Dietmar Schermann

Schermann Dietmar


# Title Year of Originsort icon Duration Instrumentation Category
1 Konzert für Violoncello und Kammerorchester 1996 12m
2 Introduction und Caprice - für Kontrabass und Streichorchester 1994 6m
3 Introduction und Caprice für Kontrabass und Klavier 1993 6m
4 Nachtsplitter - Traumgedanken - Meditation für Blockflötenensemble 1992 8m
5 Monolog für Violoncello 1992 7m
6 Konzert für Viola und Kammerorchester 1991 13m
7 Wanderung - für Kammerensemble 1990 9m
8 Wanderung - für Bariton und Klavier 1989 5m
9 Wanderung - für Streichquartett 1989 8m
10 Wanderung - für zwei Klaviere 1989 7m
11 Musik für zehn Holzbläser 1989 8m
12 Monolog für Kontrabass 1988 9m
13 Drei Szenen für großes Orchester 1988 14m
14 Frühlingsstücke - für Klavier 1988 9m
15 Kontakte - für Orchester 1987 9m
16 Ballade für Klavier und Kontrabass 1987 8m
17 Musik für Streichorchester 1986 10m
18 Drei Aphorismen für Streichorchester 1986 9m
19 Bühnenmusik zu Franz Wedekinds "Lulu" 1982 ~ 50m
20 Sonate für Violoncello und Klavier 1981 9m
21 Praterspektrum - für Flöte, Klarinette, Trompete, Klavier und drei Schlagwerker 1980 8m
22 Erstes Streichquartett 1979 10m
23 Sieben Skizzen für Bläserquintett 1978 10m
24 Drei Lieder für Altstimme und Klavier 1978 8m
25 Klavierstück 1977 7m

General Information

Date of Birth:  24. April 1957
Place of Birth:  Mödling
Region of Birth: 
Country of Birth: 

Born in 1957 in Mödling. Education at the University of Music and Performing Arts Vienna, diplomas in composition, accompaniment, orchestral conducting and choral conducting. Freelance composer and conductor. Performances in Europe and South America. Head of the Institute for Composition and Electro-Acoustics at the University of Music and Performing Arts Vienna.



ever since teacher of music theory


ever since professor of musical theory, counterpoint/harmony

freelance composer, accompanist, conductor

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Melos Ensemble Vienna

Johannes Flieder, Attila Pasztor, James Rapport and others


PeriodAwardCompositionAwarding Organisation

work scholarship


recognition award


recognition award


work scholarship


promotional award


work scholarship

Description of Style

As a composer at the end of the 20th Century my main focus lies not so much on the creation of new shapes and sounds, but on their utilisation as a means of personal expression. I think that stylistic synthesis, emotional involvement and a strong desire to communicate are more necessary tools for composers than cool, barely comprehensible experiments of thought. For me the future development of music lies in the rich diversity of different individual styles. The question of whether it's better to compose in a tonal or atonal way is just as obsolete as the overvaluation of individual parameters of the music and the then resulting school.

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