Photographer: Juri Tscharijski ©

Pironkoff Simeon

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 splitting line - for pipa 2012 15m
2 "... slight shimmer in the background" - western moods for chinese instruments 2011 15m
3 Natürliche Mängel 2011 15m
4 Entwirrung 2009 - 2010 15m
5 nach dem (vor) bild (oder vor?) 2009 13m
6 skin.double 2009 - 2010 15m
7 unstable secrets 2008
8 BLUR 2008 14m
9 Fall/Wende 2007 - 2008 20m
10 spiel(t)räume für Klavier solo 2006 15m
11 Fall / Wende für sheng und Akkordeon 2005 20m
12 decollage 2005 11m
13 départs imprevues - Musik mit zheng, sheng, Oboe, Akkordeon und Schlagzeug 2004 10m
14 einstellung I - aus dem Zyklus "Sujets" 2003 5m
15 einstellung III - aus dem Zyklus "Sujets" 2003 5m
16 chaqun pour soi - Annäherungen mit sheng, Flöte, Posaune, und Schlagzeug 2003 8m
17 Zwielicht 2002 14m
18 Risse/Umrisse 2002 5m
19 FLUT 2001
20 einstellung II - aus dem Zyklus "Sujets" 2001 7m
21 Fluchtpunkt/bewegter Horizont 2001 10m
22 "muros de la soledad" - Konstellation für Klavier 2000 20m
23 Quintett 1999
24 "from a certain distance" - ein Dialogstück 1999 ~ 7m 11s
25 Attaca - 31 Mitteilungen für Ensemble 1998
26 Kontur - Musik für sieben Instrumente 1996 22m
27 Influence für dreizehn Spieler 1995 ~ 15m
28 Musique Concrète für die Klarinettenfamilie 1994 10m
29 Saxophonquartett 1994 13m
30 Trios für Baßblockflöte, Baßgambe und Cembalo 1993 12m
31 Passi per Violoncello solo 1992 10m
32 Stretti commentati für Doppelstreichquartett 1992 13m
33 Vier Sets für acht Spieler - auf zwei Klavieren 1992 21m
34 Labyrinth für fünf Gruppen 1989 24m
35 Unruhe ist in den Gräsern - Elektronische Komposition nach Texten von Thomas Bernhard ("In hora mortis") 1989 7m
36 Sechs Lieder für gemischten Chor und Schlagwerkensemble - nach Texten von Jorge Luis Borges 1988 12m
37 Zwei Burlesken für Klavier vierhändig 1988 12m
38 Versionen für Orchester 1988 27m
39 Musik für Streicher 1987 10m
40 Reflex für Flöte solo 1987 10m
41 Flötenquartett (Incontri per quattro) 1987 12m
42 Trio für Violine, Cello und Klavier 1986 15m
43 Bläserquintett 1986 10m
44 Quasi eine Trauermusik - für Violine und Orchester 1985 17m
45 Sonatine für Violine und Klavier 1982 - 1986 15m
46 Streichsextett 1982 22m
47 In memoriam Béla Bartók - Trio für Klarinette, Violine und Klavier 1981 17m
48 Fünf ernste Lieder - für hohe Frauenstimme und Klavier in memoriam Alban Berg 1981 17m
49 IV. Streichquartett - (Alexander Zemlinsky), Bearbeitung für Streichorchester 25m

General Information

Date of Birth:  10. March 1965
Place of Birth:  Sofia
Country of Birth: 

 

Simeon Pironkoff was born into a family of musicians (father was a composer) in Sofia, Bulgaria. He received his first piano lessons at the age of six and made his first compositions at 16. After finishing school, he went on to study at the conservatory in Sofia (music theory and piano). In 1985, he was granted a scholarship in form of the G.v.Herder-Prize and continued his education at the University of Music in Vienna (composition, conducting and accompaniment). Pironkoff has worked as a conductor all over Europe and has been working as an instructor at the University of Music in Vienna (Department for conducting) since 1992.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1978 - 1983

music school with the main subject in piano

1978 - 1983

additional training in composition (P. Hadjiev)

1983 - 1985

 

1983 - 1985

music theory

1985 - 1989

conducting, diploma

1985 - 1990

composition, diploma

1985 - 1990

correpetition, diploma

Activities

PeriodActivityOrganisationLocation
1989

concert tour through Argentina (as a part of the piano duo Saveanu-Pironkoff)

1989 - 1991

several tours through Germany, Austria, Switzerland and Italy with different opera productions

1989 - 1992

director of several Symphony Youth Orchestras, cooperation with various independent theater-groups in Europe

1990 - 1992

Youth Symphony Orchestra Acadya (Switzerland): founder and conductor

1991 - 1992

Salle Gaveau: opera production of "Hoffmanns Erzählungen" (restoring the original version)

1992

founder of the ensemble on_line (in 2010 renamed PHACE)

1999 - 2002

board-member (in this function also initiator and curator of the chamber-music concert-series "Focus" in cooperation with the ISCM and Alte Schmiede in Vienna)

2004

ever since associate professor (conducting and piano)

various publications (e.g. Musikzeitschrift "ton", Gesellschaft für Musik & Ästhetik/Freiburg im Breisgau)

Conservatorio Nacional de Buenos Aires: guest-lectures on Bulgarian music

guest-lectures on Bulgarian music

cooperation with numerous bands/ensembles as composer and conductor: Klangforum Wien, Ensemble die reihe, Ensemble Wiener Collage, NewTon Ensemble, Ensemble Recherche (Freiburg), Ensemble 2r2m (Paris), Wiener Saxophonquartett, Ensemble Musica Nova Sofia, Sofia Philharmonie (BG), Orchester des Sofia Rundfunks, Slowakische Philharmonie Bratislava, Webern Symphonieorchester, Symphonieorchester der Stadt Gdansk (Polen), Orchestra Filarmonia Veneta, APA Orchestra Hong Kong, Orchestra del Teatro Olimpico Città di Vicenza, Wiener Taschenoper, Wiener Kabinetttheater a.o.

opera-productions at the Music Theatre Aargau (Switzerland)

several CD-recordings of 20th century works

radio-broadcasts and studio-recordings, e.g. for ORF (Austrian Broadcasting Corporation), Radio Municipal de Buenos Aires, Bulgarian National Broadcasting Station Sofia

numerous appearances as a conductor and composer in Europe (e.g. Austria, Italy, Bulgaria, France, Germany) and international appearances (Hongkong, Taiwan, USA)

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
1993

Viennese Spring Festival

1994
1995

Sofia Music Weeks

1997

Musica Nova Sofia

1998
1998

March Music Days Ruse, Bulgaria

1999
1999

ZeitTon Festival

2001
2001
2001
2001
2002

Montmartre en Europe

2002

World Music Days 2002

2003
2003

Jeunesse Festival Vienna

2004

Awards

PeriodAwardCompositionAwarding Organisation
1985

Alfred Toepfer Foundation F.V.S.: scholarship of the Gottfried-von-Herder-Award

1986

scholarship

1988

work scholarship

1988

"Richard Wagner" scholarship

1990

recognition award

1991

scholarship

1995

work scholarship

1997

promotional award

2003

state scholarship

2017

publicity award for the CD „skin.double"

Description of Style

A few thoughts on the formation of my own musical language: ... For me, each new composition is like studying a reaction model. My last experiments in the field of forming new reinterpretation possibilities (translations) in a relation network and the resulting flow of language, remind me in some ways of the frottage-technique developed by Max Ernst around 1925. In this technique, the constructive formative sense is switched off for picture composition and relies solely on imagination. With what kind of means? For example, the grain of a rough relief surface (e.g. wood planks or dry leaves) with the help of pencil shading is transferred to paper or canvas. The drawings that emerge from the shading serve as the trigger of certain automatic writing, which traces the forming ideas of the fantasy in further drawing processes.

 

Both in the musical, as well as in the picture composition, the constructive formative mind plays a major role in the selection of the used material. That is why I believe that when we talk about automatic writing, we ultimately mean steered flexibility. This steered flexibility begins with the conscious choice of material (paper, wood planks/creation of a work-specific rhythmic and harmonic vocabulary , etc.) and has the properties to evoke unconscious (unreflected) reaction models. The tabula rasa of the frottage-technique created through the "revival" of the grain equals my generated open structure - my own shaded grain, the "tabula rasa" of the future composition, which - just as in the frottage - opens a maximum potential of reaction models (from which the flow of language is generated).

 

The key to the intended decision freedoms within the process of composition in the specific "artistic event" (which also represents the key to the definition of the work linguistic) is oriented according to their own (well-known) behavior pattern. The choice of material is guided in each case by a potential of reaction models, which is fed to a high degree by its own association reservoir. Thus, the musical event only becomes a musical experience when the played fragments of the artist's own "association folklore" meets that of the listener. In this moment the composition (originated as an idea and delevoped as material) is born - an event that can fortunately not be estimated by the artist - the beginning of its existences as an enigma (hopefully!).

 

Simeon Pironkoff, June 2003

 

 

 

Teacher of (Person)

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