Cinematographische Verfahrensweisen in den Orchesterwerken von Charles Koechlin

The French composer Charles Koechlin is one of the most interesting composer personalities of his time. Highly esteemed in professional circles and consulted as a teacher and advisor by Darius Milhaud and George Gershwin, among others, he nevertheless never held any official positions. He was an uncomfortable contemporary who, due to his desire for freedom and independence, never allowed himself to be taken in by any trends. Koechlin was deeply convinced that the style of a composition should always be chosen according to the individual's will to express himself, as the composer always had "something to say" with his music. This is why his music cannot be easily pigeonholed stylistically.
Nevertheless, there is at least one specific feature of his oeuvre: the extremely differentiated orchestral treatment. This work is dedicated to the orchestrator Koechlin, for whom timbre became a parameter in its own right, enabling him to transfer cinematographic techniques to the musical level. Against the background of Koechlin's four-volume orchestration theory, sketches for the orchestral works and his in-depth study of Henri Bergson's concept of space and time were also examined. Finally, a look into the composer's workshop reveals an outmoded contemporary who can nevertheless be regarded as one of the fathers of the avant-garde in his use of largely traditional means.

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