Dietmar Schermann

Schermann Dietmar


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