Gerhard E. Winkler
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Winkler Gerhard E.

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Packeis-Istanpittas (Anamorph X) - for piano/sampler and ensemble 2017 ~ 23m
2 Mundbogenrelikte (Anamorph XII) 2017 13m-17m
3 Der Mann mit der Blume im Mund (Anamorph XI) - short opera after Pirandello 2016 - 2017 ~ 25m
4 Anamorph IX (Frostblues zur Winterreise) - for guitar-quartet and soprano 2016 ~ 23m
5 Anamorph VII (Alte Meister) - for various ensemble-groups 2016 - 2017 ~ 14m
6 Anamorph Va: 3 Rocktänze - for ensemble 2015 ~ 12m
7 Anamorph II (Fake: a Suite) - for orchestra 2015 ~ 20m
8 Anamorph V (Wolfsschluchtmaterial mit Schmuggeltänzen) - for rock-trio and orchestra 2015 25m
9 Anamorph VIII (al horishonim) - for string-quartet and synagoge-chant 2015 - 2016 ~ 27m
10 Laut-Los (Lied ohne Worte IV) - for ensemble 2014 ~ 9m
11 Anamorph III (Dreigroschenbach) - 3 pieces for organ 2014 - 2016 ~ 15m
12 Anamorph VI (Charonskahn) - for organ and ensemble 2014 ~ 20m
13 Black Mirrors III (PhantasieStück) 2013 ~ 17m
14 Sputnik II - for trumpet and echo-room 2013 ~ 10m
15 Pussy-(r)-Polka - for orchestra 2013 ~ 3m
16 Black Mirrors I (NachtStück) - for violin and live-electronics 2012 - 2013 ~ 17m
17 Stimmen-Hören (Lied ohne Worte III) - for ensemble 2012 ~ 7m
18 L'eco delle Furie (Les abres VIIc) 2011 - 2012 ~ 13m
19 Mozart-Zooms (new version of "M wie Muskel") - for orchestra 2011 - 2012 ~ 10m
20 Song-Line (Lied ohne Worte II) - for ensemble 2011 - 2012 ~ 9m
21 Sputnik - for trumpet and CD-playback 2011 ~ 6m
22 Pièces fluides I - Musique moleculaire, 4 pieces for piano solo 2011 ~ 15m
23 Black Mirrors II (HerzStück) - for piano 4-hands and speaker 2011 - 2012 ~ 15m
24 Streichquartett No. 3 "Sehnen" 2010 - 2012 ~ 15m
25 Liebes-Lied (Lied ohne Wort I) - for ensemble 2010 ~ 4m
26 Hybrid VIII (PiAnimaux) 2010 ~ 12m
27 Bikini . Atoll (Les abres VIIb) 2009 ~ 20m
28 Plankton / Ondine - Les abres VIIa 2009 ~ 8m
29 Solaris-Zoom - for mixed choir 2009 4m
30 Solaris-Zoom - für Oberstimmenchor 2008 4m
31 Poren - zooms for orchestra and live-electronics 2007 - 2008 ~ 15m
32 Giannozzo-Songs I - for channsonier, E-guitar, saxohpone and piano 2007 - 2008 ~ 15m
33 Novalis-Zoom - for soprano and playback 2007 ~ 9m
34 Heimwärts - Multiples - Multimediale Improvisations-Szenen 2007 - 2008 ~ 45m
35 Kassandra Xtended 2006 - 2007 ~ 55m
36 Kataklast - for Broken Orchestra 2006 - 2007 ~17m
37 Meduse I - for 6 solo-voices 2005 ~ 9m
38 Sphaira - for 3 vocal solo and ensemble (16 players) 2004 ~ 47m
39 trinitas per tre - for string-trio 2004 ~ 9m
40 Terra incognita 2004 ~ 40m
41 Hybrid VII (FractuReflex) 2003 ~ 9m
42 Flechten - Filamente (Requiem boréal) - Les abres VI 2002 - 2003 ~ 21m
43 Twins'n'Towers (Les arbres Vb) - for Arabic Ud, E-violin, ensemble, real-time-scores and interactive live-electronics 2001 - 2003 ~ 35m
44 Twins (Les arbres Va) - for Arabic Ud, E-violin, ensemble, real-time-scores and interactive live-electronics 2001 - 2002 ~ 14m
45 Gefälschte Wienerlieder - for vocals and ensemble 2001 - 2006 ~ 8m
46 Hybrid VI (ExCursions) 2001 ~ 14m
47 Hybrid V (MorphoOhrenics) 2000 ~ 16m
48 Hybrid IV (Zoomed::Fringes) 2000 - 2001 ~ 18m
49 Tubuli 1999 ~ 12m
50 Heptameron - interactive opera 1998 - 2002 ~ 70m
51 Vestige - an interactive installation with voices and light 1997 - 1998 ~ 72h
52 Um- |Mit| - Welten (Les Arbres IVb) 1996 ~ 60m
53 Hybrid II (NetWorks) - for viola and interactive live-electronics 1996 ~ 12m
54 Hybrid III (Clumps) - for double bass and interactive live-electronics 1996 - 1997 ~ 14m
55 KOMA (Interaktive Trilogie Teil II), Streichquartett Nr. 2 1995 - 1996 ~ 35m
56 Schutzräume (Les arbres IVa) - inszenierbare Bruchstücke für Ensemble 1994 16m
57 Dünungen - für Ensemble und live-elektronische Klangumformung 1994 12m
58 Les chambres séparées (Interaktive Trilogie Teil I) - for three players and live-electronics 1994 - 1995 21m
59 entrop (Interaktive Trilogie Teil III) 1994 - 1998 ~ 7m
60 emergent - for ensemble (13 players), synthesizer and live-electronics 1993 21m
61 Tropen zu "Heimwärts" - with variable instrumentation 1992 12m
62 Orte I-XXXIII - for electronic sounds 1992 - 1993 ~ 5m
63 Heimwärts - multimedial - Ein szenischer Exkurs 1992 ~ 35m
64 Der Graue Block - 13 Capricci for 1-13 player(s) 1992 ~ 7m
65 Raum-Netze I-V - with variable instrumentation 1991 - 1992 variable duration
66 Das Große Tor - for orchestra and sound-environment 1991 - 1992 18m
67 Hybrid I - for baritone-saxophone and live-electronics 1991 ~ 12m
68 Zwischenwelten - for ensemble 1990 - 1991 21m
69 Grauzone (Les arbes III) - für 2 Soprane, 7 Chorgruppen (24 SängerInnen), 4 Schlagzeuger, Ensemble und live-elektronische Klangumformung 1990 19m
70 Mesokosmos III - pieces for synthesizer and 3 Moments radiaux 1990 14m
71 Mesokosmos IV - Sieben Systemetüden für computergesteuerten Synthesizer 1990 variable duration
72 zitternd (ein nucleus) (Les arbres I) - for violin solo 1989 7m
73 Außenhäute (Les arbres II) 1989 9m
74 Chronogramm - for orchestra 1989 12m
75 Heimwärts - (in memoriam Thomas Bernhard), Version a 1989 20m
76 Außenhäute - gekrümmt - version with live-electronics 1989 9m
77 Schnitte - Spuren - for organ 1988 21m
78 ... in den Tag ... - for flute and soprano 1988 7m
79 Kassandra-Fragment - für Dramatischen Alt und Ensemble 1987 - 1988 12m
80 Al-kimiya, Streichquartett Nr. 1 - for string-quartet 1986 17m
81 Bewegungsetüden - solo-pieces with variable instrumentation 1973 - 1974 variable duration

General Information

Year of Birth:  1959
Date of Birth:  14. October 1959
Place of Birth:  Salzburg
Region of Birth: 
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1974 - 1980

composition

1978 - 1986

musicology, philosophy, psychology

1978 - 1986

musicology, philosophy, psychology

1979 - 1980

composition

1980

diploma

1986

promotion to Dr. phil., Dissertation on Penderecki and sound composition in the 20th Century

Activities

PeriodActivityOrganisationLocation
1980

teacher (piano, music theory)

1980 - 1987

freelancer (broadcast-direction, programming)

1987

start of intensive work with live-electronics and computer-music

1988 - 1989

lecturer at various colleges and universities (University of Salzburg, Innsbruck)

1989

ever since regular cooperation with the Experimentalstudio of the SWR, Freiburg/Brsg

1992 - 1994

lecturer

1993

study visit

1994 - 1995

guest artist

1995 - 1996

work-stay (KOMA-Projekt)

1997 - 1999

lecturer at the MultiMediaArt-University of the TechnoZ-Salzburg

1999

ever since freelance composer

1999

Music-Department: guest artist

2000 - 2002

work-stay

2002

jury-member

2002

workshop and performance of "Hybrid II" with Garth Knox, Viola at the Stedelijk-Museum

2005

lecturer at the seminar "Music and Politics; Power and Powerlessness of Art"

2007

lexical entry in the MGG ("Musik in Geschichte und Gegenwart")

2009

founding

2010

work-stay

2011

jury-member of the composition competition "Ö1-Talentbörse"

Awards

PeriodAwardCompositionAwarding Organisation
1985

promotional award for music

1987

winner of the string quartet competition (Arditti-Quartett)

1988

Stadt Mannheim: artist scholarship

1990

scholarship

1990

composition award

1993

scholarship for the preparation of the performance project

2003

Publicity Award

2009

scholarship-award of the cultural department

2016

Great Music-Award for the oeuvre

Heinrich-Strobel-Stiftung des SWR: multiple scholarships (working in the experimental studio for live electronics)

Description of Style

The focus of my compositional and technical reflections are theories of complex and dynamic ("emergent") systems, and issues of (compositional and spatial) sound projection. Work on so-called "growth projects", which are work comprehensive, in principle interminable composition concepts in the partial integration of multimedia technologies (video-transformations, performance choreography in 'Heimwärts - multimedial', staging possibilities in 'Schutzräume', color and light control in "KOMA", external microphones and video cameras, sound and image projections in the architectural space in 'Um-|Mit|-Welten'). Since 1994 works are created, formed with participation of the computer in the performing process, which are interactively controlled by the players to develop differently from performance to performance.

 

My musical thinking always moves between extreme poles like: "everyday sounds" <--> "concert hall" sound, free, "spontaneous" self-experimented subsidences versus the concept of self-organizing, "autopoietic" systems; order <--> breach of order; emotionality <--> construction, electronic and computer sound synthesis <--> live music, open, interactive processes versus well-defined processes.
The detection of contradictions at all levels of musical reality - from the process of the compositional "setting" to the questions of musical "performance practice" - is for me an expression of artistic freedom, which neither shuts itself away from nor rises in the problems of our time, it rather takes the people seriously in their complexity, does not flog them to death, but also does not aesthetically smooth them out.

 

The hope is that new processes, forms, work and life actualities evolve out of these contradictions ...
The train into the unforeseeableis is always essential to the creative impulse: Each work creates his own terms, nothing is more natural.

 

Gerhard E. Winkler, 1996