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Heiner Goebbels

 b. 1952Heiner Goebbels



Heiner Goebbels is represented in North America by Boosey & Hawkes, New York. His primary publisher is Ricordi Berlin, part of Universal Music Publishing Group. For more information, please contact:

G. Ricordi & Co. Bühnen- und Musikverlag GmbH
part of Universal Music Publishing Classical
Stralauer Allee 1
D-10245 Berlin
Tel. +49 (0) 30 52007-1323

Heiner Goebbels was born on 17th August 1952 in Neustadt. In the 1990s Heiner Goebbels began to focus on composing music theatre works that have meanwhile been played and staged worldwide. His first stage work "Surrogate Cities" ranks among the most performed contemporary music theatre works. Goebbels has collaborated with ensembles and orchestras such as Ensemble Modern, Ensemble Intercontemporain, Berlin Philharmonic and Brooklyn Philharmonic and has worked with conductors like Sir Simon Rattle, Peter Eötvös, Steven Sloane and many others. Since 2006 he has been president of the Theater Academy Hessen. From 2012-2014 he was artistic director of the Ruhrtriennale.

Works by Heiner Goebbels include:
Surrogate Cities (1993/94) for mezzo, speaker, sampler and large orchestra
Black on White (1995-96) music theater for 18 musicians
Songs of Wars I Have Seen (2007) for one or two chamber orchestra

"Heiner Goebbels' Black On White is a defining achievement in contemporary music, one of those rare works that reorders our perception of what music theatre is and what it can be."
--The Guardian

“As composer I am at the moment much more inspired by films, by the technique of film, the flashbacks, the ways of telling stories, the effect of films, of the editing process, than by modern music. And I always wish that composers would work more like film makers, that they'd know exactly what they wanted to say, and on their way there, to try and think about the means they are using to achieve it."
--Heiner Goebbels

"It [Surrogate Citites] turns the symphony orchestra on its head . . . . It gave one listener a first sense of what it must have been like to hear a Mahler symphony a century ago, with the whole notion of sonic possibility expanded at a stroke."
--The New York Times

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