Courtesy of E. Urbanner ©

Urbanner Erich

Compositions

# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Gruppen im Dialog für acht Spieler 2012 14m
2 Polyphonie für Orgel 2012 17m
3 Nocturne - for piano 2010
4 Konzert für Viola und dreizehn Spieler 2010 18m
5 Kammerkonzert - für zwölf Instrumente 2009 18m 30s
6 Ballad - for piano 2008 12m
7 String Quartet No.6 2008 20m
8 Sieben Klavierstücke für Fortgeschrittene 2007 11m
9 Ein-Fall für Zwei - Duo for flute and violoncello 2007 10m
10 Reminiszenzen - für Violoncello solo 2005 13m
11 Begegnungen für großes Orchester 2005 - 2006 20m
12 "… drum greif ma zua" - für Ensemble 2004 ~ 5m
13 Jodler-Tanz - für Ensemble 2004 4m
14 Duo für zwei Gitarren 2003 11m
15 Konzert für Akkordeon und neun Instrumente 2003 - 2004 17m
16 Piano Concerto No.4 2002 - 2003 21m
17 String Quartet No.5 2001 21m
18 Vier Moritaten 2000 16m
19 Entfaltung - für Violoncello und Klavier 1999 10m
20 Orgelwerk 1998 - Suite in vier Sätzen 1998 12m
21 Multiphonie - für großes Orchester 1998 - 1999 20m
22 Quartett für Violine, Klarinette, Tenorsaxophon und Klavier 1998 13m
23 ... apropos Orgelpunkt ... 1998 8m
24 Solo - für Klarinette in B 1997 10m
25 Formen im Wandel - Klavierstück 1996 8m
26 begegnung - variation - wiederbegegnung - für zwölf Instrumentalisten 1996 17m
27 Drei Sätze - für gemischten Chor, Soli und Violoncello nach Gedichten aus "Die Niemandsrose" von Paul Celan 1995 22m
28 Phantasiestück für Orgel 1995 16m
29 Die Tochter des Kerensteiners - Vier Szenen für Musik nach dem Fragment eines unbekannten Dichters aus dem 12. Jahrhundert 1994 30m
30 Zyklus - für Orgel 1993 13m
31 quasi una fantasia - Sechs konzertante Stücke für 15 Instrumente 1993 19m
32 Duo - für Akkordeon und Kontrabass 1992 12m
33 Johannes Stein oder Der Rock des Kaisers - Monodram für Sprecherin, 4 Männerstimmen und Orchester 1991 1h 5m
34 Viertes Streichquartett 1991 15m
35 ... in Bewegung ... - Trio in zwei Sätzen für Violine, Violoncello und Klavier 1990 20m
36 Concerto - für Saxophonquartett und Streichorchester 1989 18m
37 Concerto XIII - für Saxophonquartett und 9 Spieler 1989 18m 5s
38 Dreizehn Charakterstücke - für Klavier 1988 23m 25s
39 Ninive oder Das Leben geht weiter - Oper in 2 Teilen (7 Bildern) nach dem "Buch Jona" 1987 2h
40 Trio mobile - für Flöte, Viola und Violoncello 1987 12m
41 Acht ächte Tyroller Liader - für Sopran, Tenor und Kammerensemble 1985 30m
42 Doppelkonzert - für Flöte, Klarinette und Orchester 1984 20m
43 Emotionen - für Saxophonquartett 1984 9m
44 Ballade - für Gitarre solo 1982 11m
45 Sinfonia concertante - für Kammerorchester 1982 20m
46 Requiem - für 4 Soli, gemischten Chor und Orchester 1982 ~ 1h
47 Nonett 1981 1981 11m
48 Variation - für Klavier 1981 2m
49 Konzert für Violoncello und Orchester 1981 22m
50 Sonata brevis - für Kammerorchester 1980 7m
51 Arioso - Furioso - für Violoncello und Klavier 1980 12m
52 Sechs Phan-Tasten und zwei Schlagzeuger 1980 13m
53 Sinfonietta 79 - für Kammerorchester 1979 16m
54 Quartetto concertato - für Streichquartett und sechs Streichduos 1978 14m
55 Nachtstück - für Blockflötenensemble 1978 8m
56 Concerto für Alt-Saxophon in Es und zwölf Spieler 1978 - 1979 14m
57 Takes - für Klaviertrio 1977 16m
58 Klavierkonzert 76 1976 18m
59 Pastorale 1975 18m
60 Retrospektiven - Vier Stücke für großes Orchester 1974 - 1975 18m
61 Sextett - für Flöte, Oboe, Fagott, Geige, Cello und Cembalo 1973
62 Burleske - für Flöte und Orgel 1973 13m
63 Kontrabasskonzert 1973 22m
64 Concerto Wolfgang Amadeus - für zwei Orchester, drei Posaunen und Celesta 1972 14m
65 Drittes Streichquartett 1972 8m
66 Solo - für Geige 1971 7m
67 Lyrica - für elf Instrumente 1971 8m
68 Violinkonzert 1971 20m
69 Kontraste II - für Orchester 1970 8m
70 Improvisation III - für zehn Instrumente 1969 15m
71 Improvisation IV - für Bläserquintett 1969 7m
72 Thema, 19 Variationen und ein Nachspiel - für Orchester 1968 12m
73 Fünf Stücke - für Flöte 1967 8m
74 Vier Stücke - für Viola 1967 7m
75 Rondeau - für großes Orchester 1967 17m
76 Adagio - für Klavier 1966 10m
77 Acht Aphorismen - für Flöte, Klarinette und Fagott 1966 8m
78 Improvisation II - für zwei Klaviere 1966 9m
79 Concerto - für Oboe und Kammerorchester 1966 13m
80 Dialoge - für Klavier und Orchester 1965 18m
81 Etüde - für Bläserquintett 1965 4m
82 Serenade - für Streichorchester 1965 12m
83 Schlag- und Klangfiguren 1964 8m
84 Symphonie in einem Satz 1963 20m
85 Der Gluckerich oder Tugend und Tadel der Nützlichkeit - Musikalische Burleske in drei Akten nach Guy de Maupassant 1963 1h 44m
86 Das Ahnenbild - für Sopran und Klavier 1961 8m
87 Concertino - für Orgel und Streichorchester 1961 12m
88 Fünf Songs - für Mezzo-Sopran und kleines Ensemble 1961 7m
89 5 Stücke - for Violin and Piano 1961 10m
90 Improvisation I - für Orgel 1961 8m
91 Flötenconcertino 1959 12m
92 Elf Bagatellen - für Klavier 1959 9m
93 Fünf Stücke - für Klavier 1959 10m
94 Klavierkonzert 1958 20m
95 Variation - für Klavier 1958 5m
96 Missa Benedicte Gentes - für vierstimmigen gemischten Chor und Orgel 1958 15m
97 Variationen - für Klavier 1958 5m
98 Prolog für Orchester über "Innsbruck, ich muß dich lassen" 1957 8m
99 Intrada - für Kammerorchester 1957 7m
100 Zweites Streichquartett 1957 8m
101 Zweite Sonatine - für Klavier 1957 8m
102 Acht Stücke - für Flöte und Klavier 1957 10m
103 Erstes Streichquartett 1956 6m
104 Erste Sonatine - für Klavier 1956 7m

General Information

Date of Birth:  26. March 1936
Place of Birth:  Innsbruck
Region of Birth: 
Country of Birth: 
Nationality: 

 

Erich Urbanner was born in 1936 and studied in Vienna between 1955 and 1961 at the Conservatory. He studied composition under Karl Schiske and Hanns Jelinek, piano with Grete Hinterhofer, and conducting with Hans Swarowsky. At the summer courses in Darmstadt he took composition classes with Wolfgang Fortner, Karlheinz Stockhausen and Bruno Maderna.

Activities

PeriodActivityOrganisationLocation
1961

teacher of score reading

1968

conductor

1969 - 1974

director of the twelve-tone seminar

1969 - 2004

senior professor (composition, music theory)

1986 - 1989

head of the Institute for electro-acoustic and experimental music

Awards

PeriodAwardCompositionAwarding Organisation
1956

composition award

1956

composition award

1962

promotional award

1966

award at the Festival St. Hubert in Belgium

1980

award for composition

1982

recognition award

1984

music award

1993

art award

2001

Gold Medal of Honour

2001

Gold Medal of Honour for Services to the Province of Vienna

2001

Silver Medal of Honour for Services to the Republic of Austria

2006

honorary membership

2011

Golden Medal of Honour for Services to the Government of Vienna

Description of Style

I always attempt to process experiences in a personal way and with musical fantasy in my works. This basic, compositional attitude requires an individually developed form, which has to be clearly structured so that the listener can follow. I am always open to include new trends, developments inspiring the music scene and soak up everything my mentality can relate to without committing myself to a specific direction. In a time of numerous directions, but also in a time of uncertainty, differentiating between Avant-garde and Traditionalism, it is important to make clear that innovations have to be set in the level of compositional accomplishment rather than in the field of materials.

 

Erich Urbanner, 1994

Press Reviews

27. September 2010

Incredibly exciting [...] Erich Urbanner's 'Begegnungen' in the first musica-viva-concert [...] It is truly amazing how the most densest musical language evolved during this evening at the premiere of the most conciliatory work: Erich Urbanner's 'Begegnungen' for large orchestra. The incredibly dense melody, the many layers of moods create a sound impression reminiscent of a late romantic symphonic poem. A truly exciting musical history.

Süddeutsche Zeitung (Andreas Pernpeintner)

 

31. January 2004

Mozart at summit talks
The dritte Streichquartett (3rd string quartet), composed 32 years ago by Erich Urbanner and attributed to the Alban Berg Quartet, was performed between two Mozart string quartets. The just 8-minute long piece contains everything you would expect from a quartet: clearly formulated main and side ideas, processed in a rhythmically and sound-diverse sonata-movement-like way, surprising, often impressionistically coloured sound effects, rhythmic wit, pushing virtuosity. Moreover, precisely noted sections alternate with free evolutions, guaranteeing that no performance is like the other and additionally challenging the creativity and spontaneity of the performers.

Die Presse (Walter Dobner)

 

The 5. Streichquartett (5th string quartet) is worked through precisely and caringly; the counterpoint passages reveal the composer's high level of skill. The lyrical parts are reminiscent of Berg - maybe a projection by the listener, though no bad reference at all. Urbanner does without new playing techniques and possibilities of forming sounds, however, the piece is modern to the bone. The vertical form, the confusing anticipation of later events, superimposing what would be expected to follow, slowing down the flow of time to breathlessly accelerating it elsewhere - this is what makes the piece so up-to-date. At the same time, Urbanner - and this deserves credit, if for not other reason - is never garrulous and the composition's dramaturgy never in danger.

Österreichische Musikzeitschrift (S.J.)

 

29. January 2004

[...] Erich Urbanner, who belongs to the quieter masters of his trade, but is also one of the best contemporary Austrian composers: his music is expressive and works with advanced vocabulary without overburdening the listener.

Wiener Zeitung (E.B.)

 

2003

Innsbruck: ovations for Urbanner Requiem
Lasting seconds of emotions, then thundering applause with innumerable cheers for a contemporary composer, who created his work without making cheap concessions to the audience or denying his personal style: this was probably the biggest success Erich Urbanner could accomplish with the world premiere of his requiem. [...]

Kurier (Theo Peer)

 

22. February 1985

Moving world premiere at the Kongreßhaus on the occasion of the 175th anniversary of Andreas Hofer's death: Urbanner's Requiem is a masterpiece
A fascinated audience experienced [...] what the 49 year-old Innsbruck composer Erich Urbanner with his avowed confrontation with the subject of Death of emotions, filled with fear and horror, but also with comfort and consolation, extraordinarily skilfully set to music in his requiem commissioned by the Tyrolean government in 1982/1983. This piece of work, which experienced a worthy and dazzling world premiere under conductor Lothar Zagrosek, bridges the gap between old and new, between past and present.

Neue Tiroler Zeitung (Jutta Höpfel)

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