Photograph: public domain picture

Lichtfuss Martin

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 3 Stücke - for tenor saxophone and piano 2013 14m
2 ReCycle for wind quintet 2011 ~11m
3 In Nuce for orchestra 2008 ~1m
4 K*tzbühel - eine Patriotische Huldigung 2008 ~15m
5 Trilogy for Violoncello and Piano 2006 ~16m
6 Adieu for small orchestra 2004 ~ 14m
7 3 Stücke - for organ 2003 ~6m 30s
8 Mobile for 5 flutes 2002 ~ 10m
9 On the scratcher 2002 - 2003
10 Rhapsody I for alto, violin and accordion 2002 ~6m
11 Rhapsodies I & II for soprano and viola d'amore 2002 - 2003 ~15m
12 4 Pieces for violoncello and accordion 2001 ~ 12m
13 Entartung 2000, 3 Ab-Reaktionen for flute and guitar 2000 ~ 13m
14 Earobics for orchestra 2000 ~ 12m
15 Messe nach Psalmentexten 1999 ~ 30m
16 Toccata for Organ from "Psalmenmesse" 1999 ~3m
17 Straightforward II for Piano 1999 5m 20s
18 Monumentum für H. for piano quintet 1998 ~8m
19 Hands. 3 Meditations for organ after sculptures of Auguste Rodin 1996 ~ 18m
20 5 Chansons nach H.C.Artmanns "Aus meiner Botanisiertrommel" 1994 ~ 9m
21 Straightforward I for String Orchestra 1994 ~ 13m
22 2 Porträts for flute and harp 1992 ~ 7m 30s
23 Rotationen for Brass Quintet 1992 8m 30s
24 Concerto for Orchestra 1992 ~ 28m
25 Interferenzen for clarinet solo and 15 players 1987 ~ 32m
26 Schauspielmusik zu Ibsens Peer Gynt 1985 ~ 20m
27 Schauspielmusik zu Schillers Kabale und Liebe 1985 ~ 17m
28 An Eurydike for string orchestra 1984 ~ 19m
29 11 Minuten for piano 1983 ~ 11m
30 Kafka - Fragments for speaker, bariton, choir, orchestra and synthesizer 1983 ~ 28m
31 Tête-à-tête for two flutes 1982 13m
32 Sonata for violin & piano 1982 ~ 17m
33 Suite for Organ 1982 ~ 12m 30s
34 Epilog for flute and piano 1982 ~ 7m 30s
35 An Eurydike for string quartet 1981 19m
36 Drei Aspekte for brass quintet 1981 10m
37 Vier Stücke for clarinet, trumpet, piano and percussion 1980 ~ 18m
38 Fantasie for organ 1979 ~ 10m

General Information

Year of Birth:  1959
Date of Birth:  3. May 1959
Place of Birth:  Innsbruck
Region of Birth: 
Country of Birth: 
Nationality: 

After extensive studies at the Tyrolean Landeskonservatorium and at the University of Music in Vienna (composition, conducting), Martin Lichtfuss acquired comprehensive practical experience during his 10 years as conductor at German and Austrian theatres. From 1995-2005 he was Head of Department I for music theory/musical directing, as well as instructing a class for composition, at the Tyrolean Landeskonservatorium. In 2005, he followed the call from the University of Music in Vienna, where he was granted the professorship for composition.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1965
1977 - 1980

conducting

1980

graduation (with distinction)

1980 - 1987

german and english

1980 - 1987

German, English

1980 - 1987

choir conducting

1980 - 1987

conducting

1980 - 1987

composition

1984

final examination conducting (with distinction)

1985

final examination choral conducting and composition (with distinction)

1987

graduation - PhD (Wendelin Schmidt-Dengler)

2003 - 2004

Management-Center Innsbruck: Allegro-training programme for musicians in management

Activities

PeriodActivityOrganisationLocation
1985 - 1989

bandmaster, choirmaster, deputy musical director

1989 - 1993

1. capellmeister

1993

publishing the critical first version of Karl Millöckers "Bettelstudent"

1993 - 1995

Brunswick State Theatre: first bandmaster

1995

Professor and head of the Institut I

1995 - 2006

teacher for composition and music theory (composition, musical form/music analysis, 20th century music history)

1996 - 2001

Department for Musicology: instructor

2005

ever since teacher for composition/music theory at the Institute I for composisition and electro-acoustic 

2008 - 2010

head of the Institute 1 for composisition and electro-acoustic 

2008 - 2013

chairman

2014

member of the board

2016

member of the board: ECSA (European Composers' and Songwriters' Alliance)

Awards

PeriodAwardCompositionAwarding Organisation
1983

promotional award for composition

1984

recognition award

1984
1985

promotional award for composition

1986

Department of Culture: first prize for composition for

1988

state scholarship for composition

1989

Description of Style

Mit meiner Musik fühle ich mich nicht einer bestimmten Ideologie verpflichtet; vielmehr ist die Fülle an musikalischen Sprachen, an Ausdrucksformen, an aktuellen Kompositionstechniken die wichtigste Grundlage meiner musikalischen Phantasie.
Ich versuche, mir durch Einbeziehung verschiedenster musikalischer Tendenzen unserer Zeit ein breit gefächertes Ausdrucksspektrum zu erschließen und so meiner Musik ein möglichst abwechslungsreiches Profil zu geben. Dabei geht mir stets darum, eine einheitliche musikalische Sprache zu verwirklichen. Diese ist häufig von tänzerischer Rhythmik erfüllt, der immer wieder ametrische Klangfelder gegenüberstehen; und wenn die Harmonik meist tonal ist, so kippt sie doch immer wieder ins Atonale.
Mein primäres Ziel ist es nicht, noch nie da gewesenes "Neues" hervorzubringen; stattdessen bemühe ich mich, das Spannungsfeld klanglicher Möglichkeiten zwischen einfachen Dreiklängen und scharfen Dissonanzen oder Clustern, zwischen einstimmiger Melodik und komplexer Polyrhythmik, zwischen traditioneller Tonerzeugung und experimentellen Spielweisen bekannter Instrumente bis hin zum Einsatz elektronischer Klänge zu erforschen. In der unerschöpflichen Vielfalt möglicher Synthesen unterschiedlicher Elemente und Strömungen liegt für mich das Neue, Spannende aktueller Kunst.
Wenn man danach strebt, das unendliche Spektrum an Möglichkeiten Neuer Musik in seiner ganzen Vielfalt abseits ideologisch festgefahrener Positionen einzufangen, und wenn man bemüht ist, zwischen gegensätzlichen, einander ausschließenden musikalischen Standpunkten zu vermitteln, so gerät man unweigerlich in Gefahr, eingeschworene Zielgruppen zu verfehlen und "zwischen allen Stühlen" zu sitzen.
Genau dieser Platz ist es, der mich interessiert. 

 

Martin Lichtfuss, 2011

Press Reviews

22. November 2004

Adieu für kleines Orchester: Martin Lichtfuss wanted to have his 15 minute-long piece "Adieu für kleines Orchester" understood as an attempt to free himself from irksome emotional experiences. The introverted composer's attempt couldn't have been more lasting. This act of freeing himself succeeded using massive sounds and intimate tenderness, as well as sensual passion and impulsive gestures. Grading between tonal and atonal, the interplay of sound explosions and small islands of recreation, Lichtfuss tilts the mood unexpectedly - just as in real life - and suggests clear, emotional gleams of hope which we can never be sure to reach. 

Tiroler Tageszeitung (Markus Hauser) 

 

15. April 2000

Music for two: Martin Lichtfuss expresses his current political displeasure in "Entartung 2000 -Drei Abreaktionen für Flöte und Gitarre". In this piece, Lichtfuss subjects the three sounds F, E and B to an abundance of exciting, rhythmic, dynamic and articulate shaping processes. The result - wild opposites, intensive liveliness but also touching affection - left a lasting impression. 

Tiroler Tageszeitung 

 

24. September 1993

For the 100th anniversary of the Innsbrucker Klangkörper Martin Lichtfuss composed a "concert for orchestra", which, at its world premiere, shone like a comet's tail on the regional sky of music. [...] Lichtfuss presented [...] a technically extremely elaborate and rhythmically complicated score. However, the orchestra and its chief conductor Kasper de Roo interpreted the piece with total concentration and a brilliant instrumental performance. [...] The plethora of timbre - the effect of an excellent instrumentation - includes roughening to playful electronic effects. Lichtfuss leaves the musicians enough opportunities for their musical performance, for dialogues but also for contradiction. 

Tiroler Tageszeitung (Rainer Lepuschitz) 

 

17. May 1990

Kafka-Fragmente: Already in the instrumental prologue Lichtfuss presents himself as an extraordinary musical and technically skilled composer. [...] an impressive premiere. 

Tiroler Tageszeitung (Albert Seitlinger) 

 

15. February 1990

An Eurydike: At the beginning the substantial piece "An Eurydike" ("To Eurydice") by Martin Lichtfuss; a kind of symphony for string instruments in three sets, strong in its expression; persisting music behind which grey angst seems to lurk. The audience has well-understood the piece and applauded the composer and predominant conductor of the evening heartily. 

Kronenzeitung (Balduin Sulzer) 

 

1990

Kafka-Fragmente: An impressive composition, as Lichtfuss knows how to combine the free tonal, as well as atonal sound material successfully with the content of his fragments. He transfers the fragmentary character of the texts into a composition without causing unnecessary breaks or attempting to translate the encrypted words into an adequate-apocryphical tonal language. [...] Lichtfuss does not deny his personal view [...] and understands how to operate convincingly (and responsibly) with this subjectivity. Lichtfuss' "Kafka-Fragmente" [...] are a rare piece of luck in modern music.

Österreichische Musikzeitschrift (Christian Baier)

Contact, Links

Language:  German, English, French, Italian
Website:  www.lichtfuss.at
Links: