Weiss Erwin

Compositions

General Information

Date of Birth:  6. October 1912
Place of Birth:  Vienna
Region of Birth: 
Country of Birth: 
Date of Death:  13. September 2004
Place of Death:  Vienna
Nationality: 

Activities

PeriodActivityOrganisationLocation
1936

beginning of concert activities

1938

entry to England, because of a written guarantee from a friendly family, approval of a refugee commitee

1938

escape from Austria

1939 - 1945

guest in England

1940

occupation in the aerospace industry

1940

internment, after 8 months dismissed as an "artist of distinction", and acknowledged as being persecuted by the Nazi regime

1940

training in a training center

1945 - 1985

Socialist Youth Austria: creation of a youth choir

1945 - 1990

directing member

1945

return

1945 - 1990

board member of the Institute for Art and Science

1945 - 1990

scientific advisory board

1946

first elected staff representative from the colleges of the music faculty

1946

piano teacher

1949 - 1950

Musical Europe: correspondent

1955 - 1965

Niederösterreichische Arbeiterkammer - einmal anders: program design and implementation of concerts in various instrumentations

1960 - 1978

Musical Europe: director

1967

Franz Schubert and the 20th Century: initiator and organizer of the international competition for singing and piano

on tour in the U.S.

numerous lectures

Awards

PeriodAwardCompositionAwarding Organisation
1951

Second Prize at the composition competition for the oratorio "Vom Leben"

1952

promotional award

1961

conferment of the title professor

1971

honorary cross for science and art

1977

Österreichischer Gewerkschaftsbund: Luitpold Stern Award

1978

Golden Medal for Services to the Province of Vienna

1993

Golden Medal of Merit

Description of Style

I myself would say that the educational work stood in the center of my extensive activities in the musical range. I agree with A. Schönberg, that everyone should write how he feels. That I did. With my choir works, I thought of the feasibility of amateur choirs. Concerning the content, I thought of a target group, which is usually not identical with the various cycles of the "subscribed audience". The perception that "the man on the street" has not yet "digested" Beethoven, convinced me herein. I agree with those critics that observe a certain mixed style. It corresponds perfectly with my attitude, it is not "made", but honest. I am not a "pioneer" and I am not "conscious of transmission". I also mean to say that all this coincides with my educational activities.

 

Erwin Weiss, 1994