Christoph Herndler
Instrument: organ
Category:

© Mary Fernety

Herndler Christoph

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 hm/mh 2012 18m 8s
2 das bügeleisen ausglühen lassen? 2012
3 apallisches syndrom - version for vocals and bass clarinet(s) 2011
4 Variations Seriéuses Variation 2009
5 VOM FESTEN, DAS WEICHE 2007
6 SCHOLSS ZEILLERN - for one or more Accordeons 2006
7 VOM STEIN, DAS FIRMAMENT - for loudspeaker and video 2006
8 Übergangsraum 50min 2005
9 abschreiben 2005
10 umschreibung, 09.04.05 2005
11 5! - für Bläserquintett 2004
12 dial geh auf, offm bist 2004
13 4! - für 16 Streichersolisten 2004
14 23.24.25 - for string trio 2004
15 KREMSMÜNSTER 2004
16 Dahinter der Grund 2003
17 IM SCHNITT, DER PUNKT 2003
18 STREIFEND, DER BLICK 2003
19 Das Martyrium des hl. Laurentius 2002
20 Das Tiefe im Turm 2001
21 toytoytoy 2001
22 SUPERMIXEN - for string instrument(s) 2001
23 PIANOMIXEN - for piano(s) 2001
24 KOPFAUG 2001
25 Vom Falten und Entfalten 2000
26 West/Südwest 2000 ~ 17m
27 maraTon 2000
28 SÜD / SÜDWEST - Notation object for 5-10 wind instruments 2000
29 Die Kalkanten 1999
30 Trio 99 1999
31 WIEGEH'NLIED 1999
32 ÜBERSTREICHT IN GLEICHEN ZEITEN GLEICHE FLÄCHEN 1998
33 Das Zittern, die Espen 1997
34 Hisbiskus und Fasan 1997
35 Faltung 1997
36 Das Ganze, dazwischen 1997
37 ALL OF THIS I'LL SOON FORGET 1997
38 Drift 1997
39 HIBISKUS UND FASAN 1997
40 First 1995 20m
41 39 Steps - Notationsobjekt 1994
42 39 Steps 1994
43 39 Steps 1994
44 Imprints 1994
45 AbSpulen - AufSpulen 1994
46 Requiem 1994 45m
47 Stratus 1993 10m
48 Windende Schläuche 1993
49 Lose Vögel 1993
50 Rooster Rules 1993
51 Mocking A Mockingbird 1993
52 Fake A Fink 1993
53 Solutions - Notationsobjekt 1993
54 See - Saw 1993 10m
55 Fold Unfold Felt 1993 20m
56 Der Gesang Der Austern 1993 45m
57 Der Hahn 1992 10m
58 Augurentaubes 1992
59 Alep 1992
60 I Couldn't Stand The Smell Of Roses 1992 45m
61 Das Buch Der 100 Artzeneien - Eine Klangapotheke * 1989 ... 1992
62 Wenn Schönbildschauer Spiegelwände Wenden 1992
63 My Insect Funeral 1992 10m
64 Anleitung Zum Kerzenanzünden 1992 20m
65 Säge Tränt Späne 1991 15m
66 O Beautiful Was The Werewolf 1991 8m
67 Playing The Fool 1991
68 Taubesauguren - (für eine Königin in Gesellschaft einer anderen) 1991
69 The Scarlatti Tilt 1991 15m
70 Still Mixed Up 1990 20m
71 It's Not Bach 1989 15m
72 Play Schach 1989 8m
73 Gebrochene Flügel 1989
74 Der Gebrochenen Flügel Anderer Teil 1989
75 Autumn Leaves 1988 15m
76 Fliegende Blätter 1988 15m
77 Kikarikicarusogot 1988 15m
78 Spüren Ahnen Langeweile 1987 15m
79 Tonsprung 1987 15m
80 Schweigt Stille 1987 15m
81 Three Quarks For Muster Mark 1987 15m
82 Akt Eine Treppe Herabsteigend 1986 10m
83 Silbern Haucht Sonnenlicht Neuen Wind Unters Kleid 1985 10m
84 Musik Für Orgel Solo 1984 15m
85 Der Der Hed Der Hed So Der Und Hed So Der Und Hed So War, ... 1984 10m
86 ALTE FRAU WILL AH
87 DIE QUADRATUR DER SAITEN

General Information

Year of Birth:  1964
Date of Birth:  5. January 1964
Place of Birth:  Gaspoltshofen
Region of Birth: 
Country of Birth: 
Nationality: 

 

Christoph Herndler is considered one of the most prominent graphic designers in domestic contemporary music. Born in 1964 in Upper Austria, for the presentation of his musical ideas he primarily uses a notation method that is not typical and was used in earlier decades in this country by exponents such as Anestis Logothetis and Roman Haubenstock- Ramati.
His work includes graphic and intermedia scores , which can also be realized in extra-musical representations, as well as notation objects, music installations, video works and public art.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

composition

electro acoustic

1989

diploma

1989 - 1990

CCRMA - Center for Computer Research in Music and Acoustics: study visit

1992

Department of Visual Art: study visit

1993 - 1994

Art Department des CGS Claremont: study visit

Activities

PeriodActivityOrganisationLocation
1992

until then active ensemble member

1996

participant of the school project

1997

founder and contact-person

Art Department des CGS Claremont: music performance and performance lectures

as an organist mostly mprovisation and interpretation of contemporary organ music; literature on organ, together with Roman Haubenstock-Ramati development of an interpretation of Haubenstock's graphically noted composition "Shapes I" for organ

coach for computer-aided typography of music (Score TM)

Awards

PeriodAwardCompositionAwarding Organisation
1985

talent promotional award

2003

Upper Austrian Cultural Award for Music

2005

sponsorship by the SKE

2007

Anton-Bruckner-scholarship

2008

Publicity-Award

work scholarships and foreign exchange scholarships

promotional award

scholarship

Description of Style

The composition "Der Gebrochenen Flügel Anderer Teil" marks the beginning of a series of intermedia scores. Often intermedia scores are based on a specific idea, but become the starting point of various interpretations - even non-musical ones, such as video, language or dance - due to their entirely abstract form. The video "Stratus" is the first non-musical interpretation of my composition "Der Gebrochenen Flügel Anderer Teil". The videos "Stratus" and "See-Saw", the performance "Anleitung Zum Kerzenanzünden", the computer music "I Couldn't Stand The Smell Of Roses" and the performances by the ensembles Klangforum Vienna and Vienna 2001 indicate the different forms of these open compositions. My intermedia scores are a solid, compositional form, which is able to absorb the characteristic gestures of a certain time, a period, a medium just like a sponge, releasing them in another situation and thus, becoming as empty and absorbent as a sponge that has been squeezed. To me, notations are never just the means to an end; their visual aspect is always an essential part of the musical idea. Each musical idea demands a specific symbol: a symbol on paper, or even on felt ("Fold Unfold Felt") or glass ("39 steps"). Ultimately, the material becomes a symbol itself. A symbol's visual logic is able to push the musical idea further and therefore expand the musical imagination beyond my individual taste. Music as the audible result of a concept and not the image of a sound-like fantasy. Fantasy as the compositional driving force helps me where it is unable to capture how things sound, but the way how things do not sound.

 

Christoph Herndler, 1996

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