Occupational Career:

born on 28. 9. 1962 in Vienna
studied composition at the
  • Universität für Musik in Vienna with
    Erich Urbanner and Francis Burt
  • Guildhall School of Music and Drama in London with Robert Saxton
  • Musikhochschule Frankfurt with Hans Zender
Since 1992 professor in harmony and counterpoint at the Universität für Musik in Vienna, lectures at the Coservatory in Pariser Konservatorium and at the Universities in Amsterdam and Greensboro/USA.

Awards and Distinctions:

  • Appreciation-Price of Lower Austria 2008
  • winner of the international Anton Bruckner Price Linz 1997
  • Publicity Price from Austro Mechana 1995
  • 1993 Composer in residence at the Academy of
    St. Martin in the Fields, London, am.
Works written for/commissioned by:

  • Wiener Musikverein
  • Wiener Konzerthausgesellschaft
  • Academy of St. Martin in the Fields
  • Europäischer Musikmonat Basel
  • Carinthischer Sommer
  • Neue Oper Wien
  • Donaufestival
  • Neue Oper Austria
  • Radio Symphony Orchestra Vienna
  • Vienna Jeunesse Orchestra
  • Vienna Chamber Orchestra
  • Ensemble Kontrapunkte
  • St.Stephan/Vienna and St.Augustin/Vienna
  • Haydn-Trio Vienna
  • Vienna String Sextet
  • Vienna Saxophone Quartet
  • Ernst Kovacic
  • Milan Turkovic
  • Christian Altenburger
  • Elena Denisova (elena-denisova.com)
  • Patricia Kopatchinskaja
  • Spirit of Europe
  • Wiener Sängerknaben u.a.
3 operas, 1 ballet, 2 oratorios, several orchestral works, chamber music, works for choir and songs

Compositions:

  • performances and broadcastings in many European countries, in India, Japan, USA and South America
  • several CD productions (ORF, Gramola, Extraplatte, Vienna Modern Masters, KKM Records et al.)
Publishers:

Doblinger, Helbling, apoll edition, edition contemp art, NÖ Musikedition

Description of style:

I am aiming at harmonising high emotional and formal density. My works are often grounded in strict formal, tonal, metrical, even mathematical concepts; other pieces or movements are composed very freely.
Adaptations of formal patterns like canon and variation are of importance from time to time, as well as taking into account the specific tonal and technical possibilities of the instruments, which lend some works - especially solo works - a highly virtuoso character.
Wolfram Wagner, 1996