Gösta Neuwirth
Subgenre:

Neuwirth Gösta

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 L'oubli bouilli - Vanish 2008
2 L'oubli bouilli 1996 ~ 20m
3 DESPERAT DISPARAT DISPARU - für Viola und Klavier 1996 16m
4 Déploration de Roman Haubenstock-Ramati - für 2 Chöre 1994
5 Sechs Gesänge nach Texten von Maurice Maeterlinck op. 13 - (Alexander Zemlinsky), bearbeitet für Kammerorchester 1994
6 L'absence 1993 32m
7 Hier et demain, Valse chantée - für Singstimme und 9 Instrumente 1992 4m
8 Faits divers - für Singstimme und 9 Instrumente 1992 19m
9 Sei Murrum Phonies - für Frauenstimmen und vier Orchestergruppen 1990 - 1992 26m
10 Vieux songe - für Flöte (Alt-Flöte) und Oboe (Englischhorn) 1990 - 1992 9m
11 Folie à deux - für zwei Klaviere im Vierteltonabstand 1989 22m
12 Motet à 4 für Dieter Schnebel 1989
13 Hier et demain - seul - für Saxophon 1988 8m
14 Suite fungible 1986 10m
15 Schandbuch der gewarnten Liebe - für Violine solo 1984 - 1989 32m
16 herways - hisways - für Violine, Violoncello, Klavier und Kammerorchester 1982 ~ 13m
17 Eine wahre Geschichte - Tragifarce in 3 Bildern und einem Prolog. Kammeroper 1981 27m
18 Veränderung - über ein Thema von Diabelli 1981
19 Differenzen - für Flöte und Gitarre (Vihuela) 1980 14m
20 La prisonnière/L'intruse - Duo für Violine und Violoncello mit Viola 1980 12m
21 Kammermusik für Viola und Klavier 1979 13m
22 Sextett - für Flöte, Oboe, Klarinette, Saxophon, Viola und Violoncello 1977 9m
23 Sounds - für Orchester und Tonband 1977
24 Notizen zu einem Streichquartett 1977
25 Mutatis 1977
26 Elisens Echo - für Spieluhr und Klavier 1977
27 Streichquartett 1976 15m
28 Pocht es von alters her - Motette für fünfstimmige Chöre a cappella nach Versen von Karl Kraus 1976
29 Fünf Gesänge für eine tiefe Stimme - (Franz Schreker), nach der Klavierfassung 1909 und der Fassung für großes Orchester 1920 bearbeitet für Kammerorchester 1976
30 "Vom ewigen Leben" nach Gedichten von Walt Whitman - (Franz Schreker), nach der Fassung für großes Orchester bearbeitet für Sopran und Kammerorchester 1976
31 Vanish - für Singstimme und Tonband 1975 10m - 20m
32 Wetzawinkler Zehnender - für Streichquartett und 6 Bläser 1975
33 Méandres ténébreux - für Violine, Klavier und Tonband 1974 9m
34 Der Garten der Pfade, die sich verzweigen - für zwei Klaviere und Renaissanceinstrumente 1974 12m
35 Pisspott oder Pot of Pieces - 21 Stücke für Klavier 1973 - 1981 15m - 20m
36 Concerto tenebre - für Orchester 1973
37 Zwei Lieder nach James Joyce 1973
38 Orgelstücke II, 2 und II, 3 1965
39 Zwei Stücke für gemischten Chor a cappella 1965
40 Quadrate, leicht bewegt - Orgelstücke II,1 1963 2m
41 Orgelstücke 1963
42 Fragment für Violine und Klavier 1962
43 Präludium für Orgel 1962
44 Das Schweigen der Sirenen - für Orgel 1962
45 Hommage à Mahler - für Klavier 1961 4m
46 Unser Dasein ist nichtig 1959
47 Die letzte Wache - für gemischten Chor a cappella 1959
48 Fünf Stücke aus "Mikrokosmos" - (Béla Bártok), bearbeitet für Streichorchester 1959
49 Variationen über ein ungarisches Volkslied - (Béla Bártok), bearbeitet für Violine, Viola, Violoncello und Gitarre 1958
50 Passacaglia - für Orgel 1957 2m
51 Testimonium paupertatis - für Bariton, Sprechstimme und vier Instrumente 1957 15m
52 Glockenblume 1957
53 Von Unklaich nach China - für Singstimme und Klavier (vierhändig) 1956 - 1976 20m
54 Requiem - für Sprecher, Sopran, gemischten Chor und großes Orchester 1956
55 Toccombeau für Klavier 1956
56 Sinfonietta - für Streichorchester mit Klavier 1955 18m
57 Sonata brevis - for Violin and Piano 1955 9m
58 Lyrica - Liederzyklus für Sopran, Streichquartett und Klavier 1955 15m
59 Trio für Violine, Viola und Horn 1955
60 Concerto da camera - für Sprecher, Chor, Kammerorchester und Klavier 1954
61 Stück für Violine und Klavier 1954
62 Streichtrio Nr. 2 1954
63 Präludium - für Klavier 1954
64 Trio für Streicher - Essays zu einer Autobiographie 1953 17m
65 Stück für Gitarre, Violine und Klavier 1953
66 Zweites Streichquartett op. 16 - (Paul Hindemith), bearbeitet für Klavier, Violine und Blockflöte 1952
67 Stück für zwei Violinen 1948
68 Planctus - für Kammerorchester
69 Sieben Stücke für Streichquartett

General Information

Year of Birth:  1937
Date of Birth:  6. January 1937
Place of Birth:  Vienna
Country of Birth: 
Nationality: 

Born 1937 in Vienna, Gösta Neuwirth grew up in Ried/Upper Austria. There he attended the humanist grammar school and was first exposed to the music of Schönberg, Varèse and Cage at the local American education and event centre. Studies in Vienna: composition at the University of Music under Karl Schiske and later musicology and theatre studies at the Vienna University. In 1963, he moved to Berlin after his chosen thesis topic on Franz Schrecker was refused. He became a teacher at the Freie Universität Berlin and later worked at the archive of the Prussian Cultural Heritage Foundation. In 1973, he moved back to Austria to teach at the universities in Graz. Gösta Neuwirth has been living and working in Berlin since 1983, when the Freie Universität Berlin offered him a full professorship for music theory.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1944

violin lessons, later also piano lessons

1950

Humanist Grammar School: education, at the local America education and event centre first contact with music by Arnold Schönberg, John Cage and Edgard Varèse

1953

Urania Graz: course "Viennese School"

1954 - 1962

musical form

1954 - 1962

composition

1954 - 1962

contact to Friedrich Wildgans, Ilona Steingruber and the Austrian section of the ISCM

1954 - 1962

musicology, theatre studies, commences work on the thesis on Franz Schreker (after being refused Anton Webern as new thesis topic)

1956

participation

1958

participation

1963 - 1968

Freie Universität Berlin: musicology, theatre studies

1968

Freie Universität Berlin: thesis on Franz Schreker

Activities

PeriodActivityOrganisationLocation
1957

Theatre Die Arche: co-founder

until 1962: productions and stage music

1963 - 1967

Freie Universität Berlin: scientific assistant (Adam Adrio)

1968 - 1970

Mendelssohn Bartholdy Archive of the Prussian Cultural Heritage Foundation: collaboration

1970 - 1972

Edition of the sketches to the opera "Von heute auf morgen" by Arnold Schönberg for the Arnold Schönberg Complete Edition

1973 - 1982

teacher for music history

1973 - 1982

teacher for music history

1982 - 2000

professor for music theory; research focus on 15th and 20th century music

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1981
1993
1994
1994

Schauspielhaus Berlin

2000

Personale

2001
2007

new adaptation

2011

performed by soloists of the Klangforum Wien

Personale

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)
1955

Medical Faculty at the University of Graz

1977
1990
1993

Ensemble Zwischentöne

1996

Awards

PeriodAwardCompositionAwarding Organisation
1967

Freie Universität Berlin: graduation scholarship

1975

promotional award

1976

Hugo-Wolf-Award

1976

composition award

1987

recognition award for music

1988

Johann-Joseph-Fux-Award

1995

award of the city of Vienna

2008

composition prize and award for life-time achievement

Description of Style

Tonality was never of interest to me, but after a few years I realised that you cannot just go and start writing music as such - you have an idea and then you have another idea which you add to the previous one. In an attempt to find a constructive base aside from tonality, I fell back onto permutation as a boy, and later this interest was absorbed in my work with serial technique. First, the serial technique limited the work with number-related material, but when I began to study under Schiske in Vienna, at the age of 17 or 18, I also began to determine the temporal structures of the compositions, because this was something not covered by serial technique.

 

Gösta Neuwirth, from: "Meinl Kaffeel (Teil 2)" Gösta Neuwirth talks with Werner Grünzweig and Mathis Huber, in: Gösta Neuwirth/commissioned by the Archive of the Berlin University of Arts Foundation published by Werner Grünzweig. - Hofheim: Wolke Verlag, 1997. - p. 65

 

 

Gösta Neuwirth's compositions are opus music in an emphatic sense. This is not even changed by the repeated use of aleatoric music. The pieces are - as mentioned before - closed worlds, contradictory, complex, often enigmatic, precisely measured periods of time, because , as mentioned by the composer already ", the time has to be measured precisely to be set free." With one exception: The piece "Pisspott oder Pot of Pieces", composed between 1973 and 1981, is a collection of 21 miniatures for piano, several of which are only a few seconds long, the longest one 89 seconds. The composer called this piano album a "pot of archeological remains", "miniature portraits"; this pot of pieces should be a view of the world as in the fairy tale Vom Fischer un syner Fru." Gösta Neuwirth's musical thinking can be read off this microcosm, his "Játékok" in one nutshell - just like with Bartók and Kurtág. But this "view of the world" is certainly no "time-plan". Of course, even the shortest pieces are measured out completely, and on this playground each tone counts like almost none other in occidental music. Here, everything is ultimately compressed, subsequently creating an own enigmatic. The "Pisspot" does not only require a pianist who knows how to create every tone, who - with Schönberg's famous word about Webern's opus 9 - understands, "to extend each sigh to a novel". The "Pisspot" also expects the listeners to be competent enough.

 

Jürg Stenzl: "Entweder/Oder" laudation for Gösta Neuwirth on the occasion of the award ceremony of the Johann Joseph Fux Award on 22/10/1989, ibid. p. 47

Occasioner of (Composition)

Contact, Links

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