photographer: Christof Zachl ©

Mütter Bertl

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Operan! übers entkommen - Ein siebenszenisches Musiklaboratorium aus der Schule des Staunens 2016
2 ad: MACH(AUT) - für Vokalquartett oder Chor SATB, optional mit obligater Posaune 2016 ~ 20m
3 morendo vivace – vivace morendo 2015 33m
4 ATACAMA 2015
5 a/k/a aka 2014
6 ...von weiter her... - eine falparsi-tantrische traumreise in das innere asiens 2013
7 düdt [tilt] - für Akkordeonduo 2013 15m
8 sostenuto (mothers’ morton’s memories) 2012
9 Dsudl - das schwere und das leichte 2011
10 1+1+1=1 (discursus trinitatis) 2011
11 quarksquirks - für Christian Morgenstern 2010
12 minütenminiatüre - für großes Orchester 2010
13 rondo profondo 2009
14 unk.rufe - fuer fuenf optimisten und einen ténor 2009
15 milifagott 2008 ~ 20m
16 born. rondo. 2007 ~ 15m
17 piano sonata 2007 ~ 15m
18 woodpiece with brass 2007 ~ 30m
19 trombohuwabone 2006
20 muetters dichters liebe 2006
21 muetters muellerin 2005
22 pour elise (oryctérope, bleue) 2005 ~ 12m
23 nushu 2005 ~ 25m
24 ognatango 2004 ~ 7m
25 verborte 2004 ~ 20m
26 Passagiere 2004
27 katzen haben sieben leben 2003
28 6 patriotische excerpte 2003
29 einspielen. ausspielen 2003
30 maria taferl 2003
31 zusammenspinnerei 2003
32 weg. Fluchtmusik 2003 ~ 12m
33 AEIOU für tiefes Quintett 2002 ~ 50m
34 walkabout 2001
35 anstehen. aufstehen 2001 25m
36 schubert:winterreise:mütter 2001
37 wenn sie so wollen ist es halt ein streichquartett 2000 25m
38 Amstetten - St. Valentin St. Valentin - für 4 Instrumente oder Stimmen ad libitum 1997
39 Crossthroats 1996 ~ 59m
40 tohuwabohu 1994 5m
41 Blumenbein 1994 1m 30s
42 Etüde in F 1994 6m
43 in die nacht in den tag 1994 ~ 12h
44 Sentiment - diese ewigen Auftakte 1994 43m 10s
45 Der Kaspar darf nicht sterben - Drei Kasperstücke von H. C. Artmann 1994
46 Palimpsest 1993 10m 17s
47 de profundis 1993 5m 24s
48 kuß am schluß 1993 3m 38s
49 Ein anderer Wanderer 1993 10m
50 befremden 1993 8m
51 fremdgehen 1993 10m
52 Wurzelbehandlung oder: wie man beim Wandern über eine Wurzel - nicht - stolpert 1993 15m
53 Ein anderer Wegweiser 1993 6m
54 Pflichtprogramm 1993 4m
55 ABCD - Gemeinschaftskompositionen in Realtime mit Armin Pokorn 1993
56 ... denn die Grenzkaempfe hoeren niemals auf ... 1992 28m
57 gestern wie morgen 1992 35m
58 Idylle 1991 7m
59 gedscho 1991 6m
60 WWOANN 1991 15m
61 Interferenzen - Duo für einen Solisten 1990 10m - 15m
62 Über Wasser - Stück für Posaune, 2 Stimmen, 3 gestimmte Flaschen, gefüllten Badezuber, Eiswürfel 1990 34m
63 Völlig unerwünschte Hymne - Vierstimmig 1990 3m
64 Völlig unerwünschter cantus firmus in motu 1990 6m
65 Völlig unerwünschte Hymne - Zweistimmig 1990 2m
66 TON-A-TOM - Spaltungen für Stimme und Posaune 1989 20m
67 Lust - sehr frei nach Elfriede Jelinek 1989 55m
68 X-RAY (now's the time) 1989 21m
69 Countdown & Lift Off 1989 10m
70 sich finden 1988 7m
71 Kyrie 1988 8m
72 Amphitryon - Theatermusik
73 Mineral Music 10m
74 Air 3m 5s
75 Kuult 4m 23s
76 DRRRSSSG 9m
77 Platzl 11m
78 Agnes 5m 3s

General Information

Year of Birth:  1965
Date of Birth:  6. July 1965
Place of Birth:  Steyr
Region of Birth: 
Country of Birth: 
Nationality: 

His compositions, which waver between contemporary classical music and contemporary improvised music, paired with expressive stage presence, have made this musician/composer a distinctive representative of a young Austrian music scene, which is characterised by its interest in musical crossovers and co-operations with musicians of other genres.

 

Here is how Bertl Müller himself describes his music, "All my artistic projects have one thing in common; they actually do not merely compare to absolute musical standards and goals only; less and much more than that. It is about the "co-operation" of different genres of artistic expression and to make states noticeable beyond familiar processes: large-scale, formal arches with hidden references and bridges built into the microstructures."

Activities

PeriodActivityOrganisationLocation
1987

ever since founding member of the improvising vocal quartet "Timbre" with Lauren Newton, Elisabeth Tuchmann, Oskar Mörth

1997

ever since member of Striped Roses

2001

CD-recording with Joelle Leandre (bass, vocals), Fritz Hauser (drums), Urs Leimgruber (saxophone) as guests

2001

musical accompaniment, between and against Otto Brusatti's recital performances (premiere: 08.12.2001)

Advanced Cabaret: double acts with the author Franzobel

Franui+Mütter: annotated adaptation (Schubert, Mahler) and part of the (funeral march) programme "Frische Ware" by Osttiroler Musicbanda (premiere 02.06.1999)

Haslinger-Mutter-Puntigam

Mutter.Essl.Roidinger: with Karlheinz Essl (computer) and Adelhard Roidinger (e-bass, electronic instruments)

duo with violinist Thomas Fheodoroff, commissions by Bert Breit, Christoph Cech, Christian Mühlbacher etc.

duo with vocalist Agnes Heginger

freelance composer and project manager, teaching activities (workshops), theatre work

long-time cooperation with saxophone player Co Streiff

literary-music performances in cooperation with the author Josef Haslinger and Werner Puntigam (tuba), e.g.: "Die Entdeckung Amerikas"

Lobgesänge (canticles)

member

multi-media projects together with Werner Raditschnig: "19 Days - Multiple Summer", "Totengesänge", "Merlin", "Der Eisenhammer" etc.

quartet together with Florian Bramböck (saxes), Christoph Cech (piano) and Johann Steiner (bass-clarinet)

reciter and vocalist/trombonist at the lyric-delirium-like word concert "Kadash Am Berg" (text: Roland Heer)

meeting with Ernst Jandl, Abdullah Ibrahim/Dollar Brand

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
Erl

 

BACH 2000, St. Thomas Church

CineForum do Funchal Madeira

Kulturvermerke

Lehrlingskulturfestivals at Linz, Kapfenberg, Murau

Musikalischer Spätsommer Gurk

Paralelo

SchubertAde

Styrian Regional Exhibition, Pollau

Jazz Festivals (selection): Saalfelden, Copenhagen (EBU), Leipzig, Greifswald, Yokohama

Landpartie, Oberwolz und St. Lambrecht

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

 

Styrian Initiative against Nuclear Danger

Emergency Call Centre for Female Rape Victims, Graz

Afro-Asiatic Institute, Graz

Office for Cultural Promotion (Büro für Kulturvermittlung), Vienna (Lehrlingskulturfestivals)

S. Fischer Verlag, Frankfurt am Main

Awards

PeriodAwardCompositionAwarding Organisation
1989

promotional award for music

1992

sponsorship

1994

"Österreichbild" award winner

2002

state scholarship for composers

2003

Anton Bruckner scholarship

2003

composer in residence

2005

work scholarship

2010

- 2013 scholarship

Description of Style

What is a composing improviser, improvising composer, real-time composer? Bound improvisation? Following a motif, circle around it, even right down to the beastly level. Do not ask the desk, ask the instruments, listen to them. Collect and harvest; observing the grown architecture, leaving the inner proportions completely to the moment of creation. It is one of the circle's characteristics that at 180° the position of 0° is one hundred percent wrong. Or is both possible at the same time? To circle around a centre, which burns us once we reach it, yet keeps us alive at the right distance. My tools are the trombone, voice, sometimes live-electronics and many small instruments. Though, this does not mean anything with respect to content. Nevertheless, I want to take myself to this orbit. As a soloist, I like to refer to the tradition produced by the tension between composition and improvisation. The only tradition I have at least the chance to somehow authentically understand, is the one I was born into. Nevertheless, I welcome influence from the outside and therefore incorporate foreign elements in my art. However, my ancestors weren't cotton pickers in the Confederate States, nor were they Siberian shamans; therefore I am only an observer of these traditions. My main instrument, the trombone, possesses a classical-romantic repertoire which can hardly be taken seriously; a true advantage, as other people's fear of masterpieces written for the trombone stemming from their former training is alien to me. Thus, I can lean back and watch pieces concerning me - improvisational and enriched with my own material - passing by during the concert performance. If you sing alone in your bathtub you can hear the orchestra, you do not need an instrument; my tub is on the stage, a highly intimate process.

 

(Bertl Mütter, "Wandern", 1993 und "Badewannenmusik", 1996)

Broadcasting Performer of (Composition)

Contact Person of (Organisation)

Band/Ensemble Member of

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Contact, Links

Language:  German, English, French, Italian
Website:  muetter.at
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