Sidney Corbett

In 1968, he moved with his family to California, where he played as an electric guitarist in various bands in Los Angeles at the age of fifteen and composed his first works from 1977.

[13][14] Corbett often uses holy scriptures as inspiration: he has for example used texts from the Old Testament, for example, Psalm 39 several times, e.g. Psalm 39 for mixed choir (2010), Canticum David for seven voices (2015) and Ein Fremdling, wie alle meine Väter ... for contrabbass clarinet (2010); instrumental variations on prophetic literature such as Three Lamentations [Of the Prophet Micah] for alto saxophone and organ (1998).

[15] Corbett has also been inspired by mystical works, including texts by Meister Eckhart for Des Engels Licht for soprano, accordion, harp and string trio (2005) and Vom inneren und äußeren Menschen.

Ein Narrenspiel in 13 Inseln for soprano, baritone, speaker/actor and bible shelf (2010) and Mechthild von Magdeburg on Unsér Súnde for five voices (2007).

The architectural floor plans and proportions of the 11th century cathedral in Mönchengladbach form reference points for the project Die Stimmen der Wände (The Voices of the Walls) for alto flute, saxophone, trombone, electric guitar, violin and violoncello (1993), created with the artist Brigitte Zarm.

[18] Corbett's instrumental music also bears witness to the composer's literary affinity, e.g. in his Third Symphony: ″Breathing the Water″ (2006), in which texts by Denise Levertov are juxtaposed with the poetry of Amal al-Jubouri.

[19] He is an active guitarist with considerable experience as an improvising musician in various contexts, for example with the avant-garde techno house band "Vierte Heimat", with the ensemble "Letzte Dernière" with two double basses, cello and electric guitar, in which, for example, works by Giacinto Scelsi or Rebecca Saunders were used as the basis for improvisation, and with the Lebanese musician Mazen Kerbaj.

[22] Corbett developed his own independent musical language, one primarily characterized by strictly linear and vocally oriented melodic writing.

[6] Gaudeamus Amsterdam (1988), Biennale Zagreb (1989), New Orchestra Project – New York (1989), Steirischer Herbst (1989),[35] Eclat Stuttgart (2002),[36] Performing Arts Chicago (1995), Duke Summer Arts Festival (1996), Tacheles Berlin 2004,[28] Tonhalle Düsseldorf 2006,[28] Klangwerkstatt Berlin (2006, 2018, 2021),[37] Klangwerktage Hamburg (2007, 2012),[38][39] Wien Modern (2009),[40] Bregenzer Festspiele (2020, 2021),[41][42] SinusTon-Festival für elektroakustische Musik (2014),[43] Nordic Piccolo Festival (2023),[44] Baltic Music Days Riga (2023)[45] et al.