Heinrich Schneikart
Instrument: piano, violin, double bass, organ

Schneikart Heinrich


# Title Year of Originsort icon Duration Instrumentation Category
1 Choralpartita für Orchester - (Wir wollen Gott für alles danken) 1996 12m
2 Choralpartita für Orgel - (Wir wollen Gott für alles danken) 1996 12m
3 Duo Violoncello und Klavier 1994
4 Paraphrase über den "Radetzkymarsch" - Oktett 1992 4m
5 Variationen und Fuge über den phrygischen Choral "Aus tiefer Not" für Orgel 1991 9m 20s
6 Fantasie über das französische Volkslied "Le Roy a fait battre tambour" - für Orgel 1990 6m 30s
7 Choral "Wir wollen Gott für alles danken" 1983 4m
8 Elegie - für Kammerorchester 1981 6m
9 Trio für Flöte, Gitarre und Kontrabass 1981 6m
10 Klangbilder für Orchester 1977 20m
11 Vier Stücke für Kontrabass und Klavier 1974 6m 20s
12 Zweites Streichquartett 1972 15m 45s
13 Fünf Stücke für Solo-Violine 1970 10m
14 Rossini-Variationen - für Streicher 1969 5m
15 Pentatonium für Kammerorchester 1967 7m 30s
16 Pentatonium für Orchester 1967 8m
17 Musik im alten Stil für Streicher 1966 8m 45s
18 Ein musikalischer Scherz - für Kammerorchester 1966 20m
19 Aphorismen für Streichorchester 1965 6m
20 Choralfuge für Streichorchester 1964 5m 30s
21 Erstes Streichquartett 1957 13m
22 Sechs Choralvorspiele für Orgel 1956 11m
23 Toccata für Klavier 4m 10s
24 Adagio für Streichorchester 4m 30s

General Information

Date of Birth:  7. April 1929
Place of Birth:  Vienna
Country of Birth: 
Date of Death:  21. February 2008


1959 - 1971

Die Wiener Solisten: co-founder and cooperation

1964 - 1997


1970 - 1990

studies and cadenzas for double bass

various concert tours in Europa, America and Asia

working in Greece as a teacher, soloist and composer

numerous recordings

Performances (Selection)


Ernst Kovacic


PeriodAwardCompositionAwarding Organisation

Order for Services to the Republic of Austria

2nd prize of the composition competition

Description of Style

The fact that as a performing instrumentalist I am more involved with chamber music groups isclearly reflected in my compositions. Additionally, I always try to guideemotions and intellect through tonal variety into the right direction, whilst in doing so, sounds caused by polyphony seem to be the predominant characteristic of my style.
Since the human psyche is subject to fluctuations and thus one or the other mood may occasionally rise to the foreground, the listener would be wrong if he thinks he would be able to hear only a single particular and dominant trait of the composer' work. "Everything is in motion," so it says - and this is especially true for the arts.

Heinrich Schneikart, 1996



Teacher of (Person)