Werner Schulze
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Instrument: bassoon

Courtesy of W. Schulze ©

Schulze Werner

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 INTRADA 1666 2016 2m 30s
2 PASSIO 2015 55m
3 Franziskus-Meditationen 2012 19m
4 ISIS 2009 20m
5 Holzwege - Gedanken für mitteltönige Orgel 2008 8m
6 Farben und Zeiten - Bekenntnisse für Klavier 2008 32m
7 Poesie des Augenblicks 2008 7m 15s
8 Carmina 2008 12m
9 Sketches & Catches II - Paradieslieder für mittlere Stimme und Bläser 2007
10 Concerto Roberto 2007 24m
11 MaulTrommelGesänge - (Feuer, Amboss, MaulTrommel & TischitzTschiritsch) 2007
12 Il cantico di frate sole 2007 - 2008 23m
13 Cantico di Frate Sole 2006
14 Oidipus Tyrannos - Schatten_Schau_Spiel (Wayang kulit _ Drama) 2005 ~ 2h 20m
15 Färöische Chorgedichte - für gemischten Chor 2005 ~ 10m
16 Kalkül - Konzert_Theater über Macht und Intrigen in der Wissenschaft 2004 - 2005 ~ 2h 10m
17 Fibonacci Haiku - für Fagott 2004 ~ 8m
18 Anchibasíe - Tanz_Musik_Sprach_Werk nach Fragmenten von Heraklit und Empedokles 2003 - 2004 ~ 1h 15m
19 ein neger mi - im regen nie 2003
20 Ansichtskartengrüße (Suite Indonesia) - für Streicher (Streichsextett) mit Klavier 2002 ~ 12m
21 Sokrates - Stationen_Musik_Theater / Drama mit Musik 2001 - 2002 ~ 2h
22 Das Sonnenlied des heiligen Franz von Assisi 1999
23 LLULL - El Misteri del Logos 1998 - 1999 ~ 55m
24 Cantico di Frate Sole - Das Sonnenlied des Heiligen Franziskus von Assisi - für Sopran, Violoncello und Klavier 1998 ~ 20m
25 Drei Miniaturen für Bläserquintett 1997
26 Zwischenzeit für zwei Schachspieler - 16 Miniaturen für Klarinette und Schlagwerk 1997 - 1998 ~ 20m
27 Suite Indonesia - für Klavier, Karinette, Fagott (Horn) und Violoncello 1995 ~ 12m
28 Logos - für Klavier, Klarinette (Es, B), Fagott und Violoncello 1994 ~ 20m
29 Sketches & Catches I - Paradieslieder für 1 bis 5 Violoncelli und 1 bis 3 Baritone 1994 14m
30 Konzert für Paasdorf - 10 Stücke für doppeltes Blasorchester und 12 Dia-Projektoren 1993 ~ 25m
31 Der Sonntagskäfer - für Klavier zu 4 Händen 1993 ~ 15m
32 Reise nach Kleinbritannien - für Klavier 1993 ~ 11m
33 Fanfare 1993 ~ 30m
34 Ahnung - Choral-Meditation II für 12 (13) Saxophone 1992 ~ 10m
35 Contrafagottophonia - Monolog für Kontrafagott 1992 ~ 7m
36 Finale für Englischhorn und Klavier 1990
37 Sonatina Canonica - für Violoncello und Fagott (oder 2 Violoncelli, 2 Fagotte, 2 Oboen, 2 Saxophone) 1990 ~ 9m
38 Der Untergang des römischen Imperiums - Musik zur Beamten-Komödie von Alois Haider 1988
39 Beamtensymphonie in moll-dur - Civil Servants' Symphony in minor-major - Konzertsuite aus "Der Untergang des römischen Imperiums" 1988 - 1989 ~ 24m
40 Kammersymphonie für Zwio 1987
41 Deux Mouvements - Trio für Klavier, Klarinette (Violine) und Violoncello 1986 8m
42 31 Variationen "Aus Stein gehauen" - für Klavier 1986 ~ 2m 30s
43 Trio für Zwio - Thema ohne Variationen für Heckelphon (Fagott) mit Kontrafagott und Klavier 1985 4m 30s
44 Hoffnung - Choral Meditation I für Bläseroktett 1984 ~ 4m 30s
45 Austro-Polka - für Klavier mit Begleitung eines konzertierenden Kontrabasssarrusophons 1984 ~ 4m
46 Aulophonia - 12 Konzert-Etuden für Oboen (oder Saxophone) 1984 18m
47 3 Minuten Stücke - für 2 Trompeten, Posaune und Tuba (Posaune 2) 1984 ~ 3m
48 Double Fanfare 1983 30m
49 Metamorphosen - für Bläserquintett 1982 ~ 20m
50 Variationen ohne Thema - für Orchester 1982
51 Heckelphonia - für Heckelphon solo 1982 ~ 6m
52 Variationen ohne Thema - für Klarinette und Klavier 1981 - 1982 ~ 14m
53 Märchenbilder 1981 - 1982
54 snúningur - Fünf Bilder für Orchester 1980 ~ 24m
55 Abgesang - für Bläserquintett 1980
56 Contrafagottophonia - dialog for whales and contrabassoon 1979 8m
57 Des Knaben Englischhorn - Liedzyklus für Bariton, Englischhorn und Klavier 1979 ~ 12m
58 Transplantazioni - Drei Duos für Trio (Flöte, Altsaxophon und Fagott) 1978 ~ 11m
59 De Architectura - Serenade für sieben Bläser 1976
60 Klaglied des Schwans - für Baritonoboe (Heckelphon, Englischhorn) und Klavier
61 Drei Stücke für 3 mal 3 Bläser - Bearbeitung von op. 5/6, op. 6, op. 7 12m
62 Mödlinger Tänze - (Ludwig van Beethoven), Bearbeitung 12m
63 Partita Berdlersgarn - (J. Druzecky), Bearbeitung 10m
64 Menuett und Finale D 72 - (Franz Schubert), Bearbeitung
65 Säbeltanz - (Aram Khatchaturian), Bearbeitung
66 Schön Rosmarin - (Fritz Kreisler), Bearbeitung
67 Konzert für Trompete - (Jan Krtitel, Jiri Neruda), Bearbeitung 15m
68 Säbeltanz - (Aram Katchaturian), Bearbeitung für 12 Saxophone 3m
69 Bilder einer Ausstellung - (Modest Mussorgskij), Bearbeitung für 12 Saxophone 24m

General Information

Year of Birth:  1952
Date of Birth:  10. June 1952
Place of Birth:  Wiener Neustadt
Nationality: 

Werner Schulze was born in Wiener Neustadt (Austria) in 1952. After having graduated from the University of Vienna (Philosophy) and the University of Music and Performing Arts Vienna (Bassoon, Harmonics), he was truly fortunate in finding a way to combine his academic studies: Schulze is a composer, scientist and university professor (International Centre of Harmonics, University of Music and Performing Arts Vienna). In 1995, he was a visiting professor at the Institut Seni Indonesia in Yogyakarta (Indonesia).  The cooperation since 2010 with Teater Tetas is a sign for his continuing commitment to the country. 

 

His compositions include orchestral, choral, solo and chamber works as well as pieces for pedagogical purposes and music for (his) poetry and prose. Since 1998, he has placed special emphasis on philosophically and theologically oriented artistic synthesis. This concept, referred to collectively as “Philosophy on Stage” and “Theology on Stage”, can be regarded as the essence of his creative work.

 

Lively active with international presentations and publications, especially in Asia and Europe, the performances of his compositions have been put aside. He has stepped down as a chamber musician after more than 20 years of performing. As he is knowledgeable of Faroese culture, and promotes the music life on the Farao Islands, he has developed a close bond to the Faroe people.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1968 - 1974

lessons with Karl Öhlberger

1968 - 1974

harmony

1970 - 1976

philosophy (Leo Gabriel), psychology, accadistics

1970 - 1976

conferral of degree of philosophy doctor

1977

private composition studies

Activities

PeriodActivityOrganisationLocation
1973 - 1988

Austrian Wind Quintet: bassoonist, 250 concerts in 23 countries in Europe, Middle East and South America, various radio-shows and recordings

1974 - 2014

40 years teaching at the "Internationales Harmonik Zentrum"

1976

since 1976: 21 stays on the Faroe Islands: lectures, concerts and acting consultant in regard to the development of the Faroese music scene

1977

Österreichisch-Ungarisches Bläserensemble (wind quintet of the Hungarian State Opera in Budapesttogether with the Lower Austrian Wind Quintet): foundation and membership

1978

Verlag Aschendorff, Münster: first book

1983 - 1984

cooperation with Bernd Moosmann, Waiblingen, when he was developing and building the world's deepest contrabassoon

1983 - 1984

inputs given to Josef Mertin when he was building the middle-tone organ (organo di legno) with double positions dis/es & gis/as

1985 - 1996

Logos Quartett: bassoonist

1985 - 1996

Duo Zwio: contra-bassoonist

1992

professorship (Institut für Harmonikale Forschung, since 2002 known as Internationales Harmonik-Zentrum)

1995

Institut Seni Indonesia, Jogjakarta/ Indonesia: guest lecturer (composition, music theory, brass ensembles)

1996

since 1996: member of the "International Association of Greek Philosophy" (IAGP), Athens

1997

chairman

2001 - 2007

Member of the Greekm choir DITHYRAMBOS

2002

since 2002: Honorary Chairman of the Austro-Indonesian Society

2007

since 2007: Honorary Member of the "International Society for the Interdisciplinary Study of Symmetry" (ISIS), Melbourne

2012

artistic dirctor of "Teater Tetas" in Jakarta

2014

artistic and scientific lectures, Universitas Kristen Satya Wacana Salatiga

single publications, over 60 contributions in anthologies

159 lectures in 26 states
Main topics: philosophical theology, heraclitean-pythagorean Platonism, architectural theory, theory of music, contrabassoon

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

various performances in: Vienna, St. Pölten, Krems, Eisenstadt, Basel, Maldon, Great Britain, Oyrabakki, Faroe, Berlin, Trier, Trondheim, etc.

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Ensemble saXII

commissions by Carole Dawn Reinhart

Awards

PeriodAwardCompositionAwarding Organisation
1977

promotional award for composition

1978

Theodor Körner promotional award for science

1981

International Composition Competiton Vienna: special award for

1981

promotional award for the composition

1982

Theodor Körner promotional award for composition

1983

promotional award

1983

promotional award for science

1990

First Annual Vienna Modern Masters Recording Award: special commendation for

1990

Grand Prix International d'Arts et Lettres Marseille: Diplôme d'Honneur

1994

Theodor Körner promotional award for composition

1996

Composition Competition Swingfonia: 3rd prize for

1998

1st prize for

2002

recognition award

2004

Djerassi Resident Artist in Woodside/California

2014

cultural award

Description of Style

Composing: To be close to the stress ratio of the sounds, to experience emphasis. To hear the sounds in their durations. Drawing timbre. Feeling form.

 

Requirements and target: I believe in the power of the notes, be they integrated in the immediacy of joy of life, in the liveliness of spiritual design or in religious ordinance. I believe in Bruckner's creation of sound as well as in the gamelan sounds of Javanese sultans' palaces, I believe in the power of the notes in original cultures as well as in the sound realm of nature.

 

Matter and mind: Whether I compose eleven-tone music or I play with the umpteenth Viennese school never interested me. My thinking, actions and beliefs do not determine the constructs of my mind or the experimenting of restless nervousness, but the power of expression of the spirit and the joy of the heart. The overlapping of thinking, acting and believing, in absoluteness and loyalty, emotion and passion.

 

Wholeness: It is hardly astonishing, that the mentality of Platonism and Neo-Platonism are among my most important teachers. Not only in my lifestyle, but also in the composing of sounds, I am guided by the wholeness of pleasures, intellectual power, the ability to reason and exaltation about God. This wholeness stands beside artistic imagination, creating freedom and truth.

 

For me, in the centre of the act of creation is the revelation of what lies within. I have written pieces which are primarily about me as a composer, there is nothing else. I have written pieces which are not about the composer but about what lies behind things, be it a wish, an assignment or a person. And I have written pieces about a further level of what lies behind things, which are mainly transcendental and transcending the reason for being of the piece itself, simultaneously:

 

The logo Mysterion LLULL belongs to this group, because here, it is not about the composer, and the character of Ramon Llull as "central person" is secondary. It is much more about the copying of this truth of life which also served Llull: God's sphere of influence, illuminating through the experience of his principles regardless of whether these experiences happen in a logical discursive way or if they show themselves as a searching approach towards the rich language of the unspeakable, as it suits the mystic tenor.

 

SOKRATES, a drama with music, also belongs to this type of composition. The composer is not important, but Socrates is, though he is less important in relation to the theme of the piece, the conflict between insight and power.

 

With Tanz_Musik_Sprach_Werk Anchibasíe I broke new ground.

 

Werner Schulze, 2006

Press Reviews

7. May 2005
about: Kalkül - Konzert
Neue Zürcher Zeitung
 

 

15. May 2005
Theater über Macht und Intrigen in der Wissenschaft
Schulze's music deals with the dichotomy between the frame and the internal story. The dialogues of both playwrights are contained in a baroque gesture resembling Händel. With the music played between the scenes, you feel the breath of contemporary music down your neck; it is very rational and also radiates sensuality. This is because the melody fits the text well due to its rhythmic precision, the leitmotifs of its melodies, the memorable connections between instruments and figures, as well as occasional quotes.
Niederösterreichische Nachrichten
 

 

1996
The highlight of the concert was reached by Werner Schulze's "Explosioni", convincing through his ideally formal and strictly efficient development of the material.
American Record Guide
 

 

1995
The strongest impression was that of "Explosioni" from the "Metamorphosen" by Werner Schulze.
Ordet, Kvartalsskrift for sprog og kultur
 

 

1994
about: Metamorphosen - für Bläserquintett
What is presented to us shows complete mastery with a cheerful bit of humour, which lessens the impression of disharmony in some of the sound outbursts.
Neue Musikzeitung

Surely the most interesting piece of this evening was "Contrafagottophonia" by the Viennese composer Werner Schulze. A fascinating duo of humpback whales. Schulze wishes to have this piece understood as a "conservationist" composition and as a token of love to this "highly musical" species.
Bizarre, authentic "Beamtensymphonie in Moll-Dur": Schulze touches, in this thoroughly composed tenure of office of the soul and the art of living, precisely all the weaknesses of human dulling which helped the Nazis (everywhere) commit horrors with no trouble.

 

10. September 1994
Theater über Macht und Intrigen in der Wissenschaft
The brief dialogue with flashbacks gains colour and contour through the music. It sometimes sounds "truly" pseudo-baroque, then modern again, deliciously rich in quotes (sometimes somewhat striking), rhythmically accentuated and closely related to the text.... The frequent, fluent transition from speech to song and cantilena and back is appealing.
Bergens Avisen
 

 

9. September 1994
about: Kalkül - Konzert
Bergens Tidende
 

 

19. March 1994
about: Logos
Bold and personal music.
Kleine Zeitung Graz
 

 

15. October 1993
The thrilling piece "Logos" demonstrates that Schulze masters both the classical and even more the modern genres, the patterns of sound and harmony, ethereal moods to cunning humour.
Adresseavisen
 

 

2. May 1989
The standout piece is Werner Schulze's Explosioni, built from a dramatic alternation of violent, cluster filled outbursts with quiet, expressive lyrical statements.
Die Presse, Vienna

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