place a great value in harmony.
Whether it is functional or not, seems to me rather secondary. Crucial for me, is
the ability of a harmony to produce tension as well as different color values.
(With that, I mean one can build and release harmonic tension, depending on
which sounds are used. The tension increases with the intensity of the
dissonance. Simultaneously, the degree of dissonance also influences the "color"
of sound. I find bitonal sounds, such as a mixture of a-flat major and D major, to
be iridescent in color. Messiaen wrote music packed with wonderful colors using
his modes of limited transposition, which allow similar bitonal sounds. His way
of dealing with harmony is the reason why I like his music).
The trend - especially in vocal music - has in recent decades, by and large,
returned to a simpler, more tonal harmony. Unfortunately, also there is an
increasingly cheaper workmanship. Not all contemporary choral pieces that have
become popular lately have been inspiring to me. As a composer, you should stay
honest with yourself and write music that you can stand behind. What "people"
(whoever that is ...) want to hear, cannot really be relevant when it comes to
composing.

Questions 7-12 were answered in an e-mail correspondence to the author that
was received on August 31, 2013. A supplemental response to the questions
regarding Arvo Pärt and Ligeti was received on September 5, 2013.

SAMUEL BARBARA. Ligeti was one of the first to experiment with sound
masses and micropolyphony, which bears a resemblance to your term “sound
fields”. Do you find his music attractive? Are you at all influenced by his work?

WOLFRAM BUCHENBERG. Although micropolyphony is really
something else, the tight stretto canons that occasionally occur in my music, are
loosely related to this compositional technique used by Ligeti. (See “Spruch um
des Echos Schatten zu beschwören”). That said, my influence comes not from
Ligeti, but Benjamin Britten: A ceremony of carols for women's choir and harp -

123

No. 7, “This little babe!” This wonderful piece with its narrow triple canon has
influenced me a great deal! It was from this that I gleaned something for my
music, not from Ligeti. Ligeti was certainly one of the most original composers of
the 20th Century and what I know of his work, I find attractive. However, my
knowledge is limited to the following pieces: Atmosphères for Orchestra,
Continuum for harpsichord, one of his piano etudes, Lux Aeterna, and Éjszaka
(night) and Reggel (Morning) for choir. There is certainly still a lot to learn. I'm
going to make the time for it after retirement! ;-) I do not think his music has
influenced me, but of course, I cannot completely rule it out.

SAMUEL BARBARA. Folk music seems to play an important role. Who are
your influences there? Bartok and Kodaly were firmly rooted in their own folk
traditions and were strong advocates for music education. Has their work
influenced your own?

WOLFRAM BUCHENBERG. Yes, folklore - so the folk music of other
countries - interests me. On the other hand, I have almost no interest Bavarian
folk music (from my immediate area!). It exhausts itself with the simplest
harmonic cadence! When at last, a secondary dominant arives, it is an instant
sensation! (I would make a small exception: The "Zwiefacher" is a dance, which
alternates between even and odd measures, I find this interesting due to its
metric irregularity. Whether it originates from Bavaria or rather from Bohemia, is
yet to be seen.) So, I am quite uninfluenced by Bavarian folk music. With one
exception: I actually once wrote a Zwiefachen for two harps, flute, clarinet and
cello. However, it is not a normal Zwiefacher! Rather, I enriched it with Yiddish-
sounding (but self-fabricated) music. There is a kind of competition between the
Zwiefachen and the Yiddish klezmer music - it's a pretty funny piece!

In fact, I have written many folk arrangements, some of which originated for
school use or for youth choirs. However, in my compositions folk music has
hardly had an impact. With one exception: The Sanctus my Missa Dei gloriam ad
maiorem for big band, baritone and choir makes audible reference to salsa music!
Were one to call salsa folk, then you could actually say the Sanctus was inspired
by folk.

SAMUEL BARBARA. Do you know Arvo Pärt and his music? Has he had
an influence on your music?

WOLFRAM BUCHENBERG. I do not know Arvo Pärt personally, but I
have come to know a few of his pieces and one in particular (the O-antiphons), I
sang once with a choir. Whether I came to know "Which was the son of ..."
through a recording or by having sung it, I'm not sure at this point, so my
impression is ambiguous! On one hand, I appreciate simplicity and the courage it
takes to seek simplicity, and I appreciate the consistency with which Pärt
maintains this mindset. On the other hand, "simple" and "bad" sometimes stand
very close together. Simplicity and lack of ingenuity cannot always be easily
distinguished from one another. It's happened to me that while listening to his

124

music, it struck me as monotonous. I think Pärt is aware of this risk. Once again,
I respect the fact that he cannot be swayed in this respect.

I was particularly impressed to this end at the World Symposium on Choral
Music in Copenhagen, Denmark in 2006, and again in 2008 at Europa Cantat in
Mainz, but not by Arvo Pärt; rather, it was by the Finnish vocal group Rajaton.
This group does it all! With microphone, without a microphone, folk music, jazz,
intricate harmonies and they sing in unision! I was so touched at this concert,
when after all of their captivating performances, they suddenly began singing a
Finnish folk song in unison. No accompaniment, no refined arrangement, but
this simple monophonic melody. That was a defining moment for me, seeing how
beautifully simple music can be. I have not had such an experience while listening
to the music of Arvo Pärt.

SAMUEL BARBARA. Where do you glean your inspiration for the use of
Jazz harmonies? For example in “Veni, dilecte mi.”

WOLFRAM BUCHENBERG. Are the harmonies in "Veni, dilecte mi" really
"jazz harmonies"? I have my doubts. Such extended chords one frequently finds
in Debussy and Ravel. That is where I would search for their origin - because
otherwise "Veni, dilecte mi" has nothing to do with jazz. Incidentally, I'm not a
jazz listener. If at all, then most likely it is Latin jazz.

SAMUEL BARBARA. Does the publishing industry help or hinder the
ability of your music to reach a wider audience? Are you actively pursuing a
relationship with any publishers or are you content distributing your own music?

WOLFRAM BUCHENBERG. Publishers? This has now become a major
point of irritation for me! Nowhere else have I seen so much incompetence and
amateurism! My time and my nerves are too short to continue to grapple with
publishers. I will not rule out ever working with a publisher again, but only under
certain conditions. The most important condition being that the publisher
promises me special attention. The sloppiness of publishers is scandalous, and I
am no longer willing to leave my music with publishers who are incapable of
printing it correctly. The distribution of my choral music does not rely on
publishers, but rather awareness increases by word of mouth. I've never refused
anyone who has contacted me personally and wants to have the music for one of
my pieces. In short, it can be done without publishers.

SAMUEL BARBARA. How important has the Marktoberdorf Festival been
for your development and the raising of awareness around your music?

WOLFRAM BUCHENBERG. How important the International Chamber
Choir Competition in Marktoberdorf has been for my development, is difficult to
estimate. After all, I was just 33 years old in 1995 when I attended this
competition for the first time but, of course, through all my years of attendance, I
have been exposed to a lot of choral music at a high artistic level, and shared in

125

the enthusiasm of both choir and audience. In addition, there is the fact that my
own pieces are performed there repeatedly and through these performances,
some contacts have come about. Also, my contact with Kent Hatteberg dates back
to this contest, at which he very successfully performed my "Ich bin das brot des
lebens". After this success and the resulting personal contact, there were further
performances in the USA (ACDA convention), whereupon more American choral
conductors contacted me. (That's what I previously meant by "word of mouth".)
During the last competition in May 2013, I received three requests in a single day
from choir directors who wanted to commission a work. Therefore, to this end,
the Marktoberdorfer competition is a very good place.

Questions 13-16 were answered in an e-mail correspondence to the author that
was received on September 3, 2013.

SAMUEL BARBARA. What percentage of your time do you devote to
commissions?

WOLFRAM BUCHENBERG. 100% of the time I spend composing is
devoted to commisions. Because the requests come so frequently that I couldn’t
possibly complete them all, I can only respond with rejections in most cases. (I
have received four requests in the last week and a half alone). Only when I am
particularly interested in a project or a text, do I try to avoid declining a request.

SAMUEL BARBARA. What long-term goals do you have at this point?

WOLFRAM BUCHENBERG. The only long-term goal that comes to mind
is to be happy and have peace in my heart. Otherwise, I have only short-term
goals: to do my daily work as best I can. To be awake, to be receptive and to be
able to respond to what the day brings as well as I possibly can.

SAMUEL BARBARA. What advice would you give a budding young
composer?

WOLFRAM BUCHENBERG. I think young aspiring composers do not
need my advice! However, should one still want advice, I would have them
consider whether or not they might want to seek a second source of income. The
right of youth is to be filled with boundless optimism. However, despite all the
optimism you have somehow to make ends meet. If the revenues are not
sufficient as a composer, one should be glad to take a second direction that helps
them earn something. In general, the most important advice I can give is to
remain faithful to one’s self compositionally and only write what is interesting
and enjoyable. That said, young composers should, first of all, try everything
possible - including all sorts of styles – in order to find out through the process
where they see their own way.

SAMUEL BARBARA. Do you have anything to add? Is there anything else
you would like readers to know about you and your music?

126

WOLFRAM BUCHENBERG. I do not know if there is anything the reader
should know about me and my music... ;-)

127

APPENDIX B: INTERVIEW WITH WOLFRAM BUCHENBERG

Conducted by Jasmin Steiner
Translated by Samuel Barbara

The following transcript is a translation of an interview conducted by Jasmin
Steiner on December 17, 2008, and is used here with the kind permission of both
the interviewer and interviewee. Steiner possesses a Bachelor of Arts Degree in
Music Theatre. She has participated in choral ensembles since the age of seven
and continues to be active in the professional Bamberg scene. The following
interview was conducted as part of research for an undergraduate term paper.
The author translated all responses. See vitae in appendix G for credentials,
which confirm the author’s authority to provide such translations.

JASMIN STEINER. I came to know you through your choral works that
were performed in the Bamberg Cathedral: the German Mass, the Vespers for the
Diocesan Jubilee, and various motets and choral settings. Your CV shows that
you comfortable in a variety of different genres. What are your priorities and
preferences?

WOLFRAM BUCHENBERG. The focus is - if only due to the amount I
have written for choir - on the choral music. About half of that which I have had
the opportunity to write is choral music, and the other half consists of chamber
music, orchestral works or compositions for solo instruments. The fact that I
have written comparatively more choral music does not necessarily mean that I
prefer it to instrumental music. In fact, much of the music arose out of frequent
commissions from the choral scene. And once one has earned a reputation for
writing practical choral music, the commissions can hardly be avoided…but let
me briefly touch on my preferences for certain musical mediums: in fact, I am
most interested in getting to know that with which I am unfamiliar, so I can
speak to no preference for a particular medium. I try and let things come to me -
and when, as recently, the opportunity to write a Gloria for choir and big band
presents itself, I take it, mainly because the instrumentation is fascinating and
interests me. To that point, I had very little experience writing for big band. In
short, my preference is for things about which there are something to learn.

JASMIN STEINER. In my experience, from out of your varied
compositions and arrangements, a uniform style emerges, giving your music a
unique level of identifiability. Can you characterize the noteworthy aspects of
your style?

WOLFRAM BUCHENBERG. With reference to such an “easily identifiable
style”, I am always a bit sceptical. It is my impression that my instrumental music
is noticeably different from my vocal music. Both mediums offer uniquely
different limitations and possibilities, and I try to match these possibilities to the
potential of the various ensembles for which I write. Therefore, my vocal music
certainly has a simple, more fundamental harmonic language than my

128

instrumental music. The choral singer must be able to find their note and be able
to place it in the context of some overarching tonality. On the other hand, an
instrumentalist finds their note by physical placement and can execute wild
jumps within an atonal context without problem. Even still, despite these
differences between my handling of vocal and instrumental music, there certainly
exist stylistic traits that remain constant. I am very fond of long stretched out
sound fields, extreme examples of which one might find in Perotin’s two Organa
Quadrupla (Viderunt omnes and Sederunt principes, composed around 1200) or
with Anton Bruckner (as in Symphonie No. 8, in which large sustained pillars of
sound were literally celebrated!). Above all, I have a preference for tone colors
and their various shadings, and this preference asserts itself constantly
throughout my music. Tone colors are often the first thing that attracts me to a
new work.

JASMIN STEINER. Do you have musical role models?

WOLFRAM BUCHENBERG. You could likely guess from my answer to the
previous question that I love Debussy and Ravel for their gloriously colorful
orchestral treatment; Messiaen as a continuation of the lineage of "color
musicians”; Bruckner because of his fondness for colors and his powerful and
celebratory brass statements, which burst forth with force and pageantry.
Perotin, whose music must have been at the time completely outrageous and
shocking, I love due to the vast expansiveness of its sound, which through its
static nature almost seems stop time for the listener, thus suggesting eternity.
Stravinsky with amazing rhythmic explosion that is The Rite of Spring., I have in
some way learned from and emulated each of these composers. Surely one can
hear this in my works, almost as if I “went to school” with them, and I have
nothing against people noticing that. It would be questionable to me were my
music to sound more like Debussy than Buchenberg.

JASMIN STEINER. What music do you like to listen to when you are not
composing or making music yourself?

WOLFRAM BUCHENBERG. These days I listen to very little music
because I really prefer the silence. I absolutely never listen to music as acoustical
background to accompany my activities. That said, when I do listen to music, I
listen to the composers listed above, as well Josquin, Mozart, Rachmaninoff
supplemented at random by the Western music canon. Pop music, when it is
rhythmically and harmonically lacking, which is unfortunately often the case,
bores me.

JASMIN STEINER. You are clearly not an avant-garde artist, although you
write in a “modern” style and enjoy an excellent reputation among the world of
composers. Your compositional language is always comprehensible, it does not
remove itself from tonality, it operates within clear forms; in short, you seem to
be somewhat more traditional. How do you classify your music? How do you feel
about the music of your colleagues, which seems more experimental?

129

WOLFRAM BUCHENBERG. I do not classify my music. Why should I?
What is gained by that? For people to engage with such matters is boring!
"Modern, not avant-garde, excellent reputation among the world composers,
...not removed from tonality." To all of these claims, I will not comment, because
to engage with such vague terms and unsubstantiated statements, brings one
onto shaky ground. This is not meant to sound as bad as it may, but I simply do
not know what "modern" means. I know nothing of my reputation among the
world of composers, and that my music does not remove itself from tonality may
loosely apply to my choral music, I wish people good luck in finding tonality in
some of my instrumental works! Therefore, the same applies to the question
regarding the experimental music of some of my colleagues. My opinion of a work
depends on its characteristics. If it has a vision and a concise form, then it is, to
me, good music, regardless of whether or not it is experimental. The techniques
used are secondary. Frequently I find that a composition is too long. A
composition by Helmut Lachenmann, a kind of Piano Concerto, whose title I
have unfortunately forgotten, would have been for me an excellent and very
exciting work had been over after 3 minutes; but it lasted just under 50 minutes,
and I have hardly ever been so bored in a concert.

JASMIN STEINER. In the choral scene, the name Buchenberg has become
widely recognized as a leader in contemporary German choral music. You write
for festivals, served as "composer in residence" for Europa Cantat a few years ago,
there is no current Choir anthology without the name Buchenberg. What
separates you from or connects you with other prominent choral composers, such
as Jenkins or Rutter? How do you feel about their music?

WOLFRAM BUCHENBERG. Since I know nothing of Jenkins, I would
prefer to use Eric Whitacre for comparison. I am different from Whitacre and
Rutter in that they are decidedly better at marketing themselves and their music
is performed a great deal more than mine. In this regard, I am only a flickering
light in comparison to these two. What we do have in common, at least in the
choral field, is that we all write music that the layperson can connect with. With
respect to your claim, the range of Rutter's music is so large that I am hesitant to
make a general assessment. Eric Whitacre has definitely landed some major hits.

JASMIN STEINER. You are a music educator, part-time church musician
and a lecturer at the Music Conservatory in Munich. What significance does
composition hold in your professional life? How and when did you become
involved with composition?

WOLFRAM BUCHENBERG. First, I have to disagree. Although I did study
music education and I do actually play some organ at the church in Rettenberg
when I am home in Allgäu, I am actually neither a school music teacher - in that I
never accepted an official placement – or a trained church musician. My
composing is time-consuming hobby that really takes a back seat to my teaching.
However, I am in the fortunate position to have a relatively large amount of free
time that I can use for composing, because I only hold a half-time position at the

130

Conservatory for Music and Theater in Munich. I came to composition much like
the Virgin came to be with child, unintentionally, but not completely
"innocently." After studying music education I thought, "This cannot possibly be
all there is! There was still so much to learn!" Had my institution offered at that
time a course of study in music theory, I would have applied. Since the study of
composition included music theory and the accompanying subjects of counter-
point, analysis, harmony and orchestration, I opted for this course of study and
with this decision came the requirement to compose. However, in the interest of
full disclosure, I should add that I had sensed earlier the desire to bring music to
paper. While I was studying music education, I had the impulse to engage in
some compositional exercises and I wrote several songs in the style of Debussy,
R. Strauss, and others. I showed the manuscripts to the theory teacher, Professor
Meinrad Schmitt, also composer, and he encouraged me to take the entrance
exam for composition. Also, I can remember a few years earlier while I was
singing in play with music by Meinrad Schmitt, having thought, "this is
something I might like to do.”

JASMIN STEINER. Are the commissions that you receive always
consistent with your own ideas, or do you sometimes feel restricted by the
specified guidelines? Does anything specific hold you back?

WOLFRAM BUCHENBERG. No, actually sometimes I receive
commissions with constraints that do not attract me. I almost always reject
requests to write for highly specialized occasions, in that they usually only receive
one performance due to the very specific occasion for which they are written or
due to the large cost, and subsequently simply gather dust in a drawer.

JASMIN STEINER. As a sought-after composer, you must receive frequent
offers to write? Do you occasionally reject commissions? If so, when?

WOLFRAM BUCHENBERG. I more frequently reject an offer than I
commit to one. I refuse if I have no time due to other jobs, when I have no desire
because of the restrictive specifications, if the instrumentation does not interest
me or if I notice the requesting conductor has too precise an idea about how the
piece should be. Then he would be better off writing it himself. Additionally,
those conductors hungry for world premieres do not have a great chance,
especially when I get the impression through their request that they are less
interested in the music than they are in parading the world premier around as a
decoration on their chest.

JASMIN STEINER. What does composition mean for you?

WOLFRAM BUCHENBERG. Blood, sweat and tears. Contrary to the view
of many undiscerning individuals, it is work, arduous work. The fact that
composition is work for me has nothing to do with lack of inspiration. On the
contrary, the more ideas I have, the more challenging the work. More on this
later. Admittedly, work is tiresome, but to have work is sweeter than honey.

131

When a piece is finished and one has the impression that the result is good, these
are the wonderful moments of inner peace and great relief. I cannot deny that
many, many of my wonderful encounters, travels and experiences, I owe to
composition. Such a "harvest" of experiences is fortunately a part of composition
and they make it bearable and motivate me not to give up.

JASMIN STEINER. Which external conditions do you need to write?

WOLFRAM BUCHENBERG. Table, chair, piano, pencil, notepaper, eraser,
rest, time, solitude, peace of heart and the feeling of security. For whatever
reason, I cannot and will not write while I am on the road. An upcoming
performance is highly motivating! To be pressed for time is the world’s best form
of inspiration.

JASMIN STEINER. Are you a fast writer, or do you need more until you
are inspired?

WOLFRAM BUCHENBERG. It is just when I find inspiration that I need a
long time! Inspiration is the greatest obstacle to rapid progress. Only a few days
ago I had a similar experience as when I writing my arrangement of Silent Night
for female choir. Actually, this was a simple and technical task that I should have
been able to complete in a half an hour. Indeed, the ideas were gushing and for
every measure, I had three different versions in my head. However, which of the
three should I actually notate? Which one is the best? Which one sings the best?
Which one do I like most? And suddenly I begin to hem and haw, put the work
away and give myself some space - and the half-hour becomes three days (albeit
with many breaks)! A single useful idea is much more effective than a whole host
of ideas. No, I'm not a fast writer, plus I'm too fussy. Therefore, when the ideas
start to fly I am first suspicious to the bone.

JASMIN STEINER. Where do you find your inspiration?

WOLFRAM BUCHENBERG. Wind and waves, water, spirits, wine, grapes,
wine spirit and Jell-O pudding.

JASMIN STEINER. Do the performances of your works always meet your
expectations?

WOLFRAM BUCHENBERG. No, certainly not.

JASMIN STEINER. Would you rather listen to your works be performed
or sing with the ensemble?

WOLFRAM BUCHENBERG. In the case of works that are being heard for
the first time, I would much rather listen from the outside than to be in middle of
the turmoil where one cannot gain an objective impression. Naturally, I would
like to know if the piece comes off and functions like I had hoped when I was

132

writing it. With regard to a piece that I already hear frequently, I am happy to
sing with; ultimately it interests me to know what challenges the singers face
when singing my works. To sing with is a sort of demonstration of solidarity. I
should not subject others to that which I am not willing to dish out to myself.

JASMIN STEINER. Are you happy with the reception of your works? Do
your compositions get adequate attention or does the music world have different
preferences than you do? Are there "misunderstood" compositions?

WOLFRAM BUCHENBERG. Given the fact that it was not really my goal
to become a composer, I can be satisfied with the number of performances and
the proliferation of my choral music alone. Even still, there are certain works that
are my problem children – requested, yet never performed. Strangely enough,
this fate has befallen those works that I have written to specific principles and, of
all things, without requiring a fee. What costs nothing does not seem to be worth
a performance...

JASMIN STEINER. Which works do you wish were more widespread?

WOLFRAM BUCHENBERG. “Theophanie,” a five-movement work for
women's choir, strings and harp. After a previous performance, I got to some very
euphoric feedback, but somehow the piece fell into oblivion and has not been
performed since 1996. I would also love for my three dances for symphonic band
to receive a performance, as I have still never heard the work performed as a
whole. I would like to hear another performance of the orchestral work "1756-
1791", which was premiered by the Philharmonic Orchestra of Augsburg in the
2006 Mozart Year. Unfortunately, the most recent performances of these three
have not been recorded, so I do not even have audio files of them.

JASMIN STEINER. I came to know your piece "Ich bin das Brot des
Lebens” (I am the bread of life) while singing in the Bamberg Cathedral Choir
and am very impressed by its depth. What does this work mean to you? Is it one
among many or does it have a special significance for you? Can you describe it
briefly?

WOLFRAM BUCHENBERG. I like the piece and find it to be very well
done, because I believe I have done justice to the text, which really has a
profound depth. In this respect, the piece has been of great importance to me. It
is unfortunate, however, that the piece is usually taken out of context. As the
closing piece of the whole cycle Four Spiritual Songs, it would serve a different
and stronger function than when it is sung in isolation. Actually, these pieces are
a part of a unified whole.

JASMIN STEINER. How would you describe your personal relationship
with the choral music?

133

WOLFRAM BUCHENBERG. I grew up with choral music, but that is not
to say we are joined at the hip. Fortunately, I had the opportunity in my
childhood to spend many years singing in two very good choirs under two very
good choir directors. There I learned, from the inside out, how a choir works,
what it sounds like, what causes trouble, etc., etc. Naturally, I make use of all of
this when writing choral music now.

JASMIN STEINER. You rehearsed with the Munich Madrigal Choir a
setting of the piece "Tuoll'on mun kultani" by Jaakko Hulkkonen put to the
German song "Over the Mountain;” What has inspired you to personally arrange
the piece"Tuoll'on munkultani?”

WOLFRAM BUCHENBERG. The former is misinformation; I do not know
the setting you are alluding to and have never rehearsed it with the Munich
Madrigal Choir. It would be interesting to know how such misinformation came
about! To the question: I was asked by the publishers of Chor aktuell for
contributions to their current volume. Since I love this tune, it made sense to
select it.

JASMIN STEINER. What is your relationship to the International
Kunstlerhaus Villa Concordia Bamberg?

WOLFRAM BUCHENBERG. A very simple one: I want in - sooner or later!

JASMIN STEINER. What are you writing now? What are your next plans?

WOLFRAM BUCHENBERG. In the last few days, I finished a chamber
work for three young, talented musicians, sponsored by the Rotary Club of
Starnberg. The instrumentation is violin, harp and marimba/vibraphone. I'm just
about to start a Gloria for choir and big band, and more specifically for the
German Youth Chamber Choir and the National Youth Jazz Orchestra. Then it’s
time to work on a piece for the Calmus Ensemble, which celebrates its tenth
anniversary this coming year and they requested a psalm setting, which will
premier in the great hall of the Leipzig Gewandhaus. In addition, the principal
harpist of the Vienna Philharmonic has asked for a piece for harp, horn (her
husband is a Horn in the Leipzig Gewandhaus Orchestra) and string orchestra.

JASMIN STEINER. What is particularly aggravating to you?

WOLFRAM BUCHENBERG. Tear gas!

134

APPENDIX C: LIST OF UNACCOMPANIED CHORAL WORKS

Unaccompanied Choral Music
by Wolfram Buchenberg

*Arranged by voicing and listed alphabetically within each section.
+Abbreviations – EF=Edition Ferrimontana; CV=Carus-Verlag; BE=Bosse-
Verlag
Original Compositions

Commercially Published

Men’s and Women’s Choir

Sieben Zaubersprüche 8-part women’s or girl’s choir EF 2133

Veni, sancte Spiritus 4-part women’s choir EF 2052

Mixed Choir

Als vil in gote, als vil in vride 8-part mixed choir CV 7.352

Magnificat 8-part mixed choir EF 1908

Mubo!!! 8-part mixed choir EF 1928

Vidi calumnias et lacrymas! 6-part mixed choir EF 1785

Vier geistliche Gesänge 8-part mixed choir CV 7.351

i.) “Du bist der Herr, unser Gott”
ii.) “Ebarme dich unser”
iii.) “Lasst uns umkehren zum Herrn”
iv.) “Ich bin das Brot des Lebens”

Zwei Stücke 8-part mixed choir EF 1900

i.) “Beschwörung”
ii.) “Störung”

Children’s and Youth Choir

Gulla, mille gullala bena 4-part children’s choir CV 12.322

135

Published by the Author

Men’s and Women’s Choir

Almáttigr Guð! 6-part male ensemble

Die Fülle der Zeit im Abgrund Gottes/Der Geist weht wo er will
8-part men’s choir

Licht – Licht vom Licht 6-part men’s choir

Licht – Licht vom Licht 6-part women’s choir

Mixed Choir

Da pacem sabbati! 8-part mixed choir

Klangfelder-Raumschwingungen-Oszillationen 8-part mixed choir

Lobe den Herrn! 5 solo voices

Rundgesang 4-part mixed choir

Tombeau de Josquin Desprez 16-voiced mixed choir

Veni, dilecte mi! 7-voiced mixed choir

Von 55 Engeln behütet 6-part mixed choir
*Forthcoming with Carus-Verlag

Wechselgesang tw0 4-part mixed choirs

Weingartner Reisesegen 5-part mixed choir

Children’s and Youth Choir

Silere et audire 4-part children’s choir

Arrangements

Commercially Published

Men’s and Women’s Choir

Bunt sind schon die Wälder 6-part women’s choir CV 2.202
*Contained in Lore-Ley II

136

Es ist für uns eine Zeit angekommen 4-part men’s choir EF 1917

Es ist für uns eine Zeit angekommen 3-part treble chorus CV 2.099
*Contained in Hodie Christus natus est I

Gegrüßt seist Du, Maria 4-part men’s choir EF 1914

In dulci jubilo 4-part men’s choir EF 1916

In stiller Nacht 4-part women’s choir CV 2.202
*Contained in Lore-Ley II

Kein schöner Land 6-part women’s choir CV 2.202
*Contained in Lore-Ley II

Macht hoch die Tür 4-part men’s choir EF 1918

Resonet in laudibus 4-part men’s choir EF 1913

Tochter Zion 4-part men’s choir EF 1915

Mixed Choir

Ach bittrer Winter 4-part mixed choir CV 2.201
*Contained in Lore-Ley

Adeste fideles 4-part mixed choir CV 2.090
*Contained in Hodie Christus natus est II

Bunt sind schon die Wälder 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Der Heiland ist geboren 4-part mixed choir CV 2.090
*Contained in Hodie Christus natus est II

Ich hab die Nacht geträumet 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Ihr Kinderlein kommet 4-part mixed choir CV 2.090
*Contained in Hodie Christus natus est II

137

In stiller Nacht 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Kein schöner Land 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Nun will der Lenz uns grüßen 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Stille Nacht 4- to 7-part mixed choir CV 2.201
*Contained in Lore-Ley

Stille Nacht, heilige Nacht 4-part mixed choir CV 2.090
*Contained in Hodie Christus natus est II

Children’s and Youth Choir

Wahre Freundschaft 2-3 equal parts BE 2338
*Contained in Chor aktuell Basis

Au clair de la lune 2-3 equal parts BE 2338
*Contained in Chor aktuell Basis

Der Winter ist vergangen 2-3 equal parts BE 2338
*Contained in Chor aktuell Basis

Über den Berg 2-3 equal parts BE 2338
*Contained in Chor aktuell Basis

Ich hab die Nacht geträumet 2-3 equal parts BE 2338
*Contained in Chor aktuell Basis

Published by the Author

Men’s and Women’s Choir

Maria durch ein Dornwald ging separated 6-part women’s choir

Mixed Choir

Aber Heidschi bumbeidschi 4-part mixed choir

Ich sah drei Schiffe (English Christmas Carol) 6-part mixed choir

Nobody knows de trouble (Spiritual) 4-part mixed choir

138

O Freude über Freude! 6- to 8-part mixed choir
*Forthcoming with Carus-Verlag

Swing low (Spiritual) 6-voiced mixed choir

+Current as of October 11, 2013

139

APPENDIX D: LIST OF COMPLETE CHORAL WORKS

Wolfram Buchenberg
Choral Literature

The following list of complete choral works was assembled by the composer and
translated by the author. It has been used here with kind permission.

Edition Ferrimontana
Folksong arrangements for 3-voiced (Youth) Choir and Istruments
• Israel: Hine mah tow – Psalm 133; (Piano, Flute) EF 2097
• Jiddisch: Sha, still; (Piano, Clarinet) EF 1981
• Griechenland: Xekina mja psaropula; (Piano, Flute) EF 2076
• Rußland: Schlaf, mein Kindchen (Piano, Oboe or Flute) EF 2095
• Frankreich: La laine des moutons (Piano, Flute, ad lib. Strings) EF 2074
• England: The cuckoo (Piano) EF 2075
• England: Autumn comes (Piano) EF 2077
• Mecklenburg: Burlala (Piano, Violin) EF 2096
Original Compositions
• 2 Pieces for 8-voiced mixed choir EF 1900
1) Beschwörung
2) Störung
• Mubo!!! for 8-voiced mixed choir EF 1928
• Vidi calumnias et lacrymas! for 6-voiced mixed choir EF 1785
• Magnificat for 8-voiced mixed choir EF 1908
• Veni, sancte Spiritus for 4-voiced Women’s choir EF 2052
• 7 Zaubersprüche for 8-voiced Women’s or Men’s choir EF 2133
• Die Autorocker. Canon EF 2078
Settings for Men’s choir
• Resonet in laudibus EF 1913
• Gegrüßt seist Du, Maria EF 1914
• Tochter Zion EF 1915
• In dulci jubilo EF 1916
• Es ist für uns eine Zeit angekommen EF 1917
• Macht hoch die Tür EF 1918

Carus-Verlag
• 4 geistliche Gesänge for 8-voiced mixed choir, CV 7.351
Soprano Solo und Speaker
(originally “Proper for Ash Wednesday”)
• Als vil in gote, als vil in vride for 8-voiced mixed choir CV 7.352
to a Text by Meister Eckehart (1260-1328)
• Gulla, mille gullala bena for 4-voiced Chidren’s choir CV 12.322
• Maria durch ein Dornwald ging (SSA, Vl, Fl.)

140

• Es ist für uns eine Zeit angekommen (SSA)
(both settings are contained in Hodie Christus natus est I, a collection of
European Christmas songs for equal voices in the original language,
CV 2.099)
• Adeste fideles
• Der Heiland ist geboren
• Ihr Kinderlein kommet
• Stille Nacht, heilige Nacht
(each for 4-voiced mixed choir; contained in Hodie Christus natus est II,
CV 2.090)
• Ach bittrer Winter
• Bunt sind schon die Wälder
• Ich hab die Nacht geträumet
• In stiller Nacht
• Kein schöner Land
• Nun will der Lenz uns grüßen
• Stille Nacht
(4- to 7-voiced mixed choir; contained in the volume Lore-Ley, CV 2.201)
• Kein schöner Land
(6-voiced women’s choir; contained in the volume Lore-Ley II, CV 2.202)
• Bunt sind schon die Wälder (6-voiced women’s choir) CV 2.202
• In stiller Nacht (4-voiced women’s choir) CV 2.202

Bosse-Verlag
• Wahre Freundschaft
• Au clair de la lune
• Der Winter ist vergangen
• Über den Berg
• Ich hab die Nacht geträumet
(These settings for 2 and 3 equal voices are contained in Chor aktuell
Basis, BE 2338)
• Goli goggoli; a Children’s play for 120 Children und 30 howling hoses. In: Chor
aktuell Basis, BE 2338

Published by the author

Mixed Chorus
• Mass for 4-voiced mixed choir, Schola, Brass Quartet and Organ (Mass
Ordinary and Halleluia-Response, Acclamation to the Prayer, Communion
Hymn)
• Missa ad maiorem Dei gloriam für 4-8 voiced mixed choir, Baritone solo and
Bigband (Kyrie, Gloria, Sanctus, Agnus; Duration: 33’)
• Cantico di frate sole. Sonnengesang des hl. Franz von Assisi for 4-voiced mixed
choir and Synphony Orchestra

141

• Im Lichtland des Himmels (to a Text from the Pharaos Echnaton) for chamber
choir, large choir, mezzo-soprano solo und Symphony Orchestra
• Plenitudo temporis - Fülle der Zeit for 4 Choirs (2 mixed, 1 Women’s, 1 Men’s),
4 Trumpets, 4 Trombones, 2 Horns und Tuba
• Vesper to the 1000
th
anniversary of the Diocese in Bamberg for 4-voiced mixed
choir, Schola, Brass Quartet und Organ
• Traumphasen for 4-voiced vocal ensemble, 2 Vibraphones und Contra Bass
• O nata lux for 8-voiced mixed choir und Vibraphone
• Klangfelder Raumschwingungen Oszillationen for 8-voiced mixed choir
• Wechselgesang for 2 4-voiced mixed choirs
• Rundgesang for 4-voiced mixed choir
• Von 55 Engeln behütet. Weingartner Reisesegen for 6-voiced mixed choir (old
German Text)
• Weingartner Reisesegen for 5-voiced mixed choir (old German Text)
• Da pacem sabbati! for 8-voiced mixed choir
• Lobe den Herrn! 104. Psalm for 5 voices
• Veni, dilecte mi – after a text (also set by Palestrina) from the Song of Solomon
for 7-voiced mixed choir
• Tombeau de Josquin Desprez for 16-voiced mixed choir

Girl’s or Women’s Choir
• Theophanie for women’s choir, Harp and Strings (5 settings, length ca. 25 min.)
• Missa pro puellis for 3-voiced girl’s or women’s choir and organ
• Palindrom (Sator Arepo) for 4-voiced choir, Horn, 2 Trumpets, Trombone and
Tuba
• Licht – Licht vom Licht; Setting for 6-voiced women’s choir

Children’s Choir
• Silere et audire for 4-voiced children’s choir on a text by Meister Eckhart and
Anselm of Canterbury

Men’s Choir
• Licht – Licht vom Licht for 6-voiced men’s choir
• Die Fülle der Zeit im Abgrund Gottes/ Der Geist weht wo er will for 8-voiced
men’s choir
• Almáttigr Guð! for 6-voiced male ensemble to a text by Eystein Ásgrimsson
(Island, 1400’s)

Arrangements
• Nobody knows de trouble (Spiritual, 4-voiced mixed choir)
• Balm in Gilead (Spiritual, 4-voiced mixed choir, Piano)
• Swing low (Spiritual, 6-voiced mixed choir)
• Maria durch ein Dornwald ging (seperated 6-voiced women’s choir)
• La cucaracha (3-voiced mixed choir and Piano)
• Ich sah drei Schiffe (English Christmas Carol) for 6-voiced mixed choir

142

• Engel haben Himmelslieder (French Christmas Carol) for 4-voiced men’s choir,
Harp und Flute
• O Freude über Freude! (arrangement of three German Christmas Carols) for 6-
to 8-voiced mixed choir, length ca. 8'
• Aber Heidschi bumbeidschi for 4-voiced mixed choir
• Einigkeit und Recht und Freiheit (Deutsche National Anthem) for unison choir
and Bigband

Music Theater
• König Laurin und sein Rosengarten; children’s musical with chamber orchestra.
Current length ca. 40 min.
• Carpe Diem; Musical (large scale, feature-length)

Current as of October 11, 2013

143

APPENDIX E: DISCOGRAPHY

Wolfram Buchenberg
Discography

The following list was assembled by the composer and is used here with kind
permission.

• “Buchenberg Chorwerke”. Cantabile Regensburg, Matthias Beckert. Spektral.
SRL4-12108
1) Vier geistliche Gesänge
2) Klangfelder Raumschwingungen Oszillationen
3) Magnificat
4) Da pacem sabbati!
5) Vidi calumnias et lacrymas!
6) Veni, dilecte mi!
7) Als vil in gote, als vil in vride
8) Von 55 Engeln behütet
9) Kein schöner Land
10) Macht hoch die Tür
11) Es ist für uns eine Zeit angekommen
12) Ich sah drei Schiffe

• “Mit Menschen- und mit Engelszungen”. Kölner Kantorei, Volker Hempfling.
Als vil in gote, als vil in vride.

• “Turn darkness into light. Chorwerke des 20. und 21. Jahrhunderts”. Consono
Köln, Harald Jers. Spektral. SRL4-08037 Klangfelder Raumschwingungen
Oszillationen

• “Lighten mine eyes”. Orpheus Vokalensemble, Gary Graden. Carus 83.454
Vier geistliche Gesänge

• “25 Jahre Singphoniker. Nur das Beste!” Die Singphoniker. CPO 777291-2
Licht – Licht vom Licht

• “Portrait of the Soul.” University of Miami Frost Chorale, Jo-Michael Scheibe.
Arsis. CD166 Magnificat.

• “Lied:gut! Die schönsten deutschen Volkslieder”. Calmus Ensemble Leipzig.
Edition chrismon. Kein schöner Land

• Calmus Christmas Carols. Calmus Ensemble Leipzig. Carus 83.432. Stille
Nacht, heilige Nacht

144

• “SOS – Save Our Songs. Deutsche Volkslieder neu arrangiert”. Singer Pur.
OEHMS Classics. OC 560. Bunt sind schon die Wälder

• “Drei Schiffe sah ich segeln nach Bethlehem! A German Christmas” Singer Pur.
OEHMS Classics. OC 825. Ich sah drei Schiffe

• “Tempora. Alles hat seine Zeit”. Carl Orff Chor, Robert Blank. OEHMS
Classics. OC 531.
1) Veni, sancte Spiritus
2) Magnificat
3) Vidi calumnias et lacrymas!

• CD 2 from the University of Music and Performing Arts in Munich series: “Der
Madrigalchor der Hochschule fu ̈r Musik und Theater Mu ̈nchen“, Max Frey.
ArtVoice 04843.
1) Proprium zum Aschermittwoch (= Vier geistliche Gesänge)
2) Zwei Stücke für gemischten Chor a cappella: Beschwörung – Störung

• CD 12 from the University of Music and Performing Arts in Munich series: “20
Jahre Madrigalchor der Hochschule fu ̈r Musik und Theater Mu ̈nchen.
Festkonzert vom 16. Januar 1999”, Max Frey. ArtVoice 04860.
Magnificat

• “Maria Himmelskönigin. Die schönsten Marienlieder”. Regensburger
Domspatzen, Roland Bu ̈chner. Capriccio 10756. Gegrüßt seist du Maria

• “Lore-Ley. Deutsche Volkslieder”. Kölner Kantorei, Volker Hempfling. Carus
2.201/99.
1) Bunt sind schon die Wälder
2) Ach bittrer Winter
3) In stiller Nacht
4) Stille Nacht, heilige Nacht
5) Kein schöner Land

• “Wenn ich ein Vöglein wär. Volkslieder”. ex-semble, Christoph Haßler
TMK 028224
1) Bunt sind schon die Wälder
2) Kein schöner Land

• “ex-semble. Faszination”. ex-semble, Christoph Haßler. Bestellnummer (bei ex-
semble): 80410
Aus 7 Zaubersprüche:
Spruch, um des Echos Schatten zu beschwören
Spruch, um einen Mann zu finden
Spruch, um ihn wieder loszuwerden

Current as of October 11, 2013

145

APPENDIX F: LIST OF COMPLETE INSTRUMENTAL WORKS

Wolfram Buchenberg
Instrumental works

The following list was assembled by the composer and translated by the author.
It is used here with kind permission.

Solo Pieces
Tanz der Saubohnen for piano
6 Aphorismen for piano
Stadtkultur for harpsichord
1) Hast
2) Einsamkeit
3) Irrsinn
4) Hektik
5 Phantastereien for harp
1) Hirngespinst
2) Traumgesicht
3) Spleen
4) Flu ̈chtige Erscheinung
5) Petite danse pour ChaBa
Maranatha! – Meditations on Romans 8, 18-24 for organ

Chamber Music
Duell für zwei Pianisten
3 Visionen for two pianos
1) Schamanistisches Ritual
2) Kristallfee im Spiegelkabinett
3) Panta rhei
5 kurze Szenen for bassoon and cello
3 Miniaturen for violin and viola
1) Pizzicato
2) Flautando
3) Con moto perpetuo
Streichtrio für Kinder
1) Stimmen im Wind
2) Hamster Didi trainiert im Laufrad
3) Kätzchen auf nächtlicher Tour
4) Komponist in der Klapsmu ̈hle
Trio for tuba, viola, and piano (or tuba, trumpet, piano)
1) Valse
2) Tango notturno
3) Fu ̈nfvierteltaktrumbarondo

146

Trio for violin, harp, and marimba/vibraphone
1) Daemon Melancholiae
2) Ludus
3) Canunt Angeli
2 Stücke for 7 cellos and double bass
1) Die Fu ̈lle der Zeit im Abgrund Gottes
2) Der Geist weht, wo er will
Suite for trombone quartet
1) Morse?
2) Schleich di!
3) Nostalgischer Anfall
4) Disput
5) Hrglmggl!!!
6) Zugabe
Dances and movements for 2 harps, flute, clarinet and cello
1) Tanz der Luftgeister
2) Im Bannkreis der Kristalle
3) Tanz der Mondschatten
4) Tante Frieda‘s Midnight-Fox
5) Perpetuum mobile
Zwiefacher for 2 harps, flute, clarinet and cello
Musik für große und kleine Flaschen, Singende Säge, Weingläser und
Heulschläuche

Orchestral Music
Ein Pariser in Bayern. Hommage à Jean Françaix for string orchestra
Organum for chamber orchestra
The Bells (orig. for Virginal v. William Byrd) scored for chamber orchestra
Stück und Gegenstück for orchestra
1) Lamentatio
2) Mit Pauken und Trompeten
Mummenschanz - 5 Maskentänze for orchestra
1) Dämonen der Finsternis
2) Gestalten wie von Schall und Rauch
3) Tanz der Fratzen
4) Die geheimnisvolle Schöne
5) Totentanz
Cantico di frate sole. Canticle of St. Francis of Assisi for 4-voice mixed choir and
orchestra
C‘ est la vie for large orchestra with choir
3 Tänze für symphonisches Blasorchester
1) Tango noir
2) Danza enigmática
3) Tarantella

147

1756 - 1791 Orchestral pieces in three settings for Mozart Year 2006
Im Lichtland des Himmels (according to a text by the pharaoh Akhenaten) for
chamber choir, large choir, mezzo-soprano and symphony orchestra
SiebenSagen for orchestra
1) Das Stollengespenst
2) Ermasinds Klagelied
3) Die Fee von Burg Volmarstein
4) Das verwu ̈nschte Schloß
5) Die Ruhrnixe
6) Die weißen Jungfrauen
7) Wodans Luftgeister auf wilder Jagd

Bigband
Einigkeit und Recht und Freiheit. Arrangement of the German national anthem
for big band and vocals
Gloria for big band and 4-voice to 8-voice mixed choir

Music Theater
Carpe diem Musical (large scale, feature-length)
König Laurin und sein Rosengarten Children’s musical (current duration
approx. 40 minutes)

Current as of October 11, 2013

148

APPENDIX G: VITAE

Samuel W. Barbara
Education December 2013 University of Southern California Los Angeles, CA
Doctor of Musical Arts in Choral Music G.P.A. 4.0
 Senior Teaching Assistant, Assistant to Dr. Jo-Michael Scheibe
 Assistant Conductor, USC Thornton Chamber Singers
 Academic Field – Music Education
 Minor Fields – Early Music and Musicology
 Dissertation – A Survey of the Unaccompanied Choral Music of
Wolfram Buchenberg

May 2006 University of Portland Portland, Oregon
Master of Arts in Teaching G.P.A. 4.0
 Certified secondary choral music educator, Oregon
 Thesis – Choral literature selection for the secondary educator

May 2004 University of Portland Portland, Oregon
Bachelor of Arts in Music G.P.A. 3.86
 Choral conducting and voice performance emphasis
 Minor course of study in German
 Dean’s list eight consecutive semesters, graduated Magna cum laude

Professional
Experience

Aug. 2006-Jun. 2010 Cleveland High School Portland, Oregon
Director of Choirs
 Director of five choral ensembles
 Music Director, music theater productions
 Chair, Portland Interscholastic League Choral Festival

Aug. 2004-June 2005 Thüringen College Weimar, Germany
Fulbright Teaching Assistantship
 Studied Choral Music at Franz Liszt Music Conservatory
 Taught American Culture and English as a second language

Project Work

Professional
Memberships

April 2012 University of Southern California Los Angeles, CA
Doctoral Conducting Recital
 Conducted the USC Thornton Recital Choir and professional brass
ensemble in performance of Norman Dello Joio’s To St. Cecilia

April 2004 University of Portland Portland, Oregon
Capstone Music Project
 Conducted University Singers and professional chamber orchestra in
performance of Bach’s fourth cantata Christ Lag in Todesbanden

Active Memberships- American Choral Directors Association; National
Association for Music Education; Pi Kappa Lambda National Music
Honor Society; Delta Epsilon Sigma National Honor Society

Past Memberships- Oregon Music Educators Association, German-
American Fulbright Association, Blue Key Honor Society, National Eagle
Scout Association

149

Professional
Workshops

Awards and Honors
2013 National ACDA Conference, Dallas, TX

2011 National ACDA Conference, Chicago, IL

2009 PSU Kodály Certification Workshop – Level 1 Certified

2006-2009 Oregon State MENC Conference

2008 World Choral Symposium, Copenhagen, Denmark

2008 Northwest ACDA Conference, Vancouver, B.C.

2006 Northwest ACDA Conference, Portland, Oregon
Guest conductor at Albert McNeil workshop

2005 Choral conducting coursework under Dr. Jürgen Puschbeck
Franz Liszt Music Conservatory Weimar, Germany

2013 Chamber Singers Award for Significant Contribution to the
Ensemble, Pi Kappa Lambda Award for Outstanding Scholarship

2007, ’08, ’10 OSAA 5A State Choir Champions, Cleveland High School

2008 “Golden C” Excellence in Teaching Award, Cleveland High School

2004 Fulbright Teaching Assistantship, Weimar, Germany

2003 Phillip DeLaMare Outstanding Musician Award, Outstanding Vocalist
Award, Outstanding Achievement in German Award, University of Portland

2001 Roger O. Doyle Scholarship for Choral Musicians

2000 Eagle Scout

Performance
Experience

Choral Ensembles
2000-Present – USC Chamber Singers, Assistant Conductor ~ Choral
Arts Ensemble of Portland, Tenor Section Leader ~ Multnomah Athletic
Club Balladeers, Portland, Paid Section Leader ~ St. Paul’s Chamber
Singers, Salem, Paid Tenor ~ Franz Liszt Conservatory Chamber Choir,
Weimar, Tenor ~ University of Portland Singers, Tenor Section Leader

Liturgical
2005-Present – Paid Soloist/Section Leader Positions ~ St. John’s Episcopal
Church, La Cañada Congregational Church, Los Angeles, CA; St. Paul’s
Episcopal Church, Salem, OR; All Saints Episcopal Church, Portland, OR; St.
Rose Catholic Church, Portland; St. John Lutheran Church, Portland; Holy
Cross Catholic Church, Portland

Solo
2004-Present – Tenor/Baritone Soloist ~ Handel Chandos Anthem,
Adelgasser Magnificat, Beach Mass in A, Bach St. John Passion, Vaughn
Williams Serenade to Music, Fauré Requiem, Beethoven Choral Fantasy,
Gilbert and Sullivan’s Trial By Jury (Counsel, Supporting Role), Stiles and
Drewe’s Honk! (Ugly, Lead Role)

150

Performance
Experience (cont.)

Major Choral Works
2000-Present – Bach Cantata 4 (Conductor), Bach St. John Passion
(English & German) & Magnificat in D, Beethoven Missa Solemnis & Choral
Fantasy, Vaughn Williams Dona Nobis Pacem, Serenade to Music & Mass
in G, Mozart Requiem, Fauré Requiem, Schütz Magnificat, Vivaldi Gloria,
Schubert Magnificat in C, Handel Chandos Anthem, Adelgasser Magnificat,
Beach Mass in A, Distler Totentanz, Dello Joio To St. Cecilia (Conductor)

Musical Theater
2003-Present – Co-Producer/Vocal Director, Into the Woods & Bye Bye
Birdie ~ Music Director, Honk! ~ Music Director/Conductor, Guys and
Dolls ~ Actor/Singer, Iolanthe & Patience

Languages

Fluent German ~ Italian, Spanish, French & Latin Diction

Mentors/Private
Teachers

Choral Music

Dr. Jo-Michael Scheibe, University of Southern California

Dr. Nick Strimple, University of Southern California

Dr. Cristian Grases, University of Southern California

Professor Donald Brinegar, University of Southern California

Dr. Roger O. Doyle, University of Portland

Dr. Michael Connolly, University of Portland

Dr. Jürgen Puschbeck, Hochschule für Musik Franz Liszt Weimar

Voice Performance

Mary Mattei, University of Southern California

Shelly Fox, University of Southern California

Jay Eugene Fraley, University of Portland/Willamette University

Keyboard Studies

Tracey D. Edson, University of Portland

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

The romantic loner: a conductor’s guide to the choral-orchestral works of Sir William Walton

PDF

The influence of the Australian landscape and indigenous Aboriginal music and traditions on Australian choral music: a study of choral works by nine Australian composers

PDF

The sacred choral works of Samuel Coleridge-Taylor

PDF

Karol Szymanowski and his Stabat Mater

PDF

A companion guide to Nick Strimple’s Choral Music in the Nineteenth Century: a research and repertoire guide for nineteenth century small form choral works for mixed voices

PDF

Music in worship in the Churches of Christ and choral music performance in Church of Christ affiliated colleges and universities

PDF

Synagogue choral music of nineteenth-century Vienna, Paris, and Berlin: its repertoire and history

PDF

The influence of African-American harmonizing on the 'American' choral works of Frederick Delius

PDF

The motets of Georg Philipp Telemann: a study of their sources, musical style, and performance practice

PDF

The Antiochian Orthodox Church of North America: vocal music and choral practice

PDF

An analysis of two choral compositions with strings by Tarik O'Regan

PDF

Choral music in film

PDF

Sing on: The life, pedagogy, and contributions to choral music of Dr. Jo-Michael Scheibe

PDF

Howard Swan, Charles Hirt, and Roger Wagner: their influences and the building of choral culture in southern California

PDF

Refined gold from along the Royal Highway: musical training at the California Missions as a model for present-day pedagogy

PDF

Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...

PDF

A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost

PDF

Surmounting oppression in the choral music of Petr Eben: an analysis of the Missa adventus et quadragesimae

PDF

Troisieme Magnificat a 4 voix avec instruments, H. 79 by Marc-Antoine Charpentier: a modern urtext edition with commentary

PDF

Charles C. Hirt at the University of Southern California: significant contributions and an enduring legacy

Asset Metadata

Creator Barbara, Samuel William (author)

Core Title A survey of the unaccompanied choral music of Wolfram Buchenberg

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 10/31/2013

Defense Date 10/21/2013

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag a cappella,Buchenberg,choral,composer,contemporary,Germany,Modern,Music,OAI-PMH Harvest,unaccompanied,Wolfram

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Scheibe, Jo-Michael (committee chair), Grases, Cristian F. (committee member), Strimple, Nick L. (committee member)

Creator Email sbarbara@usc.edu,swbarbara@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-342715

Unique identifier UC11296140

Identifier etd-BarbaraSam-2123.pdf (filename),usctheses-c3-342715 (legacy record id)

Legacy Identifier etd-BarbaraSam-2123.pdf

Dmrecord 342715

Document Type Dissertation

Format application/pdf (imt)

Rights Barbara, Samuel William

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA