Gernot Schedlberger
Instrument: piano, violin

Photo: © Heinz Zwazl

Schedlberger Gernot


# Title Year of Originsort icon Duration Instrumentation Category
1 Hotel Macondo 2014 23m
2 Mauthausen 2008 2013
3 Mauthausen 2008 - für hohe Stimme und Klavier 2013
4 Area II 2013 - 2014
5 Zwei Impromptus construits (Nr. 12 und 13) 2013 - 2014
6 seufzerebene (Studie) - for piano 2012
7 seufzerebene (aus dem Zyklus "stirnfeuer" von Wolfgang Hermann) - for medium voice and piano 2012
8 seufzerebene (aus dem Zyklus "stirnfeuer" von Wolfgang Hermann) - for high voice, bass clarinet, violin, cello and piano 2012
9 Übermalung 2 (Gesualdo di Venosa) - for saxophone quartet 2011
10 MarieLuise - chamber opera in 17 pictures, for 8 singers, 1 actor, 12 instrumentalists 2011 - 2012 95m
11 Nachtwache (Thomas Kling) 2010
12 wolfsland tausendäugig (aus dem Zyklus "lichtgesetze" von Wolfgang Hermann) - for low voice, bass clarinet and contraforte 2010
13 lange trägst du feuer im mund lange hältst du es verborgen (Anja Utler) - for low voice, bass clarinet and contraforte 2010
14 balancen - zugriffe - übernahmen (Anja Utler) - for low voice and piano 2010
15 nach innen (aus dem Zyklus "konstrukteure" von Wolfgang Hermann) - for low voice and piano 2010
16 Der Heinrich aus der Hölle 2009 45m
17 Ode: der Nacht 2009
18 Tiergartenstraße 4 2008
19 Übermalung 1 2008
20 Festfanfare 2008
21 Mitten im Steinbruch. Acht Gedichte von Christoph Klimke 2008
22 Introduktion, Reigen und Adagio 2008
23 Der Ring des Nibelungen II: Siegfried/Götterdämmerung 2007
24 O Wunder!Schöne neue Welt 2006
25 Concerto Cellino 2006
26 Tiraden, sperberisch (nach eigenen Versen) 2006
27 Mirlitonnades (nach Versen Samuel Becketts) 2006
28 Der Ring des Nibelungen: Das Rheingold/Die Walküre 2006
29 Honig, Laub und Wind - Eine Kantate 2006 40m
30 Nach Mozarts KV 66 zu spielen 2006
31 Drei Falkner-Lieder 2005
32 Impromptus construits 2005
33 Meditationes (proprium ad quintam quadragesimae) 2005
34 Area I 2004
35 Dark Flow 2003
36 Moscow Sonata 2003
37 Die Geschichte des Picando 2002 ~ 1m 40s
38 Zwei für Kleine 2002
39 Nero's Comeback 2001
40 Dartington Express 2000
41 Songs - for orchestra 2000
42 Following the Winds 1999
43 poursuivre le vent - Reduced version of Following the Winds 1999
44 N.N. 1998 45m
45 pleurs 1998
46 Erstes Streichquartett/Winter Afternoons 1998
47 Cleotas 1998
48 Intermezzo 1998
49 Funde 1997
50 Trois Miniatures 1997
51 Abend (Sang-Sli-Po) 1997
52 sempre sei 1997
53 Capriccio 1996
54 Always to you 1996
55 Reif sein ist alles 1996
56 Quintett - for horn and string quartet 1996
57 Havis Amanda 1996
58 Petite Suite 1996
59 Drei kleine Lieder 1996 - 1997
60 Streichquartett 1996
61 Schwarzrose (nach fünf eigenen Gedichten) 1995
62 Fünf Lieder 1995
63 Zugabe 1995
64 Trio - for three string instruments 1995
65 Ave Maria 1995
66 Just for fun 1995
67 Full of Joy 1995
68 No fixed place 1995
69 An Lina 1995
70 O des Menschen verweste Gestalt 1994

General Information

Date of Birth:  30. July 1976
Place of Birth:  Steyr
Region of Birth: 
Country of Birth: 


After violin and piano lessons from the age of four at the Bruckner Conservatory in Linz, he continued his studies in music theory and composition (with Gunter Waldek) from 1991 to 1993 and graduated with honors in October 1993. He studied conducting with Leopold Hager and composition with Ivan Eröd and Kurt Schwertsik at the University of Music and Performing Arts in Vienna, 1994-1999, 2nd diploma with distinction in 1999.


Performances of his works at home and abroad, including Finland, Germany, England, Italy, Croatia and Russia. Noteworthy among them are the original and subsequent performances of five chamber operas in Vienna (1999, 2001, 2002, 2009, 2012/13). Conducted numerous world premieres, such as Dartington Express in August 2000 as part of the Dartington International Summer School with the Ensemble 20. Jahrhundert Vienna, the incidental music "O wonder! Brave New World" at the Schauspielhaus Salzburg in November 2005, two full-length musicial evenings of "The Ring of the Nibelung" in the choreography Johann Kresnik at the Opera in Bonn with the Beethoven Orchestra Bonn, the chamber opera "Heinrich from hell" the sireneOpera-theater Vienna in July 2009, the Chamber Opera "Marie Louise" and many others for the sireneOpera-theater in December 2012/January 2013.
He is also very active as a performer, including positions such as (solo) repetiteur (Musikverein Wien, Vienna Singing club, etc.) and as a pianist.


Collaborations with renowned soloists and conductors such as Sir Simon Rattle, Seiji Ozawa, Zubin Mehta, Pierre Boulez, Nikolaus Harnoncourt, Riccardo Muti, Mariss Jansons, Wolfgang Sawallisch, Sir Neville Marriner, Franz Welser-Möst, Philippe Jordan, Michael Boder, Georges Pretre, Gerd Albrecht, Sylvain Cambreling, Helmuth Rilling, Dennis Russell Davies and Others Dirigierassistenz with Zubin Mehta (Schoenberg: Gurrelieder, Musikverein Wien, Vienna Philharmonic, Vienna Singing Club and others, Vienna Festival 2012).


2009 Foundation of the cercle-concert series for new music in cooperation with Luke Haselboeck in Vienna.
Since 2003, teacher at the University of Music and Performing Arts Vienna.



accompaniment of choir rehearsals

accompaniment of soloist rehearsals


ever since teacher at the Institute of Composition and Electro-Acoustics


founding and ever since management of the concert-series together with Lukas Haselböck


conducting assistance at Zubin Mehta

Performances (Selection)


performances in Austria and abroad: Finland, Germany, Great Britain, Italy, Croatia, Russia

performances by ensembles like "die reihe", Ensemble "Wiener Collage", "phace"

premiere of 5 chamber operas in Vienna (1999, 2001, 2002, 2009, 2012/13)


PeriodAwardCompositionAwarding Organisation

recognition award


Dartington International Summer School: Clifton Parker Award


promotional award for music


composition sponsorship




composition sponsorship


work scholarship


Slatkonia Award


composition sponsorship


work scholarship


composition commission


state scholarship for composition


work scholarship


state scholarship


promotional award

Description of Style

"Composition according to system is the admission of impotence." (Edgar Varèse)
In this sense, each of my pieces is a new attempt to reach at a coherent artistic statement - without prior determinations. In my opinion, style can never be an artistic quality criterion.
My scores are an attempt to write music full of a variety of overlapping structures and sound scapes, torn between silence and violent escalations. My role models are Ligeti, Adams, Rihm, Henze and Ades.

Press Reviews


Chamber opera "Heinrich from hell"
All this in the form of a freshly-composed opera. The orchestra, with the exception of the lush percussion, was sparingly orchestrated, but with subtle accents was very emotional and well  underfeeding the story, in combination with the conducting of the undoubtedly dense and exciting work of composer Gernot Schedlberger. The singers have been consistently accurate in music and in the scenes have always been fun to look at, especially as males and females had been casted in a mixed up way and independently from their parts. [...] There is wit  , mysticism, beautiful music and a lot of nightmares. A fine evening. 



Chamber opera "Heinrich from hell"
[...] most striking feature is the clever, colorful instrumentation [...] with whose help Schedlberger makes you forget the genre immanent barriers and shows a master of smooth transition in these four merging scenes, with overlapping soundscapes he constructs  [...] huge tension. 

ÖMZ (Österreichische Musikzeitschrift) 10/2009



"The Ring of the Nibelung II"  
[...] something [...], in which the thunder and roar of music has died away and has left behind onyl a few delicate and live piano tones.  

Kölner Stadt-Anzeiger 



"The Ring of the Nibelung I"
A dodgy, virtuoso nervous music with [...] imaginative interweaving of national anthems.  




"O wonder! Brave New World"
Schedlberger's blatant caricature-music works very effectively with the expressive dance theater. 

Wiener Zeitung



"The history of Picando"
The composer and librettist Gernot Schedlberger commented [...] in a smug and aloof way, the music itself avoids to heroize: Tangible even without a tonal center and repetitive, [...] this score is sonorous, unsentimental and and not solemn. 

ÖMZ 8-9/2002

Librettist of (Composition)

Contact Person of (Organisation)