Mario Rosivatz
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Rosivatz Mario

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Bildersturm 2006 ~ 32m
2 Cadenza 2006 10m
3 F 2006a 2006 10m
4 3 Klänge für Audiosequenzer auf 6 Kanälen 2006 10m
5 Total Plan B für Audiosequenzer auf 6 Kanälen 2006 1m
6 Four Strings für Audiosequenzer auf 8 Kanälen 2006 1m
7 Ausschnitt aus einem Total 2005
8 "Er..." 2005
9 Ausschnitt aus einer Boltzmannprogression 2003 - 2004
10 Kinderstück 2002
11 Tonregistertotale 2002
12 Bruchstücke 1-3 für 2 Klaviere 2002
13 Tonregistertotale 2002 - 2004
14 Showmaster - (film) 2001
15 Das Gedankenexperiment 2001
16 Orchesterfragment 2001
17 Brechung 2001
18 Ausschnitt aus einem Total 2001
19 "C1" - für Ensemble 2001
20 "... für Streichquartett" 2001
21 Total - für 2 Klaviere oder Playerpiano 2000
22 So nahte eine Zersetzung - für Ensemble 2000
23 Improvisationen mit "le macchine animate" 1999
24 Strömungen 1998
25 Tschonkeitsch 1998
26 Vögel 1998
27 A2 - für Ensemble 1998
28 "widerschein" 1997
29 Masken II 1997
30 Masken I 1997
31 Environment II 1997
32 Gras 1996
33 Klangstudie 1996 1996
34 Distanzen 1995
35 Aus dem Hinterhalt... 1994
36 Nachtstück 1994
37 Wasser 1993
38 Rockie ist ein i-tüpfler

General Information

Region of Birth: 
Country of Birth: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1990

American Institute of Music: lessons with Wayne Darling and Günther Kirchsteiger

1997 - 2001

composition

1997 - 2001

composition

2001

composition studies (Marco Stroppa)

2002 - 2003

composition

training at the Studio SAMT (Karlheinz Essl, Adelhard Roidinger)

composition

composition courses and workshops with Beat Furrer, Gerard Zinsstag, Mike Stern and Joe Diorio

Awards

PeriodAwardCompositionAwarding Organisation
1994

Schiffstiftung Linz: promotional award

1997

talent award

2000

promotional award for music and new media

2001

Erasmus-scholarship

2001

state scholarship

2003

promotional award for culture

2004

individual grant

2006

scholarship

2007

International Thomas Bernhard Foundation: composer in residence

Description of Style

During the years 2000 to 2003 the technique of the total composition was developed and refined. This technique is a computer-assisted method which begins with the assumption that a (formal) recordable amount (= total) of all these conditions exists and can take on the role of the configuration of the (discrete) elements (of a composed piece). Each individual configuration is given a separate (virtual) index which is capable of retrieving exactly the configuration (= subset of the total) that is called upon. The total composition can refer to any finite set and thus can be applied independently of any genre. However, the application of the technique does not indicate the aesthetic preferences of the user. The formalisation of the process was designed from the outset for real-time applications. Classifications such as German pop, jazz, pop, classics, modern, free-improvisation etc. tend to draw their boundaries along more sociological than aesthetic lines.

Mario Rosivatz, 2003

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