Maximilian Kreuz
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Photo: NÖ-Volkskultur/Lackinger ©

Kreuz Maximilian

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Konzert für Klavier und Orchester 2008 27m
2 Mouvement symphonique No.3 2008 23m
3 Von Herzem will ich mich freuen - Thema - Vier Variationen - Coda 2008 14m
4 Ländliche Szenen 2008 9m
5 Morte e vita 2007 13m
6 Sanctus 2007 8m
7 Zu Gott 2007 7m
8 Duo - für zwei Violinen 2007 8m
9 Gloria in excelsis deo 2006 8m
10 Schubert-Paraphrasen - für Viola und Klavier 2006 7m
11 Orchesterszenen 2005 20m
12 Gloria in excelsis deo 2005 8m
13 Vier Choräle - in altem Stil 2005 9m
14 Zwei Choräle - im alten Stil 2005 7m
15 Zu Gott 2005 7m
16 Streichquartett Nr.5 2005 8m
17 Quartett für Streicher (Nr.4) 2005 13m
18 Schubert-Paraphrasen - für Violine und Klavier 2005 7m
19 Jagdszenen - für Blechbläser 2005 6m
20 Jagdszenen - für Hornquartett 2005 6m
21 Sonorité Viennoise 2004 12m
22 Gloria in excelsis deo 2004 12m
23 Vier Choräle - in altem Stil 2004 8m
24 Schubert-Paraphrasen II 2004 13m
25 Vier Choräle - im alten Stil 2004 8m
26 Bläserquintett 2004 7m
27 Kleines Orgelstück - Thema-Variationen-Coda über ein Kirchenthema 2003 11m
28 Valses nobles et rustiques 2003 17m
29 Städtische Szenen 2003 10m
30 Von Herzem will ich mich freuen 2003 9m
31 Schubert-Paraphrasen - für Violoncello und Klavier 2003 8m
32 Saitenspiele - für Violine solo 2003 7m
33 Saitenspiele - für Viola solo 2003 7m
34 Saitenspiele - für Violoncello solo 2003 7m
35 Gott der Weltschöpfer 2002 6m
36 Mouvement symphonique No.2 2002 25m
37 Kyrie-Gloria-Credo-Sanctus-Agnus Dei 2002 - 2009 40m
38 Trio viennois - für Flöte, Violoncello und Klavier 2002 12m
39 Duo - für Violine und Violoncello 2002 8m
40 Paraphrasen - für Streichorchester 2001 15m
41 Mouvement symphonique No.3 - (Kammerorchesterfassung) 2001 19m
42 für Klarinette, Violine und Klavier 2001 12m
43 Zwölftonräume 2001 15m
44 Grab und Mond 2001 3m
45 Trinklied 2001 3m
46 Gott der Weltschöpfer 2001 4m
47 Te deum laudamus 2001 10m
48 Chromatische Studien 2001 8m
49 Orchestrale Paraphrasen 2000 12m
50 Valses nobles et rustiques - Vier Ländler für großes Orchester 2000 15m
51 Valses nobles et rustiques - für Kammerorchester 2000 15m
52 Trio viennois - für Klaviertrio 2000 12m
53 Grab und Mond 1999 3m
54 Streichquartett Nr.3 - J.M.Hauer-Quartett 1999 10m
55 Tod und Leben - Zum Tode des Vaters 1998 18m
56 Mouvement symphonique No.1 - für großes Orchester 1998 16m
57 Mouvement symphonique No.3 - für großes Orchester 1998 - 2000 27m
58 Paraphrasen - für Orchester 1998 16m
59 Studien - für Blechbläser 1998 8m
60 Mouvement symphonique No.1 1997 14m
61 Mouvement symphonique No.3 1997 26m
62 Mouvement symphonique No.2 1997 14m
63 Quintette Viennois 1997 7m
64 Der Gondelfahrer 1996 3m
65 EU-Potpourri für Kurorchester 1996 7m
66 Symphonie 1996 25m
67 Con espressione II 1996 5m
68 Mouvement - für Orchester 1996 19m
69 Chor der Engel 1996 3m
70 Trinklied 1996 3m
71 Lebenslust 1996 2m
72 Gott der Weltschöpfer 1996 6m
73 Largo 1996 8m
74 Kammersymphonie 1996 18m
75 Grab und Mond 1996 3m
76 Symphonische Kontraste 1995 23m
77 Adagio II 1995
78 Chromatische Phantasie 1995 11m
79 Ton-Sätze 1994 19m
80 Skizzen für Violine solo 1994 8m
81 Con espressione 1994 23m
82 Klaviertrio Nr. 1 1994
83 Keimzellen I 1994
84 Klarinettenkonzert 1994 - 1995 18m
85 E-Ländler/Walzer 1994 5m
86 Klarinettenquintett 1994 - 1995 17m
87 Entwicklungen III 1993 19m
88 Sätze für Streichquartett 1993 19m
89 Harmonische Studien 1992
90 Lineare Kontraste 1992 9m
91 Konzertstück 1991 29m
92 Wiener Oboenquintett 1991 15m
93 Streichorchester II 1990 13m
94 Antagonismen - Sechs Variationen für Klavierquintett 1990 14m
95 Adagio für kleines Orchester 1989 16m
96 Adagio für Orchester 1989 20m
97 Nachtstück 1988 12m
98 Entwicklungen IV - für Kammerorchester 1988 14m
99 Sonate für Klavier 1986 23m
100 Entwicklungen I 1986 - 1987 15m
101 Kamptaler Weise - ... aus dem Urgestein des Waldviertels ... 1986 10m
102 Entwicklungen II 1985 21m
103 Oboenkonzert 1984 - 1986 17m
104 wos an weana olas en s gmiad ged 1984 8m
105 Winter - Nacht - Stück 1984 - 1986
106 Traditionen 1983
107 Purkersdorfer Klavierstück 1981 16m
108 Hofheimer Streichquartett 1981 - 1982 17m
109 Quartett - für Oboe und Streichtrio 1980 10m
110 Trio - für Oboe, Klarinette und Fagott 1979 11m

General Information

Date of Birth:  27. December 1953
Place of Birth:  Vienna
Region of Birth: 
Country of Birth: 
Nationality: 

 

Since 1981 living as a freelance-composer in Purkersdorf next to Vienna.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1984

diploma in composition, then master studies

music theory, composition

music theory, composition

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1991
1991
1995
1998
2000

Symposium "Schönberg in Berlin"

2003
2004
2006

Rita Melem: piano pieces

2007

Schuberthaus: Duo Prag-Brünn

2007

Austrian Embassy

numerous performances in Austria and abroad (New York, Toronto, Paris, Moscow, St. Petersburg, Seoul, Taipeh, Switzerland, Hungary, Poland, Cuba, Germany etc.)

Awards

PeriodAwardCompositionAwarding Organisation
1972

Cultural Award of the Country of Carinthia

1985

promotional award

1986

promotional award

1992

promotional award

1992

promotional award

2000

state scholarship

2007

recognition award

2009

recognition award

Description of Style

The style question: I decided this for myself early on - in an unconventional way. I want to hear certain sounds, music that doesn’t already exist. So I have to write it and realise it. I found the answer in the free-tonal music, which has been rather abandoned in the last decades. Free-tonality expands the classic romantic functional tonality primarily in the harmonic: theoretically the 12 tones of the chromatic scale are in constant use with a varying and changing weighting. New functions come into existence atet can be used in more complicated intensity. In this I also like to draw from simple traditional forms (like Ländler and waltzes) which let themselves be transformed in to grand music. An interplay between harmonic power and contemplative humility is the result of this compositional application. There is a pent up demand for grand music as an experienced style element, also as theme, and for me it is the present, for many others still the music of the future.

 

Music - in its irrationally - can develop an inherent rationality. What cant be expressed in word in discussions of an interesting humanistic nature can frequently be accomplished in a convincing manner through tone. Those who are willing to use music to open doors to the subconscious enter undreamt of dimensions. In the form of free-tonality this presents an exploratory path. Exciting for sure.

 

Maximilian Kreuz, 2011

 

How can you pick up and carry on tradition without making necessarily any musical and historical retrogression? This apparent incompatibility and its successful overcoming are paradigmatic for the work of Maximilian Kreuz. The composer, however, used in almost all his plays the Landler, but "refines" it often to become a large-scale Viennese Waltz - both musical forms that act as ciphers of the Austrian past and making experienceable a kind of "collective esteem". For Kreuz the "pure" musical syntax becomes an image of the cosmos and its laws of order, while the musical expression parameter is a symbol of human passions.

 

Alexander Drcar; cited from the folder "Maximilian Kreuz" published by Josef Weinberger Musikverlage, 1990