Period | Education | Instrument | Teacher | Education Organisation | Location |
---|---|---|---|---|---|
1972
|
composition | ||||
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 | ||||
1980
|
end of studies without regular completion | ||||
preoccupation with the theoretical works by Ernst Krenek and Herbert Eimert and the writings of Pierre Boulez |
Period | Activity | Organisation | Location |
---|---|---|---|
1976 - 1985
|
Polytechnical Seminar Telfs: teacher | ||
1987
|
organist | ||
1990
|
ever since increased music educational work in the school experiment "music class with musical focus" | ||
1990
|
Pädagogische Hochschule Tirol: teacher for music didactics | ||
1990 - 1991
|
Chorwerkstatt Telfs: choir director | ||
2004
|
ever since principal at the elementary school Oberhofen im Inntal | ||
visiting teacher at Pädagogische Hochschule Edith Stein |
Period | Performance | Composition | Organisation | Location |
---|---|---|---|---|
1972
|
ever since regular performances | |||
1972
|
ever since regular performances | |||
1982
|
IGNM-Festival | |||
1990
|
concert in Paris | |||
1993
| ||||
Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
---|---|---|---|---|
Vocal-ensemble Voices Innsbruck |
Period | Award | Composition | Awarding Organisation |
---|---|---|---|
1977
|
promotional award | ||
1980
|
state scholarship for composition | ||
1993
|
state scholarship for composition |
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
1984
[...] 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.