Josef Maria Horvath
Registered as:
Instrument: piano

Horvath Josef Maria

Compositions

# Title Year of Originsort icon
1 Sieben Bagatellen für Orgel - Pedalstudien 1995
2 Trinklied über ein Gedicht von Anakreon/Mörike - für gemischten Chor a cappella 1993
3 Requiem 1990
4 Gesänge der Frühe - (Robert Schumann), Instrumentation der Klavierstücke op. 113 1989
5 Offertorium ad missam in die In Nativitate Domini 1989
6 Boogie-Woogie 1987
7 Motette 1979
8 Musik für die Salzburger Felsenreitschule - Gemeinschaftskomposition mit Irmfried Radauer und Gerhard Wimberger 1978
9 Verschiebungen 1977
10 Sothis 1 1977
11 Origines 1975
12 Melencolia 1 1972
13 Sechs Ansichten eines Gegenstandes 1971
14 Tombeau de Gigue 1971
15 Redundanz 3 - Bläseroktett und Streichquartett 1968
16 Redundanz 2 1967
17 Redundanz 1 1966
18 Atemübungen - Vier Lieder nach eigenen Texten 1964
19 Trio 1963
20 Entropia - Symphonie in fünf Sätzen 1963
21 Acht ungarische Volksliedbearbeitungen 1962
22 & - für Flöte, Klarinette, Horn, Gitarre, Violine, Viola, Kontrabass, Klavier 1961
23 Drei Ringelnatz-Chansons für eine tiefe Stimme und Klavier 1959
24 Veni creator spiritus - Partita 1958
25 Vier Lieder nach Hölderlin 1958
26 Drei Chöre nach Rilke 1958
27 Messe 1958
28 Die Blinde 1958
29 Auftritt des Oberstleutnants der Guardia Civil - Szene nach Federico García Lorca 1957
30 Kanteletar - Kantate nach finnischen Volksliedtexten 1956
31 Acht frühe Lieder 1955
32 Passacaglia 1955
33 Scherzo 1954
34 Scherzino 1953
35 Vöglein - Ungarische Volksliedbearbeitung 1953
36 Pastorale "Verbum caro factum est" 1949

General Information

Year of Birth:  1931
Date of Birth:  20. December 1931
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

early piano studies and compositional attempts

composition, graduated with honors

Music Academy Budapest: graduated with honors

Music Academy Budapest: conducting

Music Academy Budapest: composition

Activities

PeriodActivityOrganisationLocation

composer, piano player, organ player and conductor

concert piano player with numerous piano recitals in Europe

professor for theory and practice of contemporary music, counterpoint

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

Hitzacker Festspiele

Warsaw Spring

Europe, USA, Australia

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Chamber Orchestra Budapest

SDR Stuttgart

Awards

PeriodAwardCompositionAwarding Organisation
1959

Lilly Lehmann Medal

1967

First Prize

1968

promotional award

1973

promotional award

Description of Style

Horvath's works meet the highest technical standards and in an unconditional and honest way combine the compositional precision and consistency with great tonal beauty. Horvath cares less about the current trends, he rather concentrates on the relatedness with the great musical tradition of the Occident, from which he issued various forms and gestures of past centuries with a new validity, and also enriched the catalog of forms and diction with characteristic facets. In his uncompromising quest to let musical substance and the appropriate form appear natural and not necessarily as a classicist surrogate, he embodies the type of a composer, which follows his ideas of quality and seriousness, away from the bustle of the contemporary music market. In an era in which the artwork is expected to be - almost as an advertising medium itself - an easy recognizable trademark, exclusively available as a product, it is not easy for Horvath's mandatory music to be perceived at all. Only the titles of the Horvath's works make a threefold division of his previous oeuvre appear plausible: "Acht frühe Lieder", "Passacaglia", "Kanteletar" etc. were historically created later in time and naturally in a certain way epigonal. "Redundanz 1-3'", "Origines", "Melencolia I" etc. belong to the middle period. In these pieces the composer deals with the basic building blocks of music. They are differently composed in a strict organized manner, although always under the terms of sound as an integral criterion. "Motette", "Requiem" as outstanding examples of the latter pieces, show Horvath's work with the choir, combined with the move to the sources of the Dutch vocal movement. These pieces amaze with Horvath's great impartiality in the choice of subjects and resources, with particular attention to his outstanding counterpoint abilities.

 

Rupert Huber, 1994

Teacher of (Person)