Edwin Baumgartner
Registered as:

Baumgartner Edwin

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Willkommen! 2012 ~1m
2 Theatermusik - eine Allegorie 2012 ~3m
3 Laudes II - für Streichsextett 2012 ~13m
4 Fünf Monodien für Orchester 2012 - 2013 ~25m
5 Ie vis, ie meure 2011 ~18m
6 God's Creatures 2011 ~25m
7 Tempestuoso - Ein Seestück 2010 ~16m
8 Modest Mussorgsky - Bilder einer Ausstellung (Bearbeitung) 2009
9 Mechtildis Revelationes - für Sopran und kleines Orchester 2009 ~30m
10 Konzert für Violoncello und Orchester 2009 - 2010 ~10m
11 Sonnentanz 2009 ~17m
12 Laudes 2008 ~12m
13 Irgendwo in der Welt 2003 ~4m
14 Zeremonie der Liebe - für Violoncello solo und 12 Solostreicher 2003 ~15m
15 Lichtrunen 2002 ~5m
16 Traumzeit 2 2002 ~12m
17 Wind Tanz - für Streichsextett 2001 ~5m
18 Traumzeit 1 2001 ~16m
19 Neun alte Wiener Lieder (Bearbeitung) 1999 ~15m
20 Die Briefe der Günderode 1998 ~20m
21 Schattenlichtlieder 1998 ~15m
22 Christines Mixturen 1997 ~3m
23 Es war einmal, und wir waren jung - Duett für Sopran und Bariton 1997 ~7m
24 Divertimento - für vier Saxophone 1996
25 Es ist ein gutes Land - Ein österreichisches Lied für Sopran und Klavier 1996 ~5m
26 Theresianisches Jubiläum 1995 ~5m
27 Zauberwaldscherzo 1994 ~3m
28 Suite für Violoncello solo 1993 ~15m
29 Riddles and Songs - Fünf Lieder nach anonymen mittelenglischen Texten 1993 ~10m
30 Kniffelreigen - Eine parodistische Geburtstagsgabe für Christian Heindl 1992 ~10m
31 Septemberpapst - Szene für drei Sänger und vier Instrumentalisten 1990 ~ 8m
32 Nachtmeerfahrt 15m

General Information

Year of Birth:  1961
Date of Birth:  27. June 1961
Region of Birth: 
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

Theresianische Akademie Wien: school leaving degree

suggestions and instructions especially by Antonio Bibalo

composition studies largely self-taught

musicology

drama studies

Activities

PeriodActivityOrganisationLocation
1986 - 1991

author of introductory program texts

1992

culture editor

reviews and introductions

reviews and introductions

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Theresian Academy

First Austrian Women's Chamber Orchestra

Description of Style

Almost all the works are based on a quasi non-musical inspiration that is translated into musical equivalents. In "Nachtmeerfahrt", it is the differently perceived flashes of two lighthouses, in 'Riddles and Songs' the form of the cross, which is differently implemented in musical symbols. Compositional starting point of the works is a theme that is consequently transformed. The harmony is mostly derived by heterophonic practices from the thematic and melodic course. A "suspended" or "broken" heterophony is created by various transposition methods. The harmony is not key related in the conventional sense. However, it goes - just as the melody course - back to their respective sections at a selected total from the chromatic sound supply. This leads to (apparent) tonics and dominants, although less in accordance with the functional harmony as the tonal orientation centers of Gregorian chants.
In "Septemberpapst" and in "Riddles and Songs", this process is strictly handled in a way, where each sound refers to the underlying theme-related melodic material. In the first and the fifth song from "Riddles and Songs", the rhythm is liable to a strictly handled symbolism of numbers. "Nachtmeerfahrt" takes the starting point for this symbolism of numbers. Basis are long, layered, or even interlocking isorhythmic models. The sound supply is based on a Gregorian melody or their transformations. A similar procedure is also the basis of "Fantastische Landschaft". The "Kniffelreigen" is a consequence parodic variations on a consciously primitive theme and has nothing to do with the above-described of procedures.
In the "Suite für Violoncello solo", the methods are handled more freely and relate in the corner movements mainly to ostinato models (Ground and Passacaglia). While the movements utilize one, two, four and five of the polyphonic possibilities of the cello, the middle movement, "monody", focuses on a consistent single line.

 

Edwin Baumgartner, 1996