Wolfram Schurig
Subgenre:
Instrument: recorder

Schurig Wolfram

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Concerto for violin - for violin and 19 instruments 2016
2 capriccio per goldner 2016 - 2017
3 parcours 2013 - 2014
4 gesänge von der peripherie 2012 - 2013
5 noten )jahre( - in erinnerung an james avery - for four player 2009 ~ 11m
6 tintoretto: erste übung - for violin solo 2008
7 ...vom gesang der wasserspeider... - for piano and ensemble 2008 - 2010 17m
8 blick:verzaubert 2005 - 2007
9 Ultima Thule - für fünf Ensembles 2003 - 2004 ~ 20m
10 pfad 2002
11 common landscapes 2002
12 selbstlos - für Klavier 2001
13 ... in nomine ... - 3x3 Verwünschungen und ein Abgesang 2001
14 A.R.C.H.E. 2000
15 Augenmaß - für Kammerorchester 2000 ~ 15m
16 GRAVUR - für Streichtrio 2000 - 2001
17 Battaglia - für obligate Posaune und Kammerensemble 1999
18 Zweites Streichquartett - für obligate Violine und Streichtrio 1998
19 Hoquetus 1997 25m
20 Décalage - für Ensemble 1997
21 SCHLEIFE SIMULTAN SOLO 1995 11m
22 MAUERWERK 1994 7m
23 hot powdery snow - chamba noiz wet covas-N-sonic death 1994 15m
24 CRWTH 1993 11m
25 V) ENDE. 1993 11m
26 ex cathedra - ex tempore - ex machina 1993 - 1995 15m
27 I) die stimme der dunkelheit spricht im diskant 1992 4m
28 II) mein Herz: ein Bunker 1992 6m - 8m
29 III) instants enchaînés 1992 9m - 10m
30 IV) Etwas über Unerbittlichkeit 1992 2m 40s
31 Die Ausschließlichkeit der Finsternis 1992 - 1993 ~ 34m
32 Vorläufiges Ende 1991
33 BLENDUNG/LICHTSTURZ 1990 11m
34 GESPINST 1990 ~ 10m
35 piece de concours 1989
36 (ENT?)FESSELUNG 1989 6m
37 energetic study 1987 10m
38 ... für immer ... 1987 - 1989 13m
39 per due - Inferno - für einen Gitarristen 1986 7m
40 Annäherung 1986
41 ... beat it! 1986 3m 30s
42 transAPPARENCE

General Information

Year of Birth:  1967
Date of Birth:  30. December 1967
Place of Birth:  Bludenz
Region of Birth: 
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1983
1983
1987

school leaving certificate

1987 - 1989

music education

1989

diploma

1989 - 1993

applied music (Kees Boeke)

1989 - 1993

composition (Hans Ulrich Lehmann)

1992 - 1995

postgraduate studies in composition

1993

diploma

Activities

PeriodActivityOrganisationLocation
1992 - 1994

teaching coach for methodology and practice

1993

guest lecturer

1995 - 2006

artistic director

1998 - 2006

initiated cooperation with the Society for Music and Aesthetics and organized several symposiums for the festival

2003 - 2004

guest lecturer

2007

guest professor

2010

guest professor

founding member of various ensembles (Tivoli Consort, les flutes illustres, etc.)

numerous concerts and broadcast productions as a recorder player with a focus on contemporary repertoire

cooperation with ensembles such as Klangforum Wien, ensemble recherche, Ensemble Avance Köln, as well as with various other performers

Awards

PeriodAwardCompositionAwarding Organisation
1992

award winner in composition competition

1993

scholarship

1993

invitation

1994

Fördergabe für Wissenschaft & Kunst

1994

state scholarship for composition

1996

Plöner Hindemith award

1998

promotional award

2004

composition award

2004

scholarship for composition

2008

promotional award

Description of Style

When I seriously started with composing  in the late eighties, the musical modern had long resigned her sole claim of representing the (utopian) counterpoint in contrast to a more traditional conception of music, not only because the long nurtured image of the enemy had gone lost, as the pop cultures with their warehousing aesthestics have contributed their part to the suppression of the reference-model of more conservative-representative terms of music. This more or less chaotic situation gave me only few reason for frustration but turned into motivation and challenges for my compositional work. This was and still is less about developing a personal style or about the consolidation of a binding >musical language<, whose vocabulary - once it is established - one has to work through with almost self-referential assiduity. Rather, it seems important to me to find a way which makes it possible that musical perceptions and - based thereupon - artistic experiences may become possible but different looking everytime and in the best case always give the feeling of innovation.

 

Wolfram Schurig

Press Reviews

11. September 2004

Schurig's composition "Ultima Thule" impressed the jury due to its sophisticated sound pattern based on a complexly designed score. The risky, visionary approach in Schurig's work and his uncompromising attitude were what in the end influenced the jury's decision.

Vorarlberger Nachrichten

 

7. August 2003

The presentation of the programme of the portrait concert with Wolfram Schurig finally made it possible, also in Vorarlberg, to hear the internationally acclaimed composer and some of his works in concentrated succession. Thrilling listening experiences await you from the start, as all works and their performances share a striking inner unity. An elaborate and witty design underlies the music, which is not so much an invitation to consume as it is to challenge and sharpen one's awareness.

Vorarlberger Nachrichten (Silvia Thurner)

Performer of (Composition)