Michael Wolters

Michael Wolters is a British composer of German origin. He was born in 1971 in Mönchengladbach, Germany, grew up in Niederkrüchten, a small German village on the Dutch border and now lives in Birmingham, UK. After working as a care worker in a children's home and a runner at several theatres in Germany and Scarborough he studied Applied Theatre Studies at Justus-Liebig-Universität Giessen, Germany and Composition and Theatre Studies at the University of Huddersfield (BA, MA) and finally received his PhD in Composition from the University of Birmingham in 2003. His composition teachers include Christopher Fox, Heiner Goebbels, Patric Standford and Vic Hoyland. Since 2009 he has been Deputy Head of Composition at Birmingham Conservatoire. He is a founder member of the artists' collective New Guide to Opera.
Aesthetic outlook
Wolters has maintained an outsider position in the world of contemporary music with works which deconstruct and question the traditional concert situation or which are designed for performance outside the concert hall. He has written music for traditional ensembles like Birmingham Contemporary Music Group (Journal, Neighbours for a Night and I see with my eyes closed) but prefers not to be confined by conventional set-ups and concert rituals. This has resulted in pieces with unusual instrumentations (His 2012 twelve-minute-long opera The Voyage in collaboration with Birmingham-based theatre company Stan's Cafe, for example, is written for mezzo-soprano, eleven recorders and double bass ), performances in unusual places (wahnsinnig wichtig on ice [with New Guide to Opera] took place on and around an ice rink) or projects of unusual duration (his Spring Symphony: The Joy of Life is the shortest symphony in the world and lasts around 17 seconds and the performance of Wir sehen uns morgen wieder [with New Guide to Opera] lasted for one month).
He strongly believes that the idea and the concept of a work are the crucial elements to create a successful piece of art. There is no place for musical or other material that doesn't serve the idea. His work focuses on many of the principles highlighted in Sol LeWitt's Sentences on Conceptual Art.
One of the major influences on his music was the work of American performance artist Laurie Anderson in the 1980s. He especially admires Anderson's ability to use multiple artistic genres to create highly effective and moving performance situations, where – in her typical postmodern way – she tells stories while highlighting the fact that she is telling stories.
Reactions
Wolters' constant refusal to conform to conventional concert practice has led to mixed receptions in the international press. The Telegraph called his Neighbours for a Night "a piece that stood all the norms of 'new music' on their head". In the performance "the audience was invited to sing a deathless melody", which left the Guardian reviewer Andrew Clements baffled. Clements' unfavourable review of this piece highlights how Wolters' work sits purposefully uncomfortably within the Western concert tradition. In contrast, Charlotte Higgins, the Guardian's chief arts writer called I see with my eyes closed, his first collaboration with Theatre Company Stan's Cafe, "fascinating, oddly moving territory". American Recorder called his radio play Kathryn und Peter durchqueren die Antarktis an "impressive achievement in the world of music/theater/performance" while Stephen Graham's acknowledges the absurdity of Wolters' "postmodern folk theatre" German Folk Tunes, but also finds it "a little too self-conscious and obvious in its satire".
Works
Wolters works have been performed in Europe, Russia, New Zealand, USA and Canada. His music for Danserye, a dance project in collaboration with the German choreographer Sebastian Matthias, toured Germany, Switzerland, Belgium and the Netherlands in 2013. His opera The Voyage was commission by the PRS Foundation for the 2012 Cultural Olympiad.
Selected works
Danserye (2013) music for dance, recorder, clarinet, violin, guitar
The Voyage (2012) for voice, eleven recorders and double bass
Monsterwalzer (2002/2012) for 11 strings/9 flutes, cello and double bass
Deutsche Volksweisen (German Folk Tunes)
The Lady plays Rachmaninov (2007) for decibel
Concerto Grosso (2006) for Orkest de Volharding
The Bridegroom (2004) opera after Pushkin
Spring Symphony: The Joy of Life (2002) for orchestra
BRAHMS (2002) for large orchestra
Journal (2001) for large ensemble
Symphony No 1 "Concerto for Orchestra" (1999) for orchestra
HandBAG-Music (1997) for ensemble
With New Guide to Opera
wahnsinning wichtig: on ice (2012) music theatre
Wir sehen uns morgen wieder (2009) multi media project
Grosse Mengen Bach (2008) music theatre
BBC4 World News Today (2008) music theatre
The End of the Gulf Stream (2006) music theatre
Kathryn und Peter durchqueren die Antarktis (2005) music theatre
The American Penis (2005) music theatre
References
External links
composer's website
PRS for Music Interview with Michael Wolters about The Voyage
Michael Wolters in the British Music Collection
New Guide to Opera
1971 births
Living people
People from Mönchengladbach
Alumni of the University of Huddersfield
Alumni of the University of Birmingham
German composers
British composers
Academics of the Royal Birmingham Conservatoire