Norbert Walter Peters profile picture

Norbert Walter Peters

composer/sound artist

About Me

Norbert Walter Peters

finished his musical education at the Aachen academy of music in the subjects guitar, singing and Renaissance lute in the year 1981. The subject music theatre as well as scientific research works had been a further main point in his musical education. He completed his education with studies of composition. Since 1999 Peters conceived hear pieces for the Radio Arts. They are to be assigned to the genre of the minimalism.

My Interests

Music:

Member Since: 6/9/2007
Band Website: norbertwalterpeters.de
Band Members: as composer

Norbert Walter Peters

worked together with (selection):

Hariolf Schlichtig – viola/viola d’amore, Munich D, 1987/2006
Irmela Nolte – flute/flauto traverso/voice, Munich D, 2006
Guy de Bievre - electronics, Gent B, 2005
Daniel Raclot – violoncello, Paris F, 2005
Nathalie Joly - voice, Paris F, 2005
Mario Haniotis + – voice, Paris F, 2005
Anton Lukoszevieze – violoncello, Norfolk GB, 2001
Ruth Geiersberger – female performer, Munich/Berlin D, 2001/02
Dirk Rothbrust – percussion, Cologne D, 2000- 2002
Bernhard Luers - deep male voice, Aachen D, 2000/02
Ricarda Bröhl – flute/voice, Cologne D, 1987/89
Julia Ryder – violoncello/voice, Sydney AU/Cologne D, 1988/89
Tadashi Sasaki – guitar, Cologne D, 1987

Influences: ------------------------------------------------------------ -------------

"I am delighted, that you had the opportunity, to produce this composition (nota.thión - die Klage des reuevollen Herzens - Bayerischer Rundfunk 2006) in a radiophonic manner, because the draft actually functions in a double regard: once as concrete work with the sounds of the voice in a constantly moved sound architecture with all their tonal niches, linear as plain like details and noisenear structures, on the other hand in addition as sound environment, nearly in the sense of the ambient, which you simply can leave there and in which as listener you then find yourself in a homogeneously moved world of sounds, rhythms and noises."
Andreas Hagelüken Radio Berlin Brandenburg 2006

"Constitué à partir de langues anciennes disparues, vieil Assyrien, vieil Acadien et Hittite, le texte résonne de la sonorité des mots, constituante essentielle de la partition, répondant aux timbres percussifs et inouïs du violoncelle en une troublante alchimie sonore. Conçue dans le plus pur esprit des musiques structuralistes américaines, la pièce (nota.thión - après le Déluge) mêle subtilement des structures rythmiques répétitives sous une polyphonie vocale symbolisant les trois âges de l'humanité."
Philippe Langlois Radio France Culture Paris 2005

"I have sensed a sensitive, monoton ritual with clear influences of non-european thinking of structures (né-tchr –Deutschlandradio Kultur Berlin 2002), I have experienced an exciting atmosphere."
Folkmar Hein TU Berlin studio of electronics

"Today Norbert Walter Peters continues his compositorical work with the performance con'tinuo - and it interests him thereby the soundly maximum stretching moment of the tone moving. You will hear noises and tones, which develop, as the female performer skin on skin rubs; as body strikes on stone;as dental enamel at brick-work scratches. A drum skin is processed with the foot nail; to play on a marimbaphon and cymbal with a bow and from a cello are drawn overtone cascades. And it can be heard first of all silence ... With the assistance of the virtuos performers Dirk Rothbrust, Anton Lukoszevieze and Ruth Geiersberger the border crosser Norbert Walter Peters produces, this evening first of all one: limit values."
Jörg Stelkens curator of the t-u-b-e, Gallery for Radiophone Art Munich 2001

"Step back in a 'concert' area, thus into the objektivable duration of a performance and again a step beyond at the same time Norbert Walter Peters is gone with the radio piece CavæTóna (Saarländischer Rundfunk 2000) ... The need of definition is preserved in view of the question: is that a music piece, a radio composition, a radio play or something else? The praticability of the piece which revives again and again as production in the reproduction, leads it back into traditional factory mass and cannot thereby be dismissed nevertheless. The acoustic track, the casting in the time evoces a HEAR PICTURE; perhaps even a tone painting ... CavæTóna composes old callings, i.e. scraps and fragments of old languages ... and is thereby a world music beyond all times or back."
"I transport energy ..." a portrait of the composer, sound artist and musician Norbert Walter Peters by Reinhard Ermen swr Baden-Baden, transmission: 2001-07-28 Atelier of New Music DeutschlandRadio Cologne
Sounds Like: ------------------------------------------------------------ --------------

Assignements for composition by:

- Südwestrundfunk Baden-Baden 1999 (Donaueschinger Musiktage) - Saarländischer Rundfunk Saarbrücken 2000 - Österreichischer Rundfunk Wien 2001 (Musikprotokoll Graz) - Bayerischer Rundfunk München 2001 (Galerie für Radiophone Kunst München) - Deutschlandradio Kultur Berlin 2002 - Radio France Culture Paris/Deutschlandradio Kultur Berlin 2005 (Atelier de Création Radiophonique)
- Theater Aachen 2005 - Bayerischer RundfunkMünchen/Saarländischer Rundfunk Saarbrücken 2005/06 (Stadtgalerie Saarbrücken)

Please, take a look at my flash animation "Magnificat": http://www.norbertwalterpeters.de/e_work.html

Please, take a look also at my encyclopedia: http://en.wikipedia.org/wiki/Norbert_Walter_Peters
Type of Label: None