20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Mack Dieter
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
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Kebyar for flute and piano
Kebyar for flute and piano
Dieter Mack: Kebyar for flute and piano was written in 1980. The piece is dedicated to the German flutist Carin Levine, a pioneer of contemporary flute music who worked closely with Mack to develop the work's specific technical language. Kebyar serves as one of Mack's first major forays into integrating Balinese musical structures with Western instruments.
In 1980, Dieter Mack completed his studies at the Freiburg Musikhochschule and began lecturing in music theory and Balinese music. This was the year he joined the ExVoCo Ensemble and was preparing for his first extensive research residency in Bali (which took place in 1981–82). The piece reflects Mack’s early fascination with the Gamelan Gong Kebyar style, characterized by sudden "explosions" of sound and intricate rhythmic interlocking.
In Balinese music, the term
Kebyar literally translates to "to flare up," "to burst open," or "to flower." It describes the explosive, sudden, and flashy style of Gamelan Gong Kebyar, which emerged in the early 20th century. In Dieter Mack’s compositions, this title serves as a structural blueprint rather than just a name.
In 2012, Mack returned to the piece, creating an additional or "new" (in Indonesian, "Baru" means "new") version: Kebyar Baru. While both pieces
share a name and thematic DNA, they represent different stages of Mack’s "intercultural" philosophy. If the 1980 version is a blueprint of a Gamelan, the 2012 version is a memory of one—it's more atmospheric and less focused on the purely mechanical aspect of the "bursting" effect.
Elizabeth Farrell (flute), Ninon Gloger (piano), live performance on May 29, 2021 at the University of Music Lübeck
Kebyar Baru 2012
Mack Dieter
Dieter Mack (1954) is a German composer, ethnomusicologist, and educator widely recognized for his "transcultural" approach, which deeply integrates the structural and aesthetic principles of Southeast Asian music, particularly Balinese Gamelan, into Western contemporary idioms.
Born in Speyer, Germany, he was raised in a culturally rich European environment. He studied composition under Klaus Huber and Brian Ferneyhough at the Hochschule für Musik Freiburg. These mentors instilled in him a rigorous approach to musical complexity and structural integrity.
In the late 1970s, Mack’s exposure to the ExVoCo Ensemble and the theories of intercultural music led him to his first intensive study of Indonesian music. This culminated in his first research residency in Bali (1981–1982), an experience that fundamentally altered his compositional trajectory.
Mack is considered one of the foremost Western experts on Gamelan. He has spent years living in Indonesia, serving as a guest professor at the Indonesian Institute of the Arts (ISI) in Denpasar and Bandung, and acting as a consultant for the Indonesian Ministry of Education.
Since 2003, he has served as a Professor of Composition at the Lübeck Academy of Music (Musikhochschule Lübeck).
Mack’s legacy is defined by his rejection of "cultural colonialism." He treats Balinese music not as a "resource" for Western music, but as an equal philosophical partner.