Photographer: Lukas Beck ©
Born 1968 in Vienna, studies (composition, pedagogy) at the music academy Vienna with F.BURT and M.JARRELL and mathematics at the University Vienna • 1992/93: studies at IRCAM, Paris with Marco Stroppa and Brian Ferneyhough • co-founder of NewTonEnsemble Vienna, of the international composers group PRISMA, of ikultur.com and of aNOther festival Vienna • teacher for music theory and composition at the conservatory of Vienna • since 1997: teacher for for computer music at the university for music and performing arts Vienna, since 2001 also music theory, since 2004 also composition, since 2009: habilitation in composition, associate professor • Since 2008: Head of ZiMT ("center for innovative music technology") of the university for music and performing arts Vienna, since 2013 dean/head of department of the Institute for composition and electro-acoustics • Co-curator of aNOther festival Vienna together with Wei-Ya Lin und Mahdieh Bayat.
Scholarships and awards: Austrian State-Scholarship 1997, Foundation Delz (CH, 2001), Theodor Körner Award 2004
Commissions: amongst others from the Konzerthaus Wien, Klangforum Wien, Ensemble On Line, Vienna Flautists, quartett22, Internationale Lemgoer Orgeltage, Haller Bachtage, Triton Trombone Quartett, Wiener Kammerchor
Performances: in Austria, Germany, Poland, France, Hungary, Czech Republic, Lithuania, Poland, Turkey, Japan, South Korea, China, Taiwan, USA, Canada, Mexico and Argentina
Johannes Kretz, 2013
Period | Education | Instrument | Teacher | Education Organisation | Location |
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1974 - 1986
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1986 - 1994
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mathematics (teaching certificate) | ||||
1986 - 1989
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music theory | ||||
1989 - 1992
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composition | ||||
1990
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summer course "Computer and Art" | ||||
1990 - 1992
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seminar "Electro-Acoustic Music" | ||||
1992 - 1993
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year course in computer music | ||||
1993 - 1995
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composition | ||||
1993 - 1994
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music education (teacher) | ||||
1994
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diploma in music education | ||||
1994
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diploma in mathematics | ||||
1995
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composition diploma with honors |
Period | Activity | Organisation | Location |
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1987 - 1992
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director of brass choir | ||
1991 - 1992
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Evangelisches ORG Oberschützen: teacher of music theory | ||
1991 - 1992
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teaching commission for aural training | ||
1994
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International Bartok Seminar, Workshop for Computer Music: professor (cooperation with Marco Stroppa, Brian Ferneyhough and Jonathan Harvey and others.) | ||
1994
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board member | ||
1995
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workshop, composer portrait and commission | ||
1995
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lectures on computer music in Austria, Germany and Korea | ||
1996
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founding member | ||
1996
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presentation at the Symposium Forum Young Church Music of the XIX. International Organ Days in Lemgo | ||
1996
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organizing director and artistic assistance in the master class for composition | ||
1996 - 2001
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teacher of composition, harmonics and counterpoint | ||
1997
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head of the workshop for computer music at the adult education centre Meidling | ||
1997
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teacher of computer music | ||
1999
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speaker at the international conference "Diderot 99" (Conference on Mathematical and Computational Methods in Music) | ||
2000
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compact course "live-electronics" | ||
assistant in the composition class of Michael Jarrell | |||
2001
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teacher of composition theory, form analysis and aural training | ||
2001
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speaker at the international symposium "music+engineering" in Kassel Herbst | ||
2001
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board member | ||
2001
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board member | ||
2003
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professor of composition: "sommer video studio: Vision of on sound in film" at the Lithuanian Music Academy | ||
2004
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secretary | ||
2004
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board member | ||
2005
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ethnomusicological research trip to the indigenous peoples of Taiwan | ||
2005 - 2006
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visiting professor of religious composition | ||
2006
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lecture and concert performance at the international congress "Connecting Media" | ||
2007
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lecture and concert performance at the international congress "music in the global village" | ||
2008
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director | ||
2009
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lecturer (habilitation) for the subject composition, associate professor | ||
2010
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aNOther festival: co-curator | ||
2013
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from this time on head of the institute and dean of students | ||
founding member | |||
founding member | |||
PRISMA - International Composer Group (centro tempo reale, Florence): founding member |
Period | Performance | Composition | Organisation | Location |
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1991
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Rainbow Music Festival Kattowice | |||
1991
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1993
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1993
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1994
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1995
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portrait concert | |||
1995
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Lange Nacht der Neuen Klänge (Long Night of New Sounds) | |||
1996
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1996
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1997
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1998
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1998
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1999
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1999
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2000
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2000
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KUNST.ZEICHEN.TECHNIK | |||
2001
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2001
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International Bartok Seminar | |||
2002
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2002
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2003
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summer-video-studio | |||
2003
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2004
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2004
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2005
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2005
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2006
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2006
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2007
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2008
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2008
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2009
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2009
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2010
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2010
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2011
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2011
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2011
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2011
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2012
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2012
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2012
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2013
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2013
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2013
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Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
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1994
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1996
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1996
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1998
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1998
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2001
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2002
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2003
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Matej Kozub | |||
2003
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Quartett 22 | |||
2004
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2005
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2005
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2005
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2005
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2006
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2006
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Section Carinthia | |||
2006
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Rupert Stelzer | |||
2006
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Section Carinthia | |||
2007
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2011
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2012
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2012
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2013
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2013
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2014
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Period | Award | Composition | Awarding Organisation |
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1991
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scholarship | ||
1991
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merit scholarship | ||
1992
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exchange scholarship | ||
1996
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scholarship | ||
1996
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work scholarship | ||
1997
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state scholarship for composition | ||
2001
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award winner at the Composition Competition Stiftung Delz/Switzerland | ||
2001
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work scholarship | ||
2004
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promotional award for music | ||
2004
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Theodor Körner Award | ||
2005
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research scholarship from the Taiwanese government | ||
2007
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recognition award |
Characteristic for my compositions is the great emphasis on the formation of tone color and harmony, which build an inseparable unit. Sounds are interpreted as chords, chords that are merged and can be understood as tone colors. The importance lies in the production of synthetic sounds with the help of the computer, which I apply in various ways to my work:
Understanding the psycho-acoustic processes of listening has to be just as well exercised as the ability to formalize the artistic intentions (e.g. to implement them with the computer). These skills combined with the sound material can be found both in the works that use artificial sounds, as well as in the purely instrumental works. In this way, a whimsical but finely ordered soundscape can be created, which invites the listener to discover a similar order in the tone colour area which can otherwise only be heard in terms of harmonic structure.
Johannes Kretz, 1994