Courtesy of M. Kranebitter ©

Kranebitter Matthias

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Vestris 4.0 2017 21m
2 accummulation 1 (unnecessary needs) 2016 9m 40s
3 Echotecture Prolog 2016 9m
4 Pancrace Royer: Le Vertigo 2016 6m
5 Wassermusik Suite No.2 2016
6 Stack overflow: exploiting 24 preludes 2016 - 2017 13m
7 die Auflösung traditioneller Stubenmusik in die Geometrie des Alpenhauptkammes 2016 8m
8 pitch study no.1 / contra violin 2016 9m 30s
9 Konzert für die Unsichtbare Hand (nach Adam Smith) 2015
10 nihilisitc study 13 to 14 2015 8m
11 Dead Girl (Requiem E) 2015 15m
12 96bit music for accordion 2014 8m 30s
13 minced and bulbous, also: fast (thanks to Don Van Vliet) 2014 5m 30s
14 state of surfeit 2014 15m
15 survival of the fittest - balzgesänge im spätkapitalismus 2014 30m
16 Noisy Pearl/s 2014
17 nihilistic studies 4 – 6 (piano as neurosis) 2013 6m 30s
18 32bit recorder songs 2013 6m 30s
19 a söchtener reuter möcht i wern 2013 9m
20 nihilistic study no.7 2013 12m
21 grafting II 2013
22 appassionata mit reprise 2012 9m
23 dunkel ist das Leben ist der Tod 2012 8m
24 fröhliche Relativitäten 2012 14m
25 blödmaschinen (karaoke version) 2012 6m
26 Denudationen 1 – 118 2012 13m
27 fröhliche Verunstaltungen (Musik als Neurose) 2012 14m
28 Stop and change 2011 10m
29 Ringelreigen 116,9g CO2 2011 6m
30 Der Apfel aus Basra - chamber-opera 2011 ~ 60m
31 Trinklied vom Jammer der Erde II 2011 8m
32 blödmaschinen 2011
33 gegen die wand 2011
34 stopandchange 2011 10m
35 Konzert für Cembalo und Ensemble in Es Dur 2010 13m
36 Ringelreigen 138,9g CO2 2010 6m
37 Candlelight Music mit Rondo 2010 9m
38 Anfall, Unfall, Abfall 2010 9m
39 2. Streichquartett 2010 7m
40 sustained surprise - haydnsymphony94.remixed 2009 20m
41 beefstudies 2009 7m
42 Kraut und Rüben 2009 6m
43 Konzert für Altsaxophon und Midiorchester 2009 11m
44 Symphonie 3000 in C Dur 2009 40s
45 "Tschuschen: Power" - music for the television series 2009
46 puzzle 2008 5m
47 build'n'blast 2008 7m
48 schaltung 2008 9m
49 spreu und scherben 2008 10m
50 Tezcatlipocas 2008 6m
51 stolpern und hasten 2008 9m
52 "Das große Glück sozusagen" - music for the film 2008
53 zoom in 2007 4m 30s
54 zoom in 2007 4m 30s
55 7enden 2007 30m
56 unlooped 2007 6m
57 allejahre/widerklingend 2007 4m
58 Kreise 2006 15m 30s
59 "Harz" - music for the film 2006
60 Safiatan 2006 11m
61 Galanti X360.remixed 2006 8m
62 nagapini Rekonstruiert 2006 4m
63 Regenmacher 2006
64 Breathing 2005 11m
65 ... unddasbing 2005 6m
66 Schatten 2005 8m 30s
67 derelicted athmospheres 2005
68 Matzleinsdorf 05 2005 6m
69 "washing day" - music for the film 2005
70 "Der Vortrag" - music for the film 2005
71 "spiegelbilder" - music for the film 2005
72 "Fremde Freunde" - music for the film 2005
73 ragzigzag 2004 5m
74 160bpm 2004
75 Szenen 2004 13m 30s
76 2 Stücke 2004 7m
77 "lost in function" - music for the film 2004
78 "Teilsames" - music for the film 2004
79 "Völlerei" - music for the film 2004
80 Insight soundscape 2004
81 Falten 2003
82 Suite für Klarinette und Violoncello 2002 14m
83 Heimatklänge PK02 2002 8m
84 Holz-Luft-Wasser 2002 9m
85 2 Klavierstücke 2001 7m
86 pitch study no.1 / contra violin 9m 30s
87 Top 10 (Form als Neurose) 10m
88 Versuche gegen die Ohnmacht (v. 3/1) 6m
89 nihilistic study 13 bis 14 7m 30s
90 Dead Girl (Requiem E) 15m
91 Die Auflösung traditioneller Stubenmusik in die Geometrie des Alpenhauptkammes 1.Versuch: Almenmeditation 7m 40s

General Information

Year of Birth:  1980
Date of Birth:  28. January 1980
Place of Birth:  Vienna
Region of Birth: 
Country of Birth: 
Nationality: 

 

Matthias Kranebitter was born on the 28th of January 1980 in Vienna. He initially studied mathematics at the University of Vienna, before he started his composition studies at the University of Music and Dramatic Arts in the year 2000. After graduating in electro-acoustic composition with Dieter Kaufmann and German Toro Perez, in media composition with Klaus Peter Sattler and in piano with Christiane Karajeva, he studied postgraduate Contemporary Music through Non-Western Techniques with Rafale Reina and composition with Fabio Nieder at the Conservatorium van Amsterdam, as well as composition with Alexander Stankovski at the University of Music and Dramatic Arts in Graz.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1988 - 2001

Music School Margareten (Lo Stoiber)

1998 - 2002

math studies

2000 - 2002

composition

2001 - 2006
2002 - 2007

media composition

2004 - 2008

electroacoustic composition

2004 - 2008

electroacoustic composition

2008 - 2009

postgraduate composition studies (Rafale Reina, Fabio Nieder)

composition

Activities

PeriodActivityOrganisationLocation
2001 - 2004

corrector of sheet music

2008

ever since organizational director of composition courses at the International Summer Academy (ISA)

Awards

PeriodAwardCompositionAwarding Organisation
2003

winner of the Antonin-Dvorak-Remix-Contest

2005

sponsorship

2006

First Prize in the Gustav-Mahler-composition-contest

2006

winner of the competition for modern choral literature

2007

Fourth Prize at the Munich Symphony Composition Competition

2007

scholarship

2008

work scholarship

2009

First Prize of the Project Young Composers (PJC)

2009

Second Prize at the Zurich Jazz Orchestra Composition Competition

2009

start scholarship

2011

nominated composer with a commission for the ensemble Klangforum in 2013

2013

Publicity Award

Description of Style

I believe that there is more truth in the accumulation of rubbish than in the accumulation of truth. (Christoph Schlingensief)

 

The sound fetish of contemporary music has had its day, and that is why I am no longer interested in the search and expansion of sonic material. On the one hand, I am rather interested in new forms of musical expression, not in an expressionistic or even pseudo-romantic notion, but in the sense of a hyperactive, schizophrenic flitting media society and trash culture, with its attention-disrupting flood of information. On the other hand, I am fascinated by both musical cliches and tonality, in the sense of everyday noise, as well as so-called "anti-music", the dilettante or the failure itself, which I perceive as a crucial aesthetic category of the recent past, whether through the reality documentary boom or self-expression experiments via YouTube clips. But not in the sense of the sublime feeling of a voyeur, rather in the sense of the beauty of authenticity. In a conscious attempt to integrate these elements in my compositions, the underlying idea is no longer the destruction of tradition, which already took place in the modern era, and not the same procedure, which has already become a new tradition in modern music, but a disturbance or destruction, which only deals with itself, thus being perceptible and comprehensible for outsiders.
This is precisely what I see as the role of the composer, since an elite discourse (eg about the "inner nature" of sound) only lets the composer interact as an artist with society to a very limited extent. This kind of interaction is essential for art.

 

Matthias Kranebitter, 2011

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Contact, Links

Language:  Bosnian/Croatian/Serbian, German, English
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