Christian Ofenbauer
Registered as:
Instrument: organ

Courtesy of C. Ofenbauer ©

Ofenbauer Christian

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Seitensicht / Nacht - for a symphonic wind-orchestra 2013 9m
2 Streichquartettsatz Nr. 5 2011 20m
3 Streichquartettsatz Nr. 6 2011 8m
4 Albumblatt für Rudolf zur Lippe - for solo violoncello 2010
5 Streichquartettsatz Nr. 4 (BruchStück IX) 2010
6 Streichquartettsatz Nr. 3 2009 12m
7 BruchStück 8 - for violin solo (or viola solo) 2008
8 Streichquartettsatz Nr. 2 2008 20m
9 für janna polyzoides - Zweites Konzertstück für Klavier und Ensemble 2006 25m
10 BruchStück 7: Begleitmusik zu einer Schauspielszene - for 10 instruments and tape 2005 ~ 34m
11 EisMusik - for 17 instruments 2005 45m
12 Albumblatt 2005 2005 1m
13 Albumblatt für Karl Wagner - 30 Takte für Klavier 2003 2m
14 for martha keller - for wood-wind quintet 2001
15 Zerstörung des Zimmers/der Zeit - version for string-quartet and piano 2000 48m
16 BruchStück 7: Begleitmusik zu einer Schauspielszene - for string-quartet and 2 pianos tuned in quarter-tone intervals 2000 30m
17 SzenePenthesileaEinTraum - opera based on Heinrich von Kleist's tragedy "Penthesilea" 1999 - 2000 1h 50m
18 Zerstörung des Zimmers/der Zeit - version for piano solo 1999 20m - 48m
19 Zweites Frankfurter Prélude/Zwei Kraniche und Wolken - Double - for 84 instruments 1998 50m
20 Kommt Sirenen klagt - motet about the figure of the doubled Helena 1998 13m
21 STREICHQUARTETTSATZ 1997 14m
22 Erstes Frankfurter Prélude/Zwei Kraniche und Wolken - for five orchestra-groups 1997 1m 35s
23 fancies (fancy papers) - for violin and orchestra 1997 30m
24 BruchStück 6 - for big orchestra 1996 ~ 12m
25 Zwei Stücke - for 8 flutes 1996 13m
26 BruchStück 5 - for ensemble without mezzo-soprano 1995 7m
27 DER ENGEL IST GESCHLACHTET - for mezzo-soprano and ensemble 1995 8m
28 unordentliche inseln/de la motte fouqué-vertonung - for ensemble 1995 25m
29 Klavierstück 1995 (Bruch Stück 6) 1995 8m
30 Klage der Persephone bin ich: Sirene - for six female voices and 12-channel-amplifier 1995 6m
31 Prolog und Epilog - from "Medea" for orchestra and tape 1993 29m
32 ARGONAUTENSTUDIE (Studio per un Argonauta) - for prep. double bass 1993 9m
33 Mechanische Bagatelle - for violin and piano 1993 5m
34 Schichtsendung Selbstportrait I 1993 50m
35 BruchStück 4 - MEDEAKOMMENTAR for 3 violins (version A) 1992 11m
36 BruchStück 4 - MEDEAKOMMENTAR for prep. piano (version B) 1992 variable
37 Zwei Intermezzi - from "Medea" for chamber orchestra 1991 30m
38 Medea - opera 1990 - 1994 2h 30m
39 BruchStück 3 - Odysseusfragment 1990 14m
40 Albumblatt für J. M. - for piano 1990 7m-10m
41 Klaviertrio 1990 9m
42 Odysseus/Abbruch/Sirenen - piano concert 1989 20m
43 Sospir - fragmenté par polyphonie 1988 14m
44 BruchStück 2 - for piano 1988 11m
45 SIMULTAN - for piano and time announcement (telephone) 1988 16m
46 BruchStück 1 - for violoncello solo 1987 10m
47 ... durchsichtig bewegt ... - for chamber ensemble and tape 1987 12m
48 Tod des Hektor - music-theater 1987 feature length
49 Hektors Tod 1987 variable duration
50 Katalog 3 - for 1-20 pianos and live-electronics ad. lib. 1987 - 1988 variable
51 Katalog 2 - for piano (versions A-E) 1986 9m-45m
52 ... wie eine Nachtmusik - for large orchestra 1986 20m
53 Zwei Stücke - for violoncello and piano 1985 12m
54 Fatzer Material Fragment - for 6-10 tapes 1985 variable duration
55 Katalog 1 - a piece for piano in 16 parts 1984 14m
56 Sonate op. 1 - (Alban Berg), adapted for large orchestra 1984 12m
57 Ich bin der Franz - chamber opera for ten instrumentalists and 3 female speakers 1983 3h
58 Drei Lieder - for soprano and chamber ensemble 1983 11m
59 FÜNF STÜCKE - for grand organ 1983 - 1984 23m
60 Septett (nach "Hektors Tod") - for speaker, silent film and chamber ensemble
61 Persischer Marsch op. 289 2m
62 Sechs Lieder - (Alban Berg), adapted for medium voice and orchestra 13m

General Information

Year of Birth:  1961
Date of Birth:  24. March 1961
Place of Birth:  Graz
Region of Birth: 
Country of Birth: 
Nationality: 

 

Born in Graz and raised in Carinthia, Christian Ofenbauer now lives as a freelance composer in Vienna. At the age of six he received his first violin lessons. Further musical studies followed at the Carinthian State Conservatory and the University of Music and Performing Arts Vienna. Even before his graduation in 1988, Ofenbauer began teaching at the Music Universities of Graz and Vienna, and the Justus-Liebig-University in Giessen. Since 1994 as a guest lecturer and since 2001 as a full professor at the Mozarteum in Salzburg. During the eighties, he collaborated with TheaterAngelusNovus (including "Tod des Hektor") and the ensemble "die reihe", also as a project coordinator (e.g. 1989 "Cage Project" at the Vienna Konzerthaus).

 

"Two phases characterize Ofenbauer's work: at first it was an increasing monumental, fragmentary expressive gesture as a legacy of the Second Viennese School, which dominated his music, now it is a conscious break to pull through towards withdrawel, sparseness."

 

Source: http://www.doblinger-musikverlag.at - February 2007

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1972 - 1979
1972 - 1979

music theory

1979 - 1988
1979 - 1988

harmony

1982 - 1987

composition

1982 - 1987

private studies in performance practice of early music

1986

study visits in Paris with contact to Pierre Boulez

1988

Master's degree, subject of the academic paper: "SPIEGEL 1-7 by Friedrich Cerha. Analysis and its musical dramatic realization."

2016

doctorate in musicology

Activities

PeriodActivityOrganisationLocation
1980 - 1982

numerous concerts and radio broadcasts as an organist at home and abroad

1982 - 1987

extensive collaborations as a composer with the Viennese TheaterAngelusNovus

1982 - 1987

lead organist

1983 - 1992

ensemble member

1984

ever since numerous concerts and recordings as a composer and conductor at home and abroad

1985 - 1992

freelancer

1986

guest lecturer for interpretation and analysis

1987 - 1991

teacher of style and performance practice

1988

guest lecturer at the Institute for Applied Theatre Studies

1988 - 1998

lecture series on issues of contemporary music

1989 - 2001

teacher for music theory, aural training and musical form

1991 - 1992

guest lecturer at the Institute for Applied Theatre Studies

1994 - 1997

visiting professor of composition

1999 - 2000

collaboration with the Viennese TheaterKombinat

2001

ever since professor at the Department of Conducting/Composition and Music Theory, professor of harmony and counterpoint

2003

guest lecturer

2004

artistic habilitation in composition

2004

ever since various master-classes (composition and music theory) in Europe and Asia

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1987
1992

Lange Nacht der Neuen Klänge (Long Night of New Sounds)

1996

Bochum Symphony Orchestra

1996
2005
2006

several performances in the context of a portrait concert

2007

premieres in several Latin American countries

2012

series of the Austrian Composers' Society: "Lauschergreifend live"

Awards

PeriodAwardCompositionAwarding Organisation
1984

promotional award

1985

promotional award

1986

state scholarship for composition

1990

Lili Boulanger Memorial Award Boston

1990

state scholarship for composition

1991

promotional award

1991

promotional award

1993

opera scholarship of the composition contest

1996

first prize at the composition contest together with Germán Toro-Peréz

1999

composition scholarship

Description of Style

The compositional path followed by Christian Ofenbauers was a conventional one in the 1980's. A path that led from Gustav Mahler to Alban Berg and eventually to Ofenbauers teacher Friedrich Cerha. A path described with the word "Esprissivo".