Satke Wilfried

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Eight Satietudes 2018
2 Rhythmus der Primzahlen 2018 15m 30s
3 Quintessenz 2018 2m 40s
4 mimosino 2017
5 mimo 2 2017 17m
6 Capriccio arabe 2017 3m
7 Faucault Solitaire 2016 6m 20s
8 Fünf Töne 2016 6m 30s
9 All es fließt 2016 4m
10 burung gagak 2016 4m 30s
11 Gegenwart 2016 3m 20s
12 Foucaultsches Pendel 1 2014 3m
13 r-pentomino 2012 31m 30s
14 Altes Herz 2012 3m 30s
15 Die Angst weiß, dass ich singe 2011 - 2012 7m 30s
16 Im Sprechgewitter 2011 16m
17 Gesponnenes Netz 2010 7m 50s
18 Gendhing Debar Hati 2010
19 Compliment Air 2010 5m 45s
20 Hilfrufe 2009 13m
21 Rockaby 2009 13m
22 stern 2009 2m 30s
23 kommen - gehen - nichts 2009 3m 20s
24 Stillleben mit Vihuela 2008 4m 30s
25 Stillleben für Gitarre 2008 5m 40s
26 Vernetzt und zugestickt - Collective Performance 2008 12m
27 Schach 2007 7m
28 Sudoku 3x2 2007 9m
29 Compliment Air 2007 5m 45s
30 c'est la vihuela 2007 5m 30s
31 Hexachords 3 2007 - 2008 5m 30s
32 Hexachords 2 2007 - 2008 5m 30s
33 Hexachords 1 2007 - 2008 8m-10m
34 Reigen 2006 7m 30s
35 ...gently sweeps 3 2006 3m 30s
36 Leichter Wellengang 2005 8m
37 ...gently sweeps 2005 2m
38 deconstructing Webern 2005 3m
39 while my guitar-player gently sweeps 2005 6m
40 City Lights 2004 ~ 8m
41 Gerte 2004 4m
42 Licht und Schatten 2 2004 ~ 12m
43 Gendhing for Arnie 2003 9m 20s
44 Licht und Schatten 1 2003 - 2004 ~ 9m
45 Over 2002 7m
46 tired heroes 2002 4m 30s
47 ad lib ido 2002 9m 30s
48 mimo 2002 ~ 30m
49 Die Meilen nach Babylon 2001 18m
50 das wissen wir schon 2001 5m
51 clustering echoes 2000 ~ 10m
52 slidings 2000 ~ 5m
53 bimodal model 2000 ~ 12m
54 in modal mode 2000 13m
55 m-oceans 2000 30m
56 Weissagung 1998 ~ 24m
57 Rubikon 1998 - 1999
58 Hexen Hexen 1997 ~ 9m
59 Quatuor de Versailles - für vier Gitarren 1996 13m 20s
60 Erz und Wasser 1996 7m
61 Stille Post 1996 3m 30s
62 Triosonatke - für Blockflöte, Violine und Gitarre 1995
63 Tom-Tom-Tomado 1994 4m
64 Zwei musikalische Graphiken 1993 10m
65 Countupordown 1993 12m
66 13 x von Tieren singen - Kinderlieder nach Texten von Georg Bydlinski 1993 10m
67 Es war die Lerche 1993 6m
68 2 musikalische Grafiken 1993 10m
69 Intermittenzen 1992 8m 30s
70 Age after Cage 1992 8m 30s
71 Gendhing 1992 11m 30s
72 modèle modal 1992 5m 50s
73 Mit Haut und Holz 1991 4m 30s
74 Mit Fug und Links 1991 5m
75 Das kleine ICH BIN ICH - Musik zu dem gleichnamigen Kindertheaterstück 1990 15m
76 Lied von der Arbeit - für vier Musiker mit Werkzeugen 1989 8m 30s
77 Planet Viertelland - Musik-Tanz-Theater für Kinder 1988 41m 30s
78 Lieder mit Ensemblebegleitung 1987 21m
79 Fragen und Antworten - nach einem Text von Erich Fried 1987 4m
80 Fünf Tänze für Gitarre 1986 7m 10s
81 5-4-3-2-1 1986 8m 30s
82 Children's Countdown 1985 13m
83 Suite for Harp 1985 10m
84 Reduktion 1984 8m 30s
85 Holometabolie III 1983 ~ 14m 30s
86 Holometabolie 3 1983 - 1984 14m 30s
87 Il formicaio 1982 2m 10s
88 Suite pastorale 1982 6m 20s
89 Holometabolie I 1982 14m 20s
90 Holometabolie 1 1982 - 1983 14m 20s
91 Regensonate 1981 5m
92 Tombeau pour John Lennon 1981 6m 10s
93 Ein neues Land gebe ich euch - Messe nach Texten von Georg Bydlinski 1980 30m 40s
94 Praeludium und Fuge 1980 7m
95 Drei geometrische Etüden 1980 9m 20s
96 Sweet Little Fifteen 1980 4m 50s
97 Fünf Stücke für Flöte und Gitarre 1980 12m 20s
98 Präludium und Fuge 1980 7m
99 Messe im Kanon a cappella 1979 10m
100 Aria 1977 3m 20s
101 Oktett 1977 13m 40s
102 Sonate für Gitarre 1977 - 1982 9m 40s
103 Im Garten des weißen Elefanten 1976 5m 30s
104 Fantasie Nr. 2 - für Flöte und Gitarre 1976 4m 40s
105 Capriccio 1975 2m 50s
106 Fantasie Nr. 1 - für Flöte und Gitarre 1974 - 1977 7m 15s
107 Advent 1m 40s

General Information

Year of Birth:  1955
Place of Birth:  Mödling
Region of Birth: 
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1970

first self-educated guitar studies and attempts at composing

1974 - 1983

studies in Biology

1976 - 1980

lessons with Robert Brojer

1978 - 1992

music theory and composition

1978 - 1992

music theory and composition

1979

numerous master-classes

1979

numerous master-classes

1979

numerous master-classes

1979

numerous master-classes

1979

numerous master-classes with Melitta Heinzmann, Hubert Käppel, Dieter Kreidler

1980 - 1983
1983 - 1986

academic advanced seminar for music education professions

1986

diploma

1992

degree with distinction in music theory and composition

study of non-European music

Activities

PeriodActivityOrganisationLocation
1989 - 1996

intensive work with non-European music (especially from West Africa, America and Java) and practical application with the Tojomili ensemble

1993 - 1995

Summer Academy Iassy/RO: lecturer

1996 - 2006

Cone Quartet or Cone_3: musician

2000

ever since musician and member

2001

ever since musician and member

2003

ever since cooperation with video-artist Mingo + satke

2004

intensive work with non-European music (especially from West Africa, America and Java) and practical application with the gam-e-lab project

2007

ever since member of Nicht King Kong

works with algorithmic composition and the programming of MIDI environments for live performances

lives and works in Vienna

teacher of guitar, bass, ensemble

involvement at national (ARGE Composers' Forum Mittersill, musik aktuell, techno-train) and international (ISMEAM, Intersonanzen, summartónar) festivals and events

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

Quatuor de Versailles

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Ambitus Quatuor de Versailles

Awards

PeriodAwardCompositionAwarding Organisation
1982

recognition award

1983

recognition award

1984

promotional award

1987

state scholarship for composition

2008

recognition award

Description of Style

Movement is a constant factor, or the will to transform (style). (Poly-) modal structures can sound tonal or atonal and the contrast of tonality and atonality is what makes both interesting.
Playing and other movements of the body (whether audible or silent) are a part of music, and are accounted for and developed into rhythmic pantomime.
The music cultures which originated outside of and independently from Europe are much too precious and interesting and can therefore not be ignored.
The use of mathematic and systematic methods consistently led to computer-assisted algorithmic composition. My role model as a composer is always the universe, which as a result of having few axioms was able to bring about a rich and harmonious cosmos.

 

Wilfried Satke, 2002/2007

Press Reviews

 25. April 1994

 Wilfried Satke availed himself of the fact that the basically old-fashioned harp is only able to play seven notes by bringing its archaic mood to life through the use of differing rhythmic superpositions. Catchy and modernly oscillating sound fields emerge, providing the harp with a surprising luminosity [...]. 

Freie Presse (Christoph Sramek)

 

26. January 1994

Wilfried Satke [...] goes one step further with his "Reduktion". The guitar sounds transform themselves into noise and fall silent; the performers lead the thoughts to an end with pantomime. 

Salzburger Volkszeitung (Robert Wolf)

 

18. February 1993

Satke's "modele modal" with the attractive instrumentation of flute, harp and organ revels on refined harmonies and they give off bewitching modal scents reminiscent of Olivier Messiaen, without becoming dependent on the charismatic sound magician. 

Wiener Zeitung (Edwin Baumgartner)

 

1. February 1993

Wilfried Satke's "Suite für Harfe" was clearly more thrilling. Wilfried Satke, [...] present that evening, weaved an interesting texture from meditative sounds and jazzy "blue-notes". This suite was very well received also due to the brilliant performer Katharina Hanstedt. 

Süddeutsche Zeitung (Thomas Berlin)

Wilfried Satke has brought about a rare contrasting sample with his piece "Gendhing" [...]. The piece seems extremely closed, as all style mediums together serve a uniform musical gesture. [...] This truly comprehensible form is brought to life through the artistic mastery of different 6 to 8 tone modes; the changing between different, partly superimposed metres creates a fleeting though also meditative sound pattern. [...] 

Österreichischen Musik Zeitschrift (Stefan Jena)

Librettist of (Composition)

Contact Person of (Organisation)

Band/Ensemble Member of

Band/Ensemble Member of: 

Contact, Links

Language:  German, English
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