Franz Schreyer
Instrument: organ

Schreyer Franz


# Title Year of Originsort icon Duration Instrumentation Category
1 Sinfonie - für großes Bläserensemble und Schlagzeug 2004
2 "... an den Teich der Erinnerung geweht" 2003
3 "... in memoriam" 2001
4 "Innsbruck ich muss dich lassen" 1999 - 2000
5 Lamentatio Jeremiae 1997
6 O Jesu, all mein Leben bist du - Partita in 6 Teilen für große Orgel 1996 15m
7 Psalm 130 (129) - für gemischtes 15stimmiges Vokalensemble 1996 4m 30s
8 Vier Lieder nach Gedichten von Juan Ramón Jimenéz 1994 7m
9 Vier Stücke für Klarinette solo 1994 ~ 6m
10 De profundis ... - Konzert für Violoncello und kleines Orchester 1994 - 1996 18m - 20m
11 Haikus - Zyklus für Kammerorchester 1993 8m
12 Laudes creaturarum - Sonnengesang des Franz von Assisi 1990 17m
13 Saxophonie 1989 7m
14 B-A-C-H - Drei kleine Stücke für Cembalo 1988 5m
15 Zyklus nach E. L. Tesar - Fünf Lieder für Mezzosopran und Klavier 1988 8m
16 Concerto for Gunter - Kammerkonzert für Gitarre und zehn Instrumente 1986 - 1988 18m
17 Nachtmusik - Trio für Flöte, Geige und Viola 1985 6m
18 Zyklus 1981 - 5 Stücke für Geige und Klavier 1981 7m
19 Sechs Haikus 1979 - 1982 8m
20 Trio 1978 15m
21 Gesang einer gefangenen Amsel - Musik für Flöte solo nach dem gleichnamigen Gedicht von Georg Trakl 1978 6m
22 Das Lied vom Meer - Adagio für Gesang und Orchester nach Rainer Maria Rilke 1976 15m
23 Kammerkantate nach zwei chinesischen Gedichten 1975 7m
24 Drei Lieder nach Georg Trakl 1974 6m - 7m
25 O Haupt voll Blut und Wunden - Partita für Orgel 1973 15m - 16m

General Information

Date of Birth:  3. October 1955
Place of Birth:  Kufstein
Region of Birth: 
Country of Birth: 


PeriodEducationInstrumentTeacherEducation OrganisationLocation


1974 - 1976

Pädagogische Hochschule Tirol: choir directing courses

1974 - 1976

Pädagogische Hochschule Tirol: choir directing courses (Howard Arman)

1974 - 1976

Pädagogische Hochschule Tirol

1974 - 1976

Pädagogische Hochschule Tirol, Innsbruck: lessons with Bernhard Handel


end of studies without regular completion

preoccupation with the theoretical works by Ernst Krenek and Herbert Eimert and the writings of Pierre Boulez


1976 - 1985

Polytechnical Seminar Telfs: teacher




ever since increased music educational work in the school experiment "music class with musical focus"


Pädagogische Hochschule Tirol: teacher for music didactics

1990 - 1991

Chorwerkstatt Telfs: choir director


ever since principal at the elementary school Oberhofen im Inntal

visiting teacher at Pädagogische Hochschule Edith Stein

Performances (Selection)


ever since regular performances


ever since regular performances




concert in Paris



PeriodAwardCompositionAwarding Organisation

promotional award


state scholarship for composition


state scholarship for composition

Description of Style

First of all, influences of the Viennese School, Olivier Messiaen, Pierre Boulez, Luigi Nono and Hans Werner Henze. At the moment I prefer the free melodic and harmonic practice with dodecaphony. My principles are expression, sound richness, colour richnes and harmonic formal structure of the compositions. I reject serial and aleatory production of music, as well as slavish academism.
The aim of my work is to write music, which obtains a maximum of diversity and impact with the most economical means, which agitates, affects emotionally and opens your ears. My concern is a very transparent, fine spun, polyphonic, rhythmic set of highly differentiated manners of movement, full of expression. Everything has to serve the expression and should not become an end in itself. I love movement structures for two and three voices (whether chamber music, organ or vocal music), as well as extremely dense, highly polyphonic and polyrhythmic structures. [...]
I think nothing of politically active and manipulative music - but of music that serves the people, music that serves humanity, dealing with the suffering of the people. The work 'De Profundis ... ' [...] includes this intention. [...] Literary religious contents and their relations are the source of my encouragement and inspiration. Apart from that, it should be noted that it is not the task of the composer to write or talk about music, but to write music.


Franz Schreyer 1994/1996

Press Reviews


[...] he always composes polyphonic, even in unanimity. [...] When pointed out, one could perhaps also notice something constructed. For example, he often starts with central tones, which lead through the whole work. But the leveling off to a sound is like a symbol. Otherwise, he works with limited material, without the construction being intrusive. The impression remains sensitive and flexible. [...] [Influences] from Webern, Alban Berg, perhaps a kind of mixture. The style does not interest him, but rather the intellectual demand. His music is based on philosophy, [...] it has strong meditative values, is a language. It is about making a statement, about sound gestures. The expression ranges from delicate lyricism to outspoken drama. [...] He is a friend of aphoristic briefness. The shorter, the more compressed, the better. [...]

Othmar Costa im Gespräch mit Gerhard Koch, in: Gerhard Koch: Franz Schreyer. - Ms., Innsbruck 1984, S. 301 ff.

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