Ulrich Leyendecker (*1946)
Concerto for Guitar and Orchestra (2005)
Maximilian Mangold, Guitar
Nordwestdeutsche Philharmonie, Romely Pfund
Evocazione (2006)
SWR Rundfunkorchester Kaiserslauter, Per Borin
Symphony no. 2 (1997)
Radio-Sinfonieorchester Stuttgart des SWR, Johannes Kalitzke
Ulrich Leyendecker numbers among the most important German composers of his generation. He was born in 1946 in Wuppertal, and took composition lessons already as a youngster. From 1965–70 he studied piano with Günter Ludwig and composition with Rudolf Petzold at the Cologne College of Music. Rudolf Petzold imparted a strict contrapuntal training, but allowed Leyendecker to develop unhindered aesthetically. Like many other composers of his generation, Leyendecker took part in the Darmstadt Vacation Courses for New Music and occupied himself intensively with serial compositional techniques, without however lastingly identifying himself with the latter. In 1971 Leyendecker was appointed theory teacher at the Hamburg College of Music, where he became Professor of music theory and composition in 1981. From 1994 to 2005 he held the same position at the Mannheim-Heidelberg College of Music, and has subsequently been active as a freelance composer. He has received numerous honors: scholarships from the “Villa Massimo” in Rome and the “Cité Internationale des Arts” in Paris, membership in the Free Academy of the Arts in Hamburg, and the “Eduard van der Heydt Prize” of his hometown of Wuppertal.
Leyendecker’s oeuvre encompasses symphonies and solo concertos, chamber music for string quartet, piano trio, clarinet trio, piano duo, as well as for various other formations, and many works for solo instruments.
Leyendecker’s music is distinguished by suspense-packed vitality and tone-sensitive colorfulness. It preserves a “vestige of tonality,” and develops wide-sweeping formal processes out of short basic cells. At the beginning of his compositions, Leyendecker often takes a step back behind the already fixed basic cell of a musical idea and lets its development become audible. His always polyphonic music takes place in metamorphoses of these basic cells. The transformational process is implemented in the form of a method that Leyendecker himself refers to as “superimposition,” which involves the overlapping of tonal fields as well as different tempos and meters.
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