Alexander Stankovski
Subgenre:

Courtesy of A. Stankovski ©

Stankovski Alexander

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 In diesem Augenblick - Szenisches Hörspiel 2016 - 2017
2 Catabasis 2014 8m
3 Dream Journal 2014 7m
4 A House of Mirrors III - for string quartet 2013 ~10m
5 Cena Povera 2012
6 A House of mirrors II - für Flöte, Klarinette, Schlagzeug, Akkordeon und Streichtrio 2010 ~ 9m
7 Abbilder - for flute solo (also piccolo flute and bass flute) 2009 ~6m
8 Stop and go 2008 ~ 2m
9 A House of mirrors I - for bass clarinet and acoordion 2008 ~5m
10 Three pieces for children - for Violoncello 2008 2m 30s
11 Three pieces for children - for violin 2008 2m 30s
12 Das Rätsel eines Tages - for flute, harp and string trio 2007 ~ 20m
13 Gugging-Lieder - für Mezzosopran, Sprecher und 4 Instrumente 2007 ~ 12m
14 Ein Pfau flog nach Südost - (Linien IV) 2006
15 Frescobaldi da lontano - für Klavier 2006 ~ 20m
16 Etudes sur la mer - for flute, audio tape and live-electronics 2006 10m
17 To navigate is to construct 2005 ~ 25m
18 Linien III - für Bassklarinette und Posaune 2004 ~ 14m
19 Landschaft mit Flöte II - for flute and electronics 2004 15m
20 11 Räume - für Akkordeon, Violine und Kontrabass 2003 ~ 11m
21 Courante - for solo violin 2003 10m
22 bei liebesirren, oper 2002 20m
23 Linien II - für 2 Klarinetten 2002 ~ 15m
24 Landschaft mit Flöte I - for flute and electronics 2002 - 2003 ~ 19m
25 Zwei Stücke für junge Spieler - für 10 Instrumente 2002 ~ 6m
26 Voices, syllables 2002 ~ 6m
27 Fächer - für Flöte, Klarinette, Violine, Violoncello und Klavier 2002 ~ 5m
28 lieder: um kreisen um formen 2001 ~ 15m
29 Räume I-IV - für raumverteiltes Ensemble und Elektronik 2000 ~ 20m
30 Pessoa 1999 - 2002 ~ 20m
31 Dickicht/Lichtung - für 11 Instrumente 1999 ~ 10m
32 Streichtrio 1998 - 2007 ~ 13m
33 Saxophonquartett 1998
34 Spiegel-Maske-Gesicht 1997 ~ 15m
35 Linien I - for alto flute and Tenor Tenor Trombone (Alto Trombone ad lib.) 1996 ~ 7m
36 Biographie - für Göstha Neuwirth 1996 ~ 1m 30s
37 Mêle Moments 1995 ~ 15m
38 Circum 1995 8m
39 Duo - für Tenorsaxophon und Klavier 1995 - 2000 ~ 6m
40 sätze ansätze 1995 ~ 15m
41 Vier Stücke - für (Baß-)Klarinette, Violoncello und Klavier 1994 ~ 10m
42 Nähe/Distanz 1993 ~ 18m
43 Saxophonquartett 1993 ~ 10m
44 quasi improvvisando 1992 8m 30s
45 Gegenbilder - Variable Instrumentation, for 1-7 Instruments 1992 - 1993 5m - 17m
46 Informel - für Violine und Klavier 1990
47 Klaviertrio - Äußerungen zu Brahms 1990 - 1993 ~ 10m
48 Unruhe ist in den Gräsern - Elektronische Komposition nach Texten von Thomas Bernhard ("In hora mortis") 1989 7m
49 Essay - für Klarinette solo 1989 5m
50 Kristallianen - for 16 solo strings 1989 - 2006 ~9m
51 Proteus - für zwei Violinen 1988
52 In Bewegung - Ballett 1987
53 Wiener Initiativenwalzer (oder: Wie ein feuriger Beginn gemächlich verschleppt wird)

General Information

Year of Birth:  1968
Date of Birth:  22. February 1968
Place of Birth:  Munich
Country of Birth: 

 

Born on 22 February 1968 in Munich, Stankovski has been living in Vienna since 1975. He studied composition and music theory at the University of Music and the Dramatic Arts in Vienna and took up further studies under Hans Zender in Frankfurt. Teaching posts at the Universities of Music in Vienna and Graz. Post-doctoral lecture qualification in composition in 2006. Several scholarships and awards. Commissions by the Landestheater Salzburg, the Alban Berg Foundation, the Klangforum Wien, the Austrian Broadcasting Corporation and the Wiener Konzerthausgesellschaft, among others. Performances at international festivals (e.g. Wien modern, Hörgänge, Musikprotokoll im Steirischen Herbst, Bludenz Days of Contemporary Music, Schönberg Festival Duisburg, Music Biennial Berlin, Frankfurt Festival, Moscovian Autumn, Musica Nova Sofia).

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1984 - 1990

music theory

1984 - 1990

composition

1990

diploma

1990 - 1994

composition

composition course

composition course

Session de Composition: composition course

Stage d'été – composition course

mehrere Kompositions- und Analysekursen u.a. bei Karlheinz Füssl, Ulrich Siegele, Karlheinz Stockhausen, Brian Ferneyhough und Gérard Grisey

Activities

PeriodActivityOrganisationLocation
1992 - 2000

organiser and music journalist

1995 - 1996

ISCM Austria: publishing the music magazine "ton" (in cooperation with Clemens Gadenstätter)

1996 - 1998

Neue Musik aus der Nähe: initiator and artistic director of the cycle of performances (together with Germán Toro-Pérez)

1996 - 2004

teacher (composition), assistant to Michael Jarrell

1998

teacher (counterpoint and analysis)

1999

artistic director of the 12th Langen Nacht der Neuen Klänge at the Vienna Konzerthaus (together with Renald Deppe)

2006

postdoctoral lecture qualification (composition)

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1993
1995
1995

 

1996
1997
1999

portrait concert, performace of severel works

2000
2002
2002
2003
2004

performance of several works within the context of Music Austria 2004

2004

world premiere

2007
2007
2007

world premiere

Awards

PeriodAwardCompositionAwarding Organisation
1992

Busoni promotional scholarship

1993

work scholarship

1995

state scholarship for composition

1997

work scholarship

2000

composition award for

2001

promotional award

2004

promotional award

Description of Style

To me composing means taking decisions, drawing lines, defining spaces. I cannot compose without a previously defined room for decisions. The definition itself, the limiting of possibilities for me, changes from one piece to the next, within a piece from one movement to the next, between layers or between phrases. I am interested in contrasting spaces which have been defined differently. It is not about communicating opposites, it is about experiencing incommensurability.

Alexander Stankovski 2002

Press Reviews

29. November 2004

Alexander Stankovski delivered a most exciting piece with the premiere of "Etudes sur la mer", realized together with flutist Sylvie Lacroix and electronic artist Florian Bogner: Between the envelopes of the surging sea, which were filled with electronic noise, "authentic" concrete material and virtuosic sounds of the flute the polarity of natural and artificial sounds appeared to be surprisingly well studied and thwarted.

Der Standard (Andreas Felber)

14. February 2003

Clearly contrasting and characterising each other are the "11 Räume" of the piece of the same name for violin, accordion and double bass by Alexander Stankovski.

Salzburger Nachrichten (Heinz Rögl)

1999

He was a "dividual", says Alexander Stankovski (1968), and thus points to the abundance of heterogeneous effects, the sum of which he wants to be understood as the basis of his compositional self. Refering to this, the portrait concert of the ensemble 'the series' under the lead of Simeon Pironkoff on the 10th of June at the Funkhaus (jointly organized by ORF and Jeunesse) should have contrasted the real or putative differing musical positions of Stankovski and have paraphrased his artistic identity. However, overally spoken, the stylistic lineswhich have be been put around the quasi necessarily omitted center seemed to be unexpectedly compact - this was of course no disadvantage.

ÖMZ - Österreichische Musikzeitschrift

Teacher of (Person)

Band/Ensemble Member of

Band/Ensemble Member of: 

Contact, Links

Address:  Mühlberg 22, 3400 Vienna, Österreich
E-Mail:  alexander [dot] stankovskiataon [dot] at
Links: