Josef Maria Horvath
Registered as:
Instrument: piano

Horvath Josef Maria

Compositions

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

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)