Günter Mattitsch
Registered as:

Mattitsch Günter


# Title Year of Originsort icon Duration Instrumentation Category
1 John, ach John - attempt over John Dowland 2018
2 Sicut cervus desiderat - Psalm 2017
3 Das Hohelied Salomonis 1996
4 Hölderlin-Fragmente 1996
5 François-Villon-Triptychon 1996
6 Requiem für Borislav und Amira 1996
7 Lacrimosa für Bosnien 1996
8 Die Welt ist offen - Kanon für 4 Stimmen 1995
9 Psalm 23, Der Herr ist mein Hirte 1995
10 Siehe, meine Freundin, du bist schön 1995
11 Echo aus dem Abgrund 1995
12 Stabant autem iuxta crucem 1994 8m
13 Lacrimosa 1994 10m
14 Der Gesang des Jona im Bauch des Walfisch 1994 30m
15 Stein 1993 10m
16 Stein-Metamorphosen 1992 18m
17 Psalm 42 "Quemadmodum cervus desiderat" 1991 10m
18 Unser ist es, lebendig zu sein - Lieder vom Tode 1989 35m
19 Paul Celan Triptychon 1989 35m
20 Meßkompositionen zum Hemmajubiläum 1988 ~ 34m
21 Das Klagelied des Nguyen Chi Tien 1987 12m
22 Es war Erde in ihnen - für zwölfstimmiges Vokalensemble 1985 12m
23 Um unser Welten Lust - Fragmente nach Oswald von Wolkenstein 1984

General Information

Year of Birth:  1947
Date of Birth:  8. February 1947
Place of Birth:  Spittal/Drau
Country of Birth: 





specializing in renaissance music

Performances (Selection)


Festival Bodenproben

Klang im Raum 

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)


PeriodAwardCompositionAwarding Organisation

promotional award


first prize at the International Composition Competition


overall winner of the Choir Competition Gorizia


promotional prize for music in Carinthia

Description of Style

Serial, with postmodern freedom, uncompromisingly, "dark subject matter and expression". Cheerful music is difficult for me, likewise music of the ideal world.
Music is part of our world, my world. It has a share on the events in this world and expresses this unmistakably in its own language. It reflects the self-conception of mankind, my existence in this world. That is why my music is a reflection of what moves me, challenges me, makes me despair and gives me hope and inner peace. A basic necessity moves people, moves me, to compose music. And no resistance against the respectively "new music" could ever prevent composers from sharing "their" music with the world. Furthermore it is touching that it is a desire of us people to compose and make music, even if extreme living conditions such as those in the concentration camps of the nazi regime had to be endured. Not to forget the concerts, that were organized when the world was completely annihilated in 1945, show an equally basic necessity for music. Perhaps this is the reason why the poetry of Nguyen Chi Thien immediately inspired me to express this "echo from the abyss", desperate and yet beholding human dignity as a most precious asset, in music. We like to avoid the choir of disenfranchised of our generation, it is tempting to condemn the generation before us for their silence about the atrocities of their time. Even the story of the prophet Jonah is the occasion for me to reflect about myself and bring it into my own here and now: Jonah flees from the divine order, from his own determination as a prophet, from spreading God's words to the the people, which are losing the dignity of mankind. His escape leads him back to the origin of being: in the sea, in the abdomen, and after three days and three nights, he is able to stand before God: my life is my gift and grace, if I accept it without excuses. It will therefore become the source of all power, which I need for my life. Since music is part of my life, it flows from the same source, from which everything originates: the Lord is my shepherd, I shall not want. In this total faith, my soul listens to the source, which tells me what wants to condense and sound and become "my" music. Not only do we move towards music that moves us people. It leads us to depths of feelings that we have long believed lost. It leads us into a dimension that shows us something about ourselves and beyond ourselves. It reminds us of our spiritual origins beyond this world, from which we often suffer and go insane. It reminds us of ourselves [...] Music is part of our world. A world that unites all polar opposites in itself to a unity. This world is, beyond our need to shape it and manipulate it, open and vague. It is open, although we continually want to close it; it is transformation, although we want to press it in our usual forms. Music announces this transformation. Even if it ist difficult to follow its change. Change promises future, which reaches into our present, tones the voice of existence, which carries this transformation.


Günter Mattistsch 1994/1995

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