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Klaus Huber studied violin at the Zurich University of the Arts with Stefi Geyer and composition with Willy Burkhard. He continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 with the world premiere of his chamber cantata "Des Engels Anredung an die Seele", at that time an unorthodox composition that uses consonant intervals within a strictly serial context.
One of the leading figures of his generation in Europe, he has written extensively for chamber ensembles, choirs, soloists and the orchestra as well as the theater. Huber is a socially and politically conscious composer and his music often conveys a humanistic message.
Klaus Huber taught composition at the City of Basel Music Academy (1961–72) and at the Hochschule für Musik Freiburg (1973–90 ). He was also appointed director of the composition seminars at the Gaudeamus Foundation in Bilthoven, Netherlands, in 1966, 1968 and 1972. Additionally, he held international visiting professorships and composition classes in (among others) Paris, London, Geneva, Milan, Lyon, Montreal, Sarajevo and Tatui (Brazil). Several students of Klaus Huber such as Brian Ferneyhough, Younghi Pagh-Paan, Toshio Hosokawa, Wolfgang Rihm and Kaija Saariaho became internationally recognized composers.
Deutscher Musikautorenpreis, Lifetime Achievement Award (2013)
Stage works
Schwarzerde (1997-2001) Stage work in nine sequences. Text: Michael Schindhelm in cooperation with Klaus Huber, based on poems and prose texts by Ossip Mandelstam
Orchestra works
Quod est pax? - Vers la raison du coeur... (2006/07) for orchestra with five solo voices and one Arabic percussion. Text: Jacques Derrida, Octavio Paz, Mahmoud Darwisch, Klaus Huber
Lamentationes de fine vicesimi saeculi (1992/94) for orchestra in four groups with Sufi-singer (ad libitum)
Protuberanzen (simultaneous version) (1985/86) Three small pieces for orchestra
Erniedrigt – Geknechtet – Verlassen – Verachtet... (1975/78-1983) for soloist, choir and orchestra. Text: Ernesto Cardenal, Florian Knobloch, George Jackson, Carolina Maria de Jesús, Prophet Jesaja
Erniedrigt – Geknechtet – Verlassen – Verachtet... (1975/78-1983) for soloist, choir and orchestra. Text: Ernesto Cardenal, Florian Knobloch, George Jackson, Carolina Maria de Jesús, Prophet Jesaja
Ensemble works
Miserere hominibus... (2005/2006) Cantata for seven solo voices and seven instrumentalists. Text: Altes Testament (51. Psalm), Octavio Paz (Il Cántaro Roto), Mahmoud Darwish (Murale), Carl Améry (Global Exit), Jacques Derrida
Die Seele muss vom Reittier steigen... (2002) for violoncello solo, baritone solo, counter tenor (or alto) and 37 instrumentalists. Text: Mahmoud Darwish
Lamentationes Sacrae et Profanae ad Responsoria Iesualdi (1993/1996-97) for six singers and two instrumentalists. Text: Jeremiah, Klaus Huber, Ernesto Cardenal, Mahmud Doulatabadi
Intarsi (1993/94) Chamber concerto for piano and 17 instruments
Die umgepflügte Zeit (1990) Space music for viola d’amore, mezzo-soprano, high tenor, female speaker, 2 mixed ensembles, choir voices and instruments. Text: Ossip Mandelstam
L'ombre de notre âge (1998/1999) for chamber ensemble
La terre des hommes (1987–89) for mezzo-soprano, counter tenor/speaker and eighteen instruments. Text: Simone Weil, Ossip Mandelstam
Vocal music
Kleines Requiem for Heinrich Böll (1991) for choir a cappella und Bassbaritone (ad lib.). Text: Hildegard von Bingen (lat.)
Chamber music
Ecce homines (1997/98) string quintet
Agnus Dei cum recordatione (1990/91) Text: Gösta Neuwirth, Latin Mess
Des Dichters Pflug (1989) for violin, viola and violoncello (all three-tone)
...von Zeit zu Zeit... (1984/85) string quartet
Solo works
Intarsimile (2010) for violin solo
Winter seeds (1993) for accordion
...Plainte... (1990) for viola d'amore in three-tone-tuning
