Workflow and communicationCraft meets technologyThe direct and open exchange with the performers, conductors and clients is a key element of the composer‘s workflow. Through the stylistically confident use of today's technology, it is possible without any problems to create realistic midi layouts, which facilitate the efficient exchange of ideas during thecomposition phase up to the finished score, so that joint work, wishes, ideas and goals can be completed at an early stage. And disillusioning surprises about the score at the end of process can be avoided.
Film and theaterOver the edge of plateIn addition to composing for the stage, Sebastian Bartmann also writes and produces music for the media, film, and acting. 2017 he was Grand Prize Award Winner for Filmmusic, awarded by the Oticons Faculty Los Angeles.For the Alte Schauspielhaus Stuttgart he composed the stage music in 7 celebrated productions, including Effi Briest, Visit of the Old Lady and A Streetcar Named Desire. Sound installations and soundtracks for corporate films by Mercedes Benz, Playmobil, Heineken, Fraunhofer Institute and others expand his musical spectrum.--> more information on music for film
Referencessparkling kaleidoscopeAs a very inquisitive composer, Sebastian Bartmann is resistant to commit himself to one style, and thus unmistakable compositions are created for a wide variety of instrumentations, including the breathtaking work Telemania, a 50-minute, dazzling kaleidoscopic composition for chamber orchestra, soloists (Ensemble Spark) and percussion, which acclaimed premiere was at the Schwarzwald-Musik-Festival 2018. He wrote the "symphony of perfect taste" for the Brandenburg State Orchestra Frankfurt/Oder on commission of WMF - or for the Blenheim Singers (Oxford) the "LastLetters - p.s. voices before and beyond", based on the death sentences of British personalities of theHistory. In addition, numerous compositions for the duo imPuls, Flügelschlag-Quartett and other ensembles which were world premiered in New York, Miami, Bogotá, Athens, Oxford and Munich, among others.
Storytellingarc of tension"I never understood the separation of film music and music for the concert or even "serious music". Even a Brahms symphony is pure storytelling for me, which is always called an absolute and unprogrammatic work. That is of course a very subjective feeling. But this is exactly what fascinates me, to communicate something to the listener with music, to take them on a journey of discovery. How concrete or abstract the sounds and images are depends on the situation and is not even so decisive, but without this subliminal narrative level and the associated tensions it becomes extremely boring for me. That's why it appeals to me to compose both for the stage and for a subtle background of the visual world."
Favours and idolsFavourite instrument: OrchestraHis multifaceted palette of colours is wide-ranging and his tonal favours include Gustav Mahler's moving, heavy melodic line as well as the search for clarity and transparency in the orchestration, inspired by Ravel and Stravinsky.Dazzling minimalistic conciseness as in Steve Reich and an absolute reflection on sound and perception of time as in Cage, Pärt and Brian Eno.
„In my childhood I improvised a lot and I was fascinated by everything that surrounded me in sound. Even then I was captivated by late-romantic orchestral sounds and astonishingly harmonious phrases, which I absolutely wanted to play by ear on the piano and organ without even being able to name them in any way. . As a teenager I was also fascinated by electronic sounds and styles, which I reproduced with simple equipment, because I really wanted to know how they did it!The childlike joy of experimenting has remained, and today I foresee everything much more clearly like a large, colourful garden in which the most diverse plants can be found.Whether in the late romantic style for an animated film, a jazz suite about cocktailsor a techno for a chamber ensemble, I write as I like it, wherebyit's very gratifying when the audience is carried away."
with own handwritingauthentic and freshAs an imaginative storyteller, Sebastian Bartmann sees himself with his pulsating compositions not in a current trend like the neo-classic, but also not in the waters of new music.
16.10. imSWR2Mittagskonzert-TELEMANIAum 13.05 h wird auf SWR 2 der Live-Mitschnitt der Uraufführung von Telemania gesendet. Dabei handelt es sich um eine Auftragskomposition für die klassische Band SPARK (Echo Klassik) und das 20. Schwarzwald Musikfestival 2018, für Kammerorchester, Solisten und Percussion.minimalBACH CD - Veröffentlichung bei Challenge Records. Amsterdam.Februar 2019minimalBACH ist eine Komposition für 2 Klaviere (duo imPuls), basierend auf Bachs Präludien aus dem ersten Band des Wohltemperierten Klaviers, die in den aufregenden Hörkontext der „minimal music“ gestellt werden.22.10. im ZDF Morgenmagazin - on the dancefloor die klassische Band SPARK spielt die kammermusikalische Technokomposition,erschienen auf der gleichnamigen CD bei EDEL/Neue Meister 2018missa pura Wiederaufführung der Messe im Stuttgarter Dom am 25.11.missa pura ist eine Auftragskomposition der Diözese Paderborn anlässlich des Kinder- und Jugendchortages 2016