Mautner Michael

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Songe novelle 2009
2 Intelletto d'amore 2007 ~ 36m
3 Mozart Reloaded 2005 12m
4 Der Frauenminister - concert version of the same operetta in 2 acts 2004
5 Harmonie, ein Familienidylll mit Chorgesang in drei Akten 2004 ~ 23m
6 Machiavellis Masseuse 2004 ~ 12m
7 Über den Dingen 2004 ~ 45m
8 Lemurenheim 2003
9 Levitazione - for solo trumpet, tape and live electronics 2003
10 We'll not carry coals - for solo trumpet, tape, live electronics and Ducati 916 2003 ~ 21m
11 Die Todesbrücke 2003
12 Narcissus - concert installation for 4 voices and tape 2002 10m - 45m
13 Musique d' ameublement Westien 2002 ~ 15m
14 Austrian Psycho 2002 ~ 18m
15 Bevor die Wasser wiederum sich schließen - Dantes Paradiso 2001 ~ 1h 20m
16 Wests und Zobernigs Zweifel 2001 ~ 48m
17 Genuß und Schmerz zugleich - Dantes Purgatorio 1999 ~ 1h 12m
18 Operette 1999 ~ 30m
19 Tres Evocaciones (Joaquin Rodrigo) 1999 12m
20 Sub umbra alarum tuarum (Psalm 57) 1998 12m 30s
21 Fanfare "Sub umbra" 1998 ~ 1m 10s
22 Finis Africae - Rappresentatione 1998 16m
23 Rasend im Stillstand - Dantes Inferno 1997 ~ 1h 30m
24 Between the Lines - for cello, drums and dancers 1997 ~ 11m
25 Dantes Fest 1996 55m
26 Commedia Madrigale I - Inferno 1996 ~ 1h 10m
27 Quintett in Z. Untragic Memories 1995 ~ 25m
28 Quasi una sonata profunda 1995 ~ 20m
29 Kammersymphonie in den Farben des Regenbogens 1995 14m
30 Wie aus dem Nichts 1995 15m
31 Buffet, Thema und Variationen 1994 16m
32 Gegenstimme 1994
33 Die kleine Sphinx 1994 20m
34 In eine Landschaft für Fortgeschrittene 1994 11m
35 Die Nacht der Nächte - music for a motion picture 1994
36 Symphonie Nr. 8 - (Ludwig van Beethoven) 1994 25m
37 Symphonie Nr. 8 (Ludwig van Beethoven) 1994 25m
38 La Preuve Feminin 1993
39 Kadenzen des Windes und der Stille 1993 34m
40 Intrada pour orgue 1993 4m
41 United Colours 1992 26m
42 Tunnelkind-Suite 1992 13m
43 Les Sirénes I & II 1992 10m 30s
44 Sinfonietta für Oktett 1992 23m
45 Quartett 1992 18m
46 Das Grau des Himmels 1992 23m
47 Tunnelkind - ein Märchen von der Grenze 1991 1h 20m
48 Pas de trois 1991 18m
49 Les Voix d'Orphée I-III 1990 19m
50 "Tunnelkind" - music for the feature film 1990 21m
51 Invitation à la valse - (Norbert Glanzberg) 1990 6m
52 Invitation à la valse (Norbert Glanzberg) 1990 6m
53 Cartazan - A musical fantasy 1989 1h 50m
54 Fassungen 1989 14m
55 Trois Pièces Populaires 1989 12m
56 Deux Pièces Populaires 1989 8m
57 Brown Shoes - (Frank Zappa) 1989 8m
58 Oh No - (Frank Zappa) 1989 2m 15s
59 Whole Lotta Love - (Led Zeppelin) 1989 3m
60 Black Dog - (Led Zeppelin) 1989 2m 45s
61 Les Voix d'Orphée 1989 8m
62 Pantha rhei 1989
63 Brown Shoes (Frank Zappa) 1989 8m
64 Whole Lotta Love (Led Zeppelin) 1989 ~ 3m
65 Black Dog (Led Zeppelin) 1989 2m 45s
66 Oh No (Frank Zappa) 1989 2m 15s
67 Cadence pour un concert imaginaire - für Violine solo 1988 6m
68 Turandot 1988 18m
69 Symphonie Nr. 5 - (Gustav Mahler) 1988
70 Symphonie Nr. 5 (Gustav Mahler) 1988
71 Streichquartettsatz über ein Motiv von Gerhard Wimberger und ein Thema von Wolfgang Amadeus Mozart 1987 10m
72 Die Zwiebel 1986 11m
73 Cantos I-IV 1986 21m
74 Leon Labadie 1986 8m
75 39,4. 1986 15m
76 Konzert für Klavier, zwei Pianisten und (reduziertes) Orchester 1985 18m
77 Euphorion 1985 6m
78 Versuch über Gloria 1984 24m
79 Die heilige Johanna der Schlachthöfe 1984
80 Pre-Paradise-Sorry-Now 1984 12m
81 Faust I & II 1984 35m
82 Ich bin ein Felsen 1983 11m
83 Introduktion & Aria 1983
84 Traumspiel 1983 9m 30s
85 Hamletmaschine 1983 14m
86 Körners Vormittag 1982 30m
87 Notturno II 1982 4m 30s
88 Hamlet 1982 22m
89 Notturno I 1981 9m
90 Peer Gynt 1981 18m
91 Fanfarria de la Liberdad 6m 30s
92 Die Nase ~ 1h 25m

General Information

Year of Birth:  1959
Date of Birth:  22. December 1959
Place of Birth:  Salzburg
Region of Birth: 
Country of Birth: 
Nationality: 

lives and works in Vienna, married, 2 children

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1978

school leaving examination at the Music Gymnasium Salzburg

1978 - 1984

art history

1978 - 1984

musicology

1978 - 1984

philosophy

1979 - 1985

conducting (Bernhard Conz)

1979 - 1985

conducting (Mladen Basic)

1979 - 1985

composition

summer courses, master classes and workshops (Hans Werner Henze, Witold Lutoslawski, Henri Dutilleux, Bugoslaw Schaeffer)

Activities

PeriodActivityOrganisationLocation
1980 - 1985

musical adviser

1981 - 1984

scientific assistant of Gluck, Complete Works

1986 - 1993

guest conductor at future musique Saint Denis

1986 - 1993

freelance composer and conductor

1994 - 2005

teacher of applied composition

1998 - 2001

music editor of the music archive of Gostelerradiofond Moscow for Tele M TV Programm

guest lecturer of composition and music dramaturgy at the LABfactory

scientific editor of the editorial series "Kritische Neuausgabe Bühnenwerke"

dramatic adviser and musical director of the "Radikaler Stadttheater"

guest conductor

Franz West: collaboration on numerous TransArt projects

concerts and performances at various international festivals and events in Austria, France, Spain, Germany, USA

works of all genres (opera, operetta, symphonic music, chamber music) with a special affinity for musical theatre, along with numerous works for stage and film

composer and initiator of the multimedia project COM.MEDIA based on Dante Alighieri

Awards

PeriodAwardCompositionAwarding Organisation
1982

Prix du Centre Acanthes

1985

state scholarship for composition

1990

silver bear in the category youth film

1991

first prize at the Mozart composition competition

1994

promotional award

one year scholarship

Description of Style

Whether music is "beautiful" or "ugly", says nothing about its quality or validity, the used material is not alone a garantee for success or failure. Therefore I keep to a strict ambivalence. I neither avoid tonal sonority nor dissonant sharpness.
I generally try to avoid unnecessary difficulties for interpreters and listeners, without having to abandon the claim on exploring new areas and contents. I therefore try to find a sound language that does not not require complicated explanations and remains directly accessible, in spite of all the complexity and intransigence. Besides my passion for multimedia musical theater, especially in the context of the project COM.MEDIA, I am engaged with ecmelischic sounds (microtonality with a 72-stepped octave-partition, eg in "Les Sirènes", "Quintet in C" or "Intelleto d'Amore "), however without denying the perviously mentioned postulates.

 

Michael Mautner, 1994  

 

 

Notes on "Composing Today"

The two main challenges to composers today are:

  1. Creating works of sustainability, that might be an image and mirror of our time.
  2. Changing the role of contemporary music in the public consciousness, reducing the gap between the demands of the audience and the intentions of the artist.

Ad 1) It is about addressing with current topics and issues, integrating them into the artistic consciousness. Art that communicates its own importance easily slips into arbitrariness. The Ivory Tower is a comfortable apartment, but difficult to access.

Ad 2) On the one hand: intensifying the communication with the outside. Once listening, complex works are mostly inadequately absorbed. Therefore, compositions should be available on the internet as free downloads (sample recordings, demo versions, Music Samples, etc.) in advance to the premiere. This possibility needs to be communicated in the announcements (posters, ads, electronic distribution). The dispute in advance eases the access at the moment of performance. Information creates interest.

On the other hand: not forgetting the audience. Considering the understandability and accountability in the working process, seducing rather than unsettling. At the same time not turning back and celebrating blessed traditions, but using techniques and expressive possibilities of our time in a way that an intensification of the presented is produced. Tonality and atonality are means to an end, not content.

In my current work, the operetta "Der Frauenminister", I incoperate these considerations. Absurdities of politics and media, as they occur daily, are understandably implied with the means of musical theater. The music is diverse and yet all in unison: coexisting melodies and techniques, rhythmic drive and aleatorics. Contrasts support the connection, insertions with popular tendency creating confusion and irony. Provided with a new form and updated content, the operetta, the satire, can be an important link in the contemporary range.

 

Michael Mautner, February 2009

Contact, Links

Language:  German, English, French, Italian, Spanish