Dirk D'Ase
Registered as:

D'Ase Dirk

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Menschenkind 2017 16m
2 Painting Over Overpainting 2016 10m
3 Internal Affairs 2015 35m
4 Red Anelopes 2014 7m
5 In Search of Lost 2014 12m
6 Olive Tree 2013 9m 30s
7 Absprünge / Saitensprünge 2012 12m 40s
8 Figuren / Induktionen 2012 17m
9 On broken steps 2011 12m
10 Das Ende des Flanierens 2011 3m 30s
11 L'intruse - music drama in two acts 2011 60m
12 Silberfluss, Feuermond... - Klangreise 2010 23m
13 Epiphania 2009 6m
14 Trio d'or 2008 14m
15 Don Juan wird sechzig 2005 2h 20m
16 Die Leidenschaften des Don Juan 2005 17m
17 Einstein…Bruchstücke 2004 33m
18 Cellokonzert 2004 18m
19 Feuerlicht...Nachtschatten 2003 16m
20 Einstein in Amerika - Musikdrama in 2 Akten 2002 1h 40m
21 Okavango Raincolors 2002 21m
22 2. Streichquartett 2001 18m
23 Blue Note - Klarinettenkonzert 2000 20m
24 Violinkonzert 1999 28m
25 Arrest - Musikdrama in einem Akt 1999 1h 15m
26 Schindel Orchesterlieder 1999 12m 50s
27 Schindel Lieder 1999 12m
28 Azrael - Tango Oper 1998 1h
29 Brecht Orcesterlieder 1998 21m
30 Drei Spirituals - Bearbeitungen 1996 16m
31 Turrini Orchesterlieder 1996 15m
32 Diary of Roland Hansen - Kammeroper in einem Akt 1996 1h 35m
33 Turrini Lieder 1996 15m
34 Songs of a redeeming Trumpet 1996 40m
35 Zeiten der Hoffnung - Erste Symphonie 1995 45m
36 Burning Day 1995 20m
37 Vienna waits for you - A parody (Bearbeitungen) 1994 10m
38 Folkdances from Brabant - Bearbeitungen 1994 10m
39 Flemish Folksongs - Bearbeitungen 1993 6m
40 Akkordeonkonzert 1993 22m
41 Red Rubber - African musicdrama in 2 Akten 1992 1h 40m
42 The Choice 1992 4m 10s
43 Bühnenmusik zu Eugénie Grandet (Balzac) 1991 8m
44 Drei Kärntnerlieder 1991 6m 10s
45 Peel the Plum 1991 6m 30s
46 Sauf-, Liebes- und Sterbelieder 1991 20m
47 Das wahre Sängerleben - Vier ironische Stücke für einen gestreßten Chor 1991 7m
48 Fanfare 1990 40m
49 Introduction Music 1990 6m
50 Ottetto 1989 16m
51 Seven Erotic Songs 1989 10m
52 Strings 1989 16m
53 Maple Foliage Ragtime 1988
54 Movements of Life - Music for dancers 1988
55 Hommage a Scott Joplin and Ragged Time 1988 8m 40s
56 Footprints 1988 21m
57 Erstes Streichquartett 1986 18m 30s
58 13 Bagatellen 1985 13m
59 Music for Mallets and Flute 1985 3m
60 Intermezzo 1985
61 Sechs Capricci 1982 12m 30s
62 Lamento 1981 3m 20s
63 Fünf Bagatellen 1978 5m 30s

General Information

Year of Birth:  1960
Date of Birth:  31. October 1960
Place of Birth:  Antwerp
Country of Birth: 
Nationality: 

The Austrian Dirk D'Ase established himself over the past few years with compositions for opera and orchestras. Among his most significant works are 6 operas, 4 solo concerts, 1 symphony, orchestra pieces, as well as orchestra songs. He was appointed composer in residence by the Viennese Concert Verein for season 2003/2004. During that season, his opera "Einstein, Spuren des Lichts" was launched on the occasion of the 125th anniversary of Albert Einstein in Ulm and his cello concert was performed at the Bregenz Festival. For this concert he was granted the scholarship for composition by the Vienna Symphony Orchestra. In addition to this, D'Ase was working on his sixth full-length opera "Don Juan wird sechzig" (libretto: Robert Schindel) commissioned by the Vienna Mozartjahr 2006. Furthermore, his tango opera AZRAEL was performed at the city theatre Trier, Germany. D'Ase was "Composer Of The Year" at the Brussels opera "La Monnaie" (director Gerhard Mortier), as well as composer in residence at the Flanders Festival and the Conservatory in Vienna. His works have been performed, among others, at the Vienna Musikverein, Vienna Konzerthaus, at the Carnegie Hall NY, Juilliard School of Music NY, Zurich opera, Brussels opera and by the Philharmonic Orchestra Cologne, as well as at the Bregenz Festival. D'Ase worked with artists, such as Sylvain Cambreling, Ulf Schirmer, Hugo Wolf Quartett, Wolfgang Schultz, Peter Turrini etc. He studied composition with Luciano Berio, Friedrich Cerha, and Krzysztof Penderecki, undertook long journeys through southern Africa and wrote his diploma thesis about South-East African traditional music. His trips and research in Africa have had a fundamental influence on his compositions.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1981 - 1986

composition

1985

private lessons in composition

1987

Vienna, Radicondoli, Salzburg: private lessons in composition

1988 - 1989

folk music research and ethno-musicology (Walter Deutsch, Gerhard Kubik)

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)
1983

La Monnaie, Brussels: commission for the appointment as composer of the year

1987

Flanders Festival, commission for the appointment as composer in residence

1991

Quatuor Danel: commission for the appointment as composer of the year: "1. Streichquartett"

1993

European Capital of Culture, Antwerp: opera for the opening of the opera festival

1995
2000
2000
2001

concert for clarinet

2003

commission for the appointment as composer in residence

2004

City of Ulm: opera for the 125th-anniversary-celebrations of Albert Einstein:

2006

opera in 3 acts following a libretto by Robert Schindel

Description of Style

The focus of Dirk D'Ase's music lies on the particular characteristics and timbre of instruments and the human voice. He develops soft, characterising vocal and instrumental lines, which atonally combine big interval leaps with sound repetitions in an evident and plausible way. His fundamental notes are major-second sounds of many shades, from acrimonious acuity to the "will-o'-the-wisp"-like sound carpet, often superimposed or dissolved in elusive instrumental gestures.
"Everything I do, I look for in and from life", defines Dirk D'Ase a kind of artistic credo not only noticeable in the vital features of his instrumentals, but also in the personal-interpersonal conflicts D'Ase has always dealt with while tracing the dramatic: the world, the people, life - for D'Ase everything is based on emotions, which have to be confronted: it is direct, immediate communication that interests him: to strike a chord and being struck with a chord.
D'Ase has acquired an individual rhythmic technique, which has become a feature in his compositions and is based on the basic principle of African traditional music: the interlocking system. D'Ase also uses this technique in creating sounds where individual melodies grow together to result in a new, virtual sound. He often works with shorter note values, therefore making the music more charged and denser, but always puts this into contrast to slower cantilenas. Speed and density could be the key words for D'Ase's musical oeuvre.
The cardinal objective is to strike a chord with the listener during this musical journey and to wake him up in his unconscious inner-self. Dirk D'Ase is obsessed with the re-invention of a new musical language for his musicians, characters and stories.

Press Reviews

2004

Life between bars. Vienna: Dirk D'Ase's new opera. D'Ase has transformed the story into music with great sensitivity without fancy flourishes in a solidly made mixture of dimension and motor activity and with the idea to entrust a five member concertino with the task to characterise each of the five solo singers: a remarkable and serious piece of work. The warmhearted applause was directed at a piece which does not hide sympathetic motion. 

Salzburger Nachrichten (Derek Weber) 

 

2001

D'Ase develops soft vocal lines characterising the figures, atonally combining big interval leaps with sound repetitions in an evident and plausible way. His fundamental note are major-second sounds of many shades, from acrimonious acuity to the "will-o'-the-wisp"-like sound carpet, often superimposed or dissolved in elusive instrumental gestures. His language is pleasantly open and breathing, sometimes humorously touching tonal music or, as for Hornak's portrait, only suggesting Klezmer sounds, avoiding eclecticism. 

Die Deutsche Bühne 

 

25. October 2000

He really knows his trade: remains from sound carpets are superimposed by rhythmic pulsations influenced by African music. The instrumentation is used with great harmonic and melodious finesse, block-like shapes alternate with soloist quasi-improvisations. D'Ase skillfully uses all means to put together targeted buildups and climaxes, moods and their abrupt turnarounds are characterised suggestively - in short: musico-dramatic music as it should be. The premiere audience was rightly impressed. 

Das Orchester (Gerhard Kramer)

 

The new Einstein opera would have passed any TV PISA test. Dirk D'Ase understood the opera as a mathematical challenge, an attempt to translate Einstein's mathematical and physical thinking into sounds and forms. In this way, he has found an acoustic equivalent for the light quants, discovered a nine-voice vision and relativity chord and used a lot of numerology. What is important, though, is that his main characters can be musically identified ... 

Die Welt (Jan Schleusener)

 

Here, Dirk D'Ase's atonal music, which was presented full of nuances and rich in sound, developed its entire imaginative power and colour. Well thought-out timbre effects (accordion, glockenspiel, triangle, celesta etc.) and compositional finesse serve the acoustic adaptation of the light so important in Einstein's life. Iridescent string clusters, glistening sounds, dramatically charged arches of sound, complicated rhythms and minute inharmoniousness tell more about Einstein's complex inner life than the entire libretto. 

Das Orchester (Susanne Rudolph)

Teacher of (Person)