Analyses Of Matthias Pintscher’s<Five Pieces For Orchestra>

There was a huge influx and generation of new techniques during the20th Century, especially after1945, where composers underwent a series of exploration and experimental attempts of new conceptual ideas and composition forms. Technical means in relation to these concepts and forms started to develop simultaneously.After the peak period of this experimental phase, composers gradually lost interest in composing primarily through inventing and creating new techniques, tones and concepts, realizing that these various means of composition ways started to detach from the original essence of music. Therefore, a trend of ’returning’ back to the original essence of music developed. A group of European and American composers had a common consensus, thus, during the end of20th Century1990s, this phenomenon was even more obvious. As a greater mass of people started to take notice and respond to this trend, a topic of how to use technical means in repertoires to execute the ’returning’ music trend became a common discussion topic between composers. Through a period of time, with a huge amount of compositions to explore and develop their execution methods, a significant technical approach started to gain identity among composers. Such as, there are no new rules towards the method of composition; there is no discrimination between any’new’and’old’ way with regards to technical approach methods and the use of various means of creativity and imaginations to express oneself. This also means integrating20th Century composition techniques with personalized music language as a representative composition trait at this stage today.The author analyzes the compositional style of composer, Matthias Pinstcher (1971-) through hissymphonic repertoire’FunfOchesterstiicke’. He is active, forward and is a representative figure in today’s European music stage. Through an analysis of the technical means of this composition, the author aims to discuss the characteristics and methods used by the composer, combining his personal ideas on composition and his aesthetic concepts of Matthias Pinstcher’s music language and style.