Eröd Iván
- Compositions
- General Information
- Education
- Activities
- Performances (Selection)
- Commissions (Selection)
- Awards
- Description of Style
- Press Reviews
- Teacher of (Person)
- Performer of (Composition)
- Dedicatee of (Composition)
- Contact, Links
Compositions
Education
| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
|
1957 - 1961
| |||||
|
1940
|
first piano lessons with Eröd's mother | ||||
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1941 - 1944
|
piano (György Kálmán) | ||||
|
1944 - 1946
|
piano (Magda Káldi, after the deportation of György Kálmán by the Nazi regime) | ||||
|
1946 - 1951
|
private lessons piano (Pál Kadosa) | ||||
|
1951
| |||||
|
1951
|
composition | ||||
|
1957 - 1960
|
| ||||
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1957 - 1960
|
composition | ||||
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1957 - 1961
|
composition | ||||
|
1961
|
graduation examination with distinction, composition | ||||
|
1961
|
graduation examination with distinction | ||||
|
1962
| |||||
|
twelve-tone seminar |
Activities
| Period | Activity | Organisation | Location |
|---|---|---|---|
|
1962 - 1964
|
solo accompanist | ||
|
1967
|
teacher | ||
|
1971
|
assistant professor | ||
|
1975
|
senior professor for composition and music theory | ||
|
1988
|
musical documentation Iván Eröd (concert and exhibition) in the music collection | ||
|
1989
|
senior professor for harmony and counterpoint (music theory) | ||
|
1995 - 2002
|
Head of Department 1 | ||
|
2000 - 2001
|
composer in residence | ||
|
2004
|
professor emeritus | ||
|
director of studies | |||
|
concert tours as a pianist in Europe and the Middle East | |||
|
Hungary, Germany, Great Britain, Italy, USA, Brazil: lectures and seminars |
Performances (Selection)
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
|
1956
|
first public performances (a song for voice and piano) | |||
|
1958
| ||||
|
1958
| ||||
|
1958
|
world premiere | |||
|
1968
|
world premiere | |||
|
1977
|
world premiere | |||
|
1978
|
world premiere | |||
|
1981
|
world premiere | |||
|
1986
|
world premiere | |||
|
1988
| ||||
|
1995
|
world premiere, commissioned by the Austrian Broadcasting Corporation | |||
|
1998
|
world premiere, performed by the Scharoun-Ensemble | |||
|
1999
|
world premiere at the New Year's concert with Sir Roger Norington | |||
|
2001
|
world premiere with Leopold Hager | |||
|
2002
|
performance with Sir Roger Norington in a concert of the proms at the Royal Albert Hall London | |||
|
2006
|
Personale in Graz | |||
|
2008
| ||||
|
Almeida Festival | ||||
|
Huddersfield Festival | ||||
|
Minnesota Summer Festival | ||||
|
Radenci Festival Slovenia |
Commissions (Selection)
| Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
|---|---|---|---|---|
|
Minnesota Orchestral Association | ||||
|
Styrian Music Association | ||||
|
City of Münster | ||||
|
1986
| ||||
|
1989
|
commission for the occasion of the 175th anniversary of the foundation | |||
|
1995
|
Awards
| Period | Award | Composition | Awarding Organisation |
|---|---|---|---|
|
1961
|
first prize at the Bösendorfer piano contest | ||
|
1962
|
Busoni competitions, Bolzano: second prize | ||
|
1964
|
Zentralsparkasse der Gemeinde Wien: promotional award for composition | ||
|
1970
|
Austrian state award | ||
|
1974
|
promotional award for composition | ||
|
1978
|
recognition award | ||
|
1980
|
recognition award | ||
|
1981
|
Joseph Marx music award | ||
|
1986
|
music award | ||
|
1993
|
Bartók Pásztory Award, Hungary | ||
|
2001
|
Decoration of Honour in Gold for Services to the Province of Vienna | ||
|
2001
|
Grand Decoration of Honour in Silver for Services to the Republic of Austria |
Description of Style
First and foremost I am a musician. The source of my creativity is music itself, not any political, ideological or aesthetic intentions. My message is not the translation of something else into music, it is musical in itself. Another characteristic of my compositions is the lack of ambition to renew the musical language. To express my intentions, I use already existing words already. Therefore, I expect an immediate effect of my works on the audience, however, I am reluctant to explain this effect.
The quality of this trade is more important to me than an original style. My personality is, of course, characterised by origin, education and preferences. Hungarian tradition, the influence of the (Viennese) classical period, even - to some extent - the second Viennese school and maybe even my Jewish roots, can be perceived in my works. I think I gave my best in some of my vocal and chamber music pieces.
Iván Eröd, 1994
Press Reviews
Eröd's musical language is sophisticated and still easily accessible for a broad audience. [...] What is far more important to him [more than honours, such as the Grand Decoration of Honour in Silver of the Republic of Austria], is the fact that his works have become a regular element of the concert repertoire, thus underlining his theory that contemporary music can be of public appeal and be "popular" without losing quality.
ORF, Ö1 Morgenjournal (Susanna Dal Monte)
Iván Eröd's string quartet no. 3 (op. 78) - commissioned by the Society of Friends of Music - has been met with enthusiasm by the audience. A journey to India as inspirational source: catchy melodies and terse rhythms characterise Eröd's musical language.
Kronen-Zeitung (Florian Krenstetter)
This season, Iván Eröd has done a main part of the work of the Vienna Concert-Verein as composer in residence: a highlight being the world premiere of the 2nd symphony under Leopold Hager. A competent, expressive performance! In contrast to the frequent build-up of similar works, this symphony is not about illuminating the atmosphere, but about obfuscation. The "idyll" at the beginning is a harmonic starting point. However, idyllic does not necessarily mean poor in excitement. The momentum soon becomes wilder. Excited twitching and scurrying, a being driven are perceived in the second movement "Unruhe", the order seems disturbed. Acute, glistening thrusts are interspersed, turbulence before the storm! Finally - "Klage und Aufschrei" - the maelstrom of energy becomes increasingly powerful and Eröd manages an exciting finish. A fetching composition, which will find its way onto the concert stages.
Kronen-Zeitung, OL
Sonata for violin no. 2 op. 74
Eröd already decided to depose of atonality in his first sonata, some 30 years ago. However, this time, he accomplished a real crossover, as archaic sounds and classical sixths and third double stops followed Csárdás rhythms, as well as acuminated intervals of Eröd's native country. Towards the end, the music culminates in stirring, jazzy sound. Violinsonate no. 2 op. 74
Der Standard (Beate Hennenberg)
Teacher of (Person)
Performer of (Composition)
Dedicatee of (Composition)
Contact, Links
ivan-eroed [dot] at
