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Jan Müller-Wieland studied double bass and composition (under Friedhelm Döhl) at the Musikhochschule Lübeck • 1988 external composition studies in Cologne and Rome under Hans Werner Henze, who encouraged Müller-Wieland's great closeness to musical theatre • various residences abroad via scholarships (1989 Chopin Academy Warsaw, 1991 Cité des Arts in Paris as well as the Leonard Bernstein Foundation for a composition course with Oliver Knussen at the Tanglewood Music Center, 1992/93 Academia Tedesca “Villa Massimo” in Rome) • from 1993 freelance in Berlin • 2006 as lecturer and since 2007 as professor of composition at the Munich Musikhochschule • text settings and literary inspirations play a central role in Müller-Wieland's work • his instrumental works also contain a latent scenic vision • Müller-Wieland's music is extremely lively, frequently featuring powerful, complex rhythms, some of which reveal jazz influences • unsentimental, expressive gestures become a hallmark • sometimes processing phantasmagorias of destruction or concrete manifestations of evil • Müller-Wieland is a member of the Freie Akademie der Künste in Hamburg and among other awards has won the Hindemith Prize of the SHMF and the Sponsorship Prize for Composers of the Ernst von Siemens Music Foundation

Of Jan Müller-Wielands successful works are:

Ballad of Ariel for violin and orchestra (2002)
Gottesspur for bassoon or contrabassoon, electronics and orchestra (2019)
Komödie ohne Titel. Opera based on Federico Garcia Lorca (1997)
Nathans Tod. Opera in two acts based on G.E. Lessing and a play by George Tabori (2000)
Der Knacks. Melodrama for narrator, 18 strings and piano (2009)
König der Nacht. Epiphany for narrator, three singers, electronic music and 32 instrumentalists
Triptychon for orchestra
Symphonies No. 1-4

Works by Jan Müller-Wieland published by Boosey & Hawkes / Sikorski

“I work within my possibilities and their limits: collage, music about music, developing intimate sound values, evocations of old keys, invocations to distant, sonic things or to sarcastic - perhaps even music satirical - formulas, and so and so on...”
Jan Müller-Wieland

Looking Ahead: Radio broadcast Ophelia (WDR 19. Febr); World premiere of Trauma und Rückgrat for piano at the Academy of Arts in Hamburg (February 20); World premiere of Menschen for ensemble with “ensemble risonzanze” under Peter Tilling in Mannheim (May 7)

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