Harald Koelbl

Koelbl Harald


# Title Year of Originsort icon Duration Instrumentation Category
1 Divertimento - für Klarinette, Altsaxophon und Tenorsaxophon 1996 10m
2 Neun Stücke für Streichquartett 1996 15m
3 Je ferner, je näher - für kleines Orchester 1995 20m
4 Desparados - Konzertwalzer für Baßklarinette und Klavier 1995 15m
5 Zwanzig chromatische Bagatellen 1995 40m
6 Sechs Bagatellen - für Saxophontrio 1994 15m
7 Fünf Lieder nach eigenen Texten 1994 17m
8 Sextett Violett 1994 18m
9 Figuren 1993 25m
10 Trio - für Horn, Altsaxophon und Baßklarinette 1993 15m
11 Suite - für Kammerensemble 1993 20m
12 Gambetti-Quartette 1992 20m
13 Projekt Udine 1991 6m
14 Vier kleine Constructionen - für Klavier 1990 8m
15 Sechs Bagatellen - für Altsaxophon und Klavier 1990 7m
16 Dreizehn Duos - für Trompete und Altsaxophon 1990 15m
17 Pica Picas Nr. 7 1990 14m
18 Zwei Tänze 1989
19 Fünf Stücke - für Klavier, Saxophon (auch Flöte) und Kornett 1989 30m
20 Igor 1988 10m
21 Vier Klavierstücke 1987 13m
22 Vier Lieder - für Sopran und Klavier 1986 12m
23 Sieben Inventionen - für Flöte, Fagott und Gitarre 1986 15m
24 Nachtmusik - für Klarinette solo 1985 10m
25 Tombeau I und II - für Flöte und Gitarre 1984

General Information

Year of Birth:  1960
Date of Birth:  24. July 1960
Place of Birth:  Vienna
Country of Birth: 


PeriodEducationInstrumentTeacherEducation OrganisationLocation

composition, saxophone, piano, guitar

composition, saxophone, piano, guitar



Neulerchenfelder Trio: founder

founder of a wind quintet

compositional and interpretative activity, based on the musical language at the beginning of the 20th Century to forms of contemporary improvisation

cooperation as a composer, arranger, conductor and performer with Hans Steiner, Oskar Aichinger, Klaus Peham, Bernhard Spahn, Jean-Christophe Mastnak, Wolfram Wagner etc.

Performances (Selection)


Gallery Mana

Jazz Festival Constance

Kunsthalle Exnergasse

Moulin Rouge

Schlachthof Wels

Werkstätte für Kunst und Kultur

Description of Style

The compositional approaches of the works originate from two different techniques: on the one hand improvisatory, playful musical structures, that offer the performers lots of room for individual interpretation and ideas (including mobiles, graphic notations, jazz-related forms). On the other hand solid compositional, usually polyphonic movements define the sound; as well as free applied row-techniques and tonal principles which either complement or contradict each other.
In the majority of the works both practices are used either interwoven with eachother or alternating. The musical movement is for the most part broken, which means that even in works with a larger instrumentation the voices run vertically through the different instrument groups, the hearing impression is therefore mostly sophisticated and chamber musical. Phonetically the music can be mainly characterized as expressive, but without excluding the humorous, dancing element.


Harald Koelbl, 1995