Fotoatelier Murauer
courtesy of G. Andergassen ©
Guenther Andergassen was born on the 17th of April 1930 in Magreid. 1940 his parents emigrated to Innsbruck. There, he graduated from grammar school and studied in several disciplines with the emphasis on musicology, which he concluded with the degree of Doctor of Philosophy. In 1956 he finally turned to music and went to the Mozarteum, where he studied composition with Cesar Bresgen and additional disciplines. In 1958 he accepted a job as a lecturer for music theory, music history and choral conducting. A short time later he also taught at the Tyrolean Conservatory. Andergassen retained this job until 1991 with an interruption from 1964 to 1971, due to a prison sentence resulting from his commitment to the South Tyrolean autonomy movement. In 1982 he accepted the offer of Professor Walter Salmen as a teacher for counterpoint at the Institute of Musicology at the University of Innsbruck. In 1990 he went to the Feldkirch Conservatory, where he stayed as the director until his retirement in 1995.
Andergassen's first compositions were created in 1945/46. He soon developed a fondness for vocal compositions, and thus a sensitive relationship to the textual presentation. His oeuvre also beholds symphonic and chamber music works and compositions for organ, which gained international visibility, as well as a chamber opera, and the ballet music piece 'Der Gefangene 2464', composed for the Austrian Broadcasting Company, which falls back on autobiographical experiences.
| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
|
1955
|
dissertation on Giacomo Puccini (Wilhelm Fischer), PhD Dr. phil. | ||||
|
1956 - 1958
|
composition | ||||
|
1956 - 1958
|
music education | ||||
|
English, Roman languages, art history, musicology (major) |
| Period | Activity | Organisation | Location |
|---|---|---|---|
|
1958 - 1971
|
teacher (music history, theory, art history, choral education) | ||
|
1961 - 1991
|
development of the sectors in music education and composition, head of the department of instrumental music education | ||
|
1982 - 1995
|
lecturer at the Institute for Musicology of Counterpoint and Music of the 20th Century | ||
|
1990 - 1995
|
director |
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
|
1962
|
performance at the St. Peter's Cathedral with the Salzburg Mozarteum students during an audience with Pope John XXIII. | |||
|
1975
|
Innsbruck Symphony Concerts | |||
|
1987
|
International Harp-Congress | |||
|
1995
| ||||
|
1996
| ||||
|
1996
|
Musik und Kirche, Dom zu Brixen | |||
|
2005
|
portrait concert to commemorate the 75th birthday | |||
|
2006
| ||||
|
numerous studio concerts |
| Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
|---|---|---|---|---|
|
1985
| ||||
|
1991
| ||||
|
several commissioned works, such as in 1991 on the occasion of the Mozart year for | ||||
|
1996
|
Alla breve Chor | |||
|
Musik und Kirche/Brixen: several commissioned works | ||||
|
music for the TV ballett production "Das Urteil" |
| Period | Award | Composition | Awarding Organisation |
|---|---|---|---|
|
1955
|
state scholarship for composition and eight month study visit in Rome | ||
|
1957
|
award for art and science | ||
|
1965
|
promotional award for vocal music | ||
|
1981
|
conferment of the title Professor by the Federal President | ||
|
1986
|
promotional award for a song cycle | ||
|
1989
|
Award of the Silver Medal of Merit for Services to the Republic | ||
|
1991
|
Award of Merit |
I have my origin in the vocal music, and therefore it is not mistaken when a critic (Andreas Pfeifer in the South Tyrolean 'Dolomite', 20.3.1990) declares my stylistic credo as "cantabile linearity". Furthermore he says: "Andergassen's artistic creativity seems to successfully prevent the much lamented social isolation of contemporary music. Quite affectionate to the innovative venture, he remains opposed to all sectarian arrogance of the avant-garde. His commitment does not apply to the uncompromising adoption of the tradition, but to the consequence of their organic update."
Guenther Andergassen, 1990
27. March 1995
The big advantage of the Andergassen opus [note: "Lob und Leid der Schöpfung" op. 47] is undoubtedly the transparent and clear picturesque sound language, which sometimes allows the mentioned biblical facts and visions in the texts to become dramatically imaginative for the brain and the heart. This means program music in the best sense.
Vorarlberger Nachrichten (Edgar Schmidt)