Winter Manon-Liu

Compositions

# Titlesort icon Year of Origin Duration Instrumentation Category
1 2.Wiener Blut 09 - for solo trio and orchestra, miniature 2009 40s
2 7 lost words - für 2 Clavichorde, Bassblockflöte, und Gambenzuspielung 2011
3 8810 - for clarinet and piano 2010
4 A Room - for piano, clarinet and bass clarinet 2010
5 AREALE - for 2 pianos and 4-channel playback 2004 53m
6 For Nam June Paiks Piano 2009 ~ 8m
7 INSITE - for piano & environmental sounds 2003 12m
8 Insite 4 2012 15m
9 MM - for clavichord and live-electronics 2005 5m - 60m
10 PFERDEDUNKEL - for solo piano and environmental sounds 2005 20m
11 PLAYER_PIANO - (Mozart meets Nancarrow) 2006
12 Solo for Three - for prepared piano and playback 2008 - 2009
13 SOUND FISHING I - for piano, electronics and multi-channel sound projection 2005 46m
14 spli*Scher - for piano and playback
15 twentyfive times - for ensemble 2008 - 2009
16 ZEITSCHNITTE - for piano & environmental sounds 2002 23m
17 Zeitschnitte/ TRAINS - for prepared piano & environmental sounds 2005 28m

General Information

Year of Birth:  1958
Nationality: 

 

She studied piano performance at the Vienna University of Music and Performing Arts. Her master's thesis was about "Anarchie in der Kunst am Beispiel John Cage" [Anarchy in Art as Exhibited by John Cage], and did her "Habilitation" [post-doctoral degree] in piano in 2002. She is an instructor at the Vienna Days of Contemporary Piano Music as well as at the University of Music and Performing Arts in Vienna.

 

She has given numerous concerts all across Europe, Australia and New Zealand. Her compositions are mostly for piano with added electronics such as "Trains" (for the Turning Sound Festival in Warsaw and Player Piano Konfrontationen Nickelsdorf, 2006) and "Here We Go" (for the Nownow Festival in Sydney, 2007), or they arose from collaborative efforts with improvising musicians. Special commitment to Avantgarde and the 2nd Viennese School with solo evenings, world premieres and Austrian premieres. In the field of improvisation projects for film, theater and dance.

 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

lessons with Oleg Maisenberg

master's thesis was about "Anarchie in der Kunst am Beispiel John Cage" [Anarchy in Art as Exhibited by John Cage]

Activities

PeriodActivityOrganisationLocation
1984

ever since lecturer for piano: performance, pedagogy - specialist class "Improvisation & New Developments in Contemporary Music"

1984 - 1989

assistant professor at the department of strings

1989 - 1994

assistant professor for piano performance, piano pedagogy at the department of keyboard instruments / pedagogy

1994 - 2002

associate professor for piano performance, piano pedagogy at the department of keyboard instruments / pedagogy

1995

ever since lecturer

2002

promoted professor for piano

2002

ever since more focused on working as a composer and conceptual artist

2002

ever since teaching improvisation and didactics of contemporary music and improvisation

2011

ever since lecturer for improvisation

board member

concerts in Germany, Italy, Great Britain, Albania, Czech Republic, Hungary, France, Norway, Poland, Slovakia, Slovenia, Switzerland, Spain, Australia and Austria

collaborations with Luca Lombardi, Christian Wolff, Peter Ablinger, Christian Ofenbauer, Dieter Schnebel, Radu Malfatti, Katharina Klement, Klaus Hollinetz, Gerhard E. Winkler, Alois Haberl, Patrizia Martinez, Konrad Rennert, K.H.Essl, Hannes Raffaseder, Michael Edwards a.m.m.

numerous workshops for free improvisation

projects for film (a.o. for "lovers walk" by Oliver Hangl, or with the movie-club Drosendorf), theater and dance

cooperation and improvisation-concerts with numerous musicians, among them e.g. Franz Hautzinger, Burkhard Stangl, Axel Dörner, Cordula Boesze, Yoshihide Otomo, Christof Kurzmann, Andrea Neumann, Christian Wolff, Peter Herbert, Gunter Schneider, John Tilbury, Jon Rose, Veryan Weston, Elisabeth Schimana, Josef Novotny, Mia Zabelka, Martin Zrost. a.m.m.

special interest in Avantgarde and the 2nd Viennese School, premieres and several Austrian first performances

Description of Style

Stylistically between postmodern, electronic and avant-garde:
Technically, my compositions are mostly for piano, including environmental sounds, which I compose as a playback via laptop and then adapt them to the respective concert situations in the temporal and spatial dimensions. For me noise-like and individual sounds are equal, but carriers of different contents.

 

Manon Liu Winter, 2008

Press Reviews

2010

Etwas harscher (als das Duo Cordula Bösze & Annette Giesriegl), in Richtung Hardcore-Kammermusik gehen Judith Unterpertinger, Katharina Klement und Manon-Liu Winter ans Werk, greifen ins Innere eines Klaviers und zweier Clavichorde, führen so nebenbei den Unsinn weltberühmter Klaviertrios à la Corea/Hancock/Zawinul ad absurdum und entwickeln aus feinst gesponnenen Klängen, durch Hämmern und Schaben und in stellenweise zauberhaften Miniaturen ein musikalisches Ganzes, in dem sich zart auf hart reimt.

freistil (Andreas Fellinger)

 

28. January 2008

Pianistic world explorations [...] Tinted sounds from the intestines of the grand piano, in addition in the echo chamber of reverberating quarter tone melodies from the trumpet, the finest noise tremolo from the bass: The music of Manon-Liu Winter, Franz Hautzinger and Clayton Thomas showed the strongest level of abstraction. These were sounds inspired by electronic sound microscopy, which transcended, thanks to the richness of overtones and a penchant for poetry. [...]

der Standard (Andreas Felber)

 

21. March 2007

Formulating Art
Manon-Liu Winter and Klaus Hollinetz desribe their half-hour improvisations in "Soundfishing" as timelessness with a linear sense of time - and are not exaggerating. The piano player and electronics technician prove a dramatic feel for the sound design of time, pause when it is worthwhile, pursue further the spectrum of emotions, before it gets boring. It does not matter, that their idea of the quest "for an extension of the sound possibilities of the interior of a grand piano" is not very new. Computer-based compression, extension, shift of unorthodox piano sounds is hardly ever produced in such a successful way - also regarding the sound, it seems as if a couple of loose, almost eerie tender chord shreds are blowing in the fog of the obligate crackling sound of the computer.

Falter (Carsten Fastner )

 

Discography, Projects

Discography:

  • 2015: "deepseafish-K - offshore zone" (chmafu nocords)
  • 2012: "Solostücke für Klavier 2011/12, composed & played by MLW" (chmafu nocords)
  • 2012: "Franz Hautzinger's Poet Congress "Weltallende"" (Loewenhertz)
  • 2011: "Subjekt/Objekt" (DVD), Ensemble Eis / Christoph Herndler/Markus Scherer
  • 2010 "Höllenmaschine", Manon-Liu Winter & Gregor Ladenhauf spielen auf dem Max Brand Synthesizer eine Komposition von Elisabeth Schimana, CD (chmafu nocords)
  • 2008 "DAMN!", Freistil-Samplerin #1 (#4 auf CD 2) Manon-Liu Winter - Splitterklavier, CD (chmafu nocords)
  • 2007 "EMBODIMENT", Mia Zabelka & One Night Band, nur auf "Der wachgerüttelte Rhythmus"     (Extraplatte EX 707-2)
  • 2006 "SOUNDFISHING", for piano and electronics 2005/2006, mit Klaus Hollinetz, CD (ein klang records 023)
  • 2006 "Manon Liu Winter interpretiert Werke von Galina Ustwolskaja und Earle Brown", CD (ein klang records 020)
  • 2005 "Komponistenforum Mittersill 2005", CD (ein klang records 019)
  • 2003 "Monocle", mit Katharina Klement, Josef Novotny und Reni Weichselbaum, CD (Extraplatte EX 568-2)
  • 2003 "Brospa", Manon-Liu Winter extended piano & Franz Hautzinger quartertone trumpet, CD (GROB 544)
  • 2003 "absences" Works of Katharina Klement, CD (KalK CD 07)
  • 2003 "Johann Nepomuk Hummel" Franz Xaver Mozart, CD (Cavalli Records CCD 251)
  • 2002 "Zeitschnitte", past and cuts (piano & environmental sounds), CD (shameless)

Teacher of (Person)

Band/Ensemble Member of

Band/Ensemble Member of: