Photographer: D. Klemencic ©

Clemencic René

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Gilgamesch - Ein szenisches Oratorium und Schattenspiel 2015 90m
2 Harun und Dschafar - for 8 singers, chorus and ensemble 2011 ~ 50m
3 Nachts unter der Steinernen Brücke 2008
4 Monduntergang - operella 2006 ~ 15m
5 Das Haus 2004 ~ 17m
6 Stabat Mater 2001 ~ 35m
7 Feuertrunken - Konzert für Streichorchester 2000 ~ 22m
8 Reise nach Niniveh - Oratorium für Vokalensemble 1999 ~ 15m
9 Jeruschalajim - Klaviertrio 1997
10 Apokalypsis - Oratorium in griechischer Sprache 1996 3h 40m
11 Klaviertrio 1995 15m
12 Der Berg - Kammeroper 1994 ~ 1h 30m
13 AES-Fanfare 1992 5m - 7m
14 Kabbala - Oratorium 1992 ~ 1h 3m
15 Kabbalistische Übungen 1992 12m
16 Bourdon 1991 10m - 12m
17 Parzen - für Blockflöte und Schlagzeug 1991 20m - 30m
18 Flauto Magico V - für Blockflöten und Tonband 1991 ~ 30m
19 Opus - für Flöte und Streicher 1991 ~ 25m
20 Flauto Magico IV - für Blockflöte, Streichquintett und Schlagzeug 1990 ~ 15m
21 Passatempo - für Blechbläserquintett 1989 ~ 25m
22 Musica Instrumentalis 1989 ~ 35m
23 Musica Hermetica - für 2 Geigen und Tonband 1989 ~ 22m
24 Revolution - für 7 Rührtrommeln und großes Orchester 1989 ~ 27m
25 Estasi - für 6 Schlagzeuger 1988 ~ 35m
26 Strukturen - für Saxophonquartett 1988 ~ 25m
27 Drachenkampf 1987 ~ 1m 5s
28 Unus Mundus 1986 ~ 27m
29 L'uomo e l'agricultura / L'homme et l'agriculture - music for the film 1986 ~ 1h 30m
30 Requiem pro vivis et mortuis 1986
31 Flauto Magico III - für Blockflöte und Streicher 1984 ~ 20m
32 Musik zum "Prinz von Homburg" 1983 ~ 30m
33 Musik zum "Urfaust-Film" - television film 1982 ~ 6m
34 Sicut Navis - für Violoncello und Klavier 1981 ~ 15m
35 Missa Mundi - Ossiacher Marienmesse 1981 ~ 30m
36 Musik zu "Tolldreiste Szenen" 1981
37 Stufen 1981 ~ 5m
38 Musik zum "Urfaust" 1980 ~ 25m
39 Musik zu "Verwunschen" von André Heller 1980 ~ 20m
40 Realitäten 1979
41 Flauto Magico I - für Blockflöte 1978 ~ 9m
42 Musik zum Film "Molière" 1978 51m 1s
43 Chronos III 1976 ~ 10m
44 Sesostris II 1976
45 Chronos II - für 4 Blockflöten 1975
46 Maraviglia V - Raum-Spiel für 1 Stimme und 4 Instrumentalisten 1973 20m - 30m
47 Nova Bicinia Nova - für 2 C-Blockflöten 1971 ~ 6m
48 Experience one - für Blockflöte, Cembalo und Tonband 1971
49 Chronos I - Duo für Blockflöte, Geige und Tonband 1971 8m - 12m
50 Sesostris I - Monodrama 1970 15m - 20m
51 Bicina Nova - für 2 C-Blockflöten oder Piccoloflöten 1969 ~ 6m
52 Maraviglia IV - Lucerna eius (für beliebige Schallquellen) 1969
53 Maraviglia I 1968 6m - 12m
54 Maraviglia II 1968
55 Maraviglia III - Iter exstaticum 1968 12m - 20m
56 Fantasia dodekafonica 1964 5m 15s
57 Alte italienische Tänze - für Blockflöte (Diskant, Sopran, Alt oder Tenor) mit Klavier
58 Country Dances - für Blockflöte
59 Erstes Musizieren auf der Sopranblockflöte
60 Grundschule für die Sopranblockflöte

General Information

Year of Birth:  1928
Date of Birth:  27. February 1928
Place of Birth:  Vienna
Country of Birth: 
Nationality: 

 

René Clemencic is a composer, conductor, solo performer (clavichord, recorder), director and founder of ensembles for early music and music of the avant-garde, musicologist and author, director of international music seminars (e.g. lectures at the summer school Darmstadt and seminars at the Accademia Chigiana Siena etc.), trained philosopher, as well as a collector of incunabula and sculptures.
He is regarded as a pioneer of authentic sound development. Together with his ensemble Clemencic Consort, he has performed at concerts worldwide and has produced numerous recordings - especially of Renaissance and Baroque music. The contemporary music he performs is his own; as a performer and conductor, René Clemencic resolutely sticks to early music. He is one of the most sought-after specialists in this field.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1945

from this point on start of his musical training

1947 - 1956

Vienna University (Vienna), Sorbonne (Paris) and Collège de France (Paris): philosophy, musicology, ethnology, mathematics

1956

graduation: thesis "Sein und Bewußtsein bei Louis Lavelle"

studies with Joannes Collette

studies with Linde Höffer von Winterfeld

studies with Eta Harich Schneider

Collegium Musicum

study of musical forms

J.M. Hauer's dodecaphony (Johannes Schwieger)

music-theory

Hindemith's Theory of Tonal Relations

Activities

PeriodActivityOrganisationLocation
1957 - 1968

Capella Musica Antiqua: founder and director of the ensemble for early music, focusing on the sound-authentic adoption of the music from the occidental past

1962 - 1970

teacher of the "Recorder as a concert instrument" as well as subsidiary subjects of music philosophy, ornamentation and musical notation of the Middle-Ages and the Renaissance

1966

frequent concert series for early music

1966 - 1971

Accademia Internazionale de Musica da Camera, Rom, Gstaad, Bariloche: teaching assigment for recorder

Deller Academy, Abbaye de Sénanque/F: teacher of recorder

changing of the Capella Musica Antiqua to the still existing and renowned "Clemencic Consort"

concert-tours on all continents

 well over 100 LPs and CDs with him as a soloist and as conductor of the Clemencic Consort or other ensembles and orchestras

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Serapionstheater Vienna

Awards

PeriodAwardCompositionAwarding Organisation
1981

City of Amsterdam: Edison Award

1989

Medal of Honour in Gold

1996

granting of the professional title "professor"

1997

award

2008

award "Pro Cultura Hungariae"

2008

Zoltán-Kodály-Prize

Accademia Filarmonica Romana: Accademico dell'Accademia, honorary diploma

Biennale d'Arte Sacra di Venezia: prize "Anima Mundi"

Compagnia de la Calza Venezia: Medal of Honour

City of Kortrijk: golden spur of the city

City of Palermo: Medal of Honour

numerous promotional awards

numerous promotional awards

Description of Style

Clemencic's compositions are in principle about sound symbolism, not primarily about aesthetics. "In my works, I try to use sounds and sound complexes as acoustic symbols and ciphers for inner experiences. Sounds and sound gestures should function as what they are in their original magical way. For me, it is less about the creation of an opus, artefacts in the usual sense, but more about the unveiling of certain, hidden tonal semantics." The pieces for film and theatre are different, though: music for the film "Molière" (Ariane Mnouchkine), music for "Tolldreiste Szenen" (Serapionstheater Vienna), music for "Prinz von Homburg" (Oskar Werner) etc. In addition to sound symbolism, Clemencic also employs stylistic devices from the past for this "utility music".

 

René Clemencic 1994

Press Reviews

2002

When Rudolf Gamsjäger offered him the chance to conduct "Idomeneo" at the state opera, Clemencic declined light-heartedly. Not even "Così fan tutte" at the Strehler theatre could attract him. He simply does not do it like the others do. 

Zeitschrift der Gesellschaft der Musikfreunde in Wien 

 

1. December 1998

René Clemencic's guests enter a magic realm. The landlord surrounded himself with antique instruments and art from various cultures and eras. They testify that he is not only a musician and scholar, but also a collector. For him, all eras are "close to God", to use a phrase by Leopold Ranke. But there is one era which makes his heart beat faster: the Middle Ages. This is the epoch he, the authentic sound pioneer, and his Clemencic Consort committed themselves to. 

Der Standard (Peter Blaha)

Clemencic's compositional principle is that of positioning elements, which then enter into a reactive process due to their character. Compositions, such as Estasi for six percussionists [...] are not based on constructed dramaturgy, but on their auratic interaction of emblematic codes, which create their own context and meaning to be decoded. Thus, the part of the composer is redefined as one of the microscopic demiurge, an initiator of dynamic processes. Will art become an equivalent of the genesis? - "A spark of it ..." 

Almanach von 'wien modern' (Christian Baier)

 

1996

Clemencic's own acute ear for a vivid end ever-changing counterpoint of vocal styles and musical resonances [...] 

The Times

 

1994

[...] Geniale arditezza strutturale [...]

Gazzetino Veneto

 

1993

[...] Troubadour and mystic [...] 

Die Presse

Contact Person of (Organisation)

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