Dana Cristina Probst
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Instrument: piano
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Photographer: Nicolae Alexa, © Dana Cristina Probst

Probst Dana Cristina

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Rhythm and Colour 2014 6m
2 la colindat 2014
3 Les voix cachées 2014 6m
4 In D 2013
5 9pm Oxford Time 2013 13m
6 Por ser 2013
7 Hanging Vaults 2012 9m
8 Maître du marteau II 2012 13m
9 Skin and Reeds 2012 6m
10 Hängende Gewölbe 2012 10m
11 A D E A 2012
12 Timp de luna, timp de soare 2011 25m
13 Unterbrochenes Lied 2011
14 Vers les quatre points 2011 13m
15 Am Orte des Lichtes 2010 9m
16 RUF 2009 13m
17 Like a Song of Ascent 2009
18 Colind - sur le nome de haydn 2009
19 Citind "Sara pe deal"- reading "Eve on the hill" 2009 5m
20 Liora 2008
21 Der schützende Kreis 2008
22 Moments 2008
23 "siehst du am Abend..." - mit und nach Gedichten von Franz Schwediauer für Klavier und Sprecher 2007 ~ 8m
24 din fluier - für Flöte solo 2007 ~ 5m
25 [bru:m]music - für Ensemble 2007 ~ 7m
26 aler, ler - für Viola solo 2007 ~ 8m
27 NAcHbar 2007 ~ 10m
28 ...et une flûte 2007
29 Maître du marteau I 2007
30 "Rhythm is it!" - für Violoncello und Klavier 2006 ~ 5m
31 Auftakt, Austakt - für Klavier und Sprecher 2006 ~ 3m
32 Ruf-Chemare - für Naturhorn, Klavier und Violine 2006 ~ 10m
33 "Gefährtin derer, die an die Liebe glauben" - chamber opera in one act 2005 ~ 23m
34 Doi trecu-mi (Auf einem Colind) 2005 ~ 5m
35 Zicala dobei (Das Lied der Trommel) 2004 ~ 5m
36 Alta lumina (Ein anderes Licht) 2004 ~ 8m
37 Die verborgene Drei 2002 ~ 8m
38 Joc (Tanz) 2002 ~ 8m
39 Hommage à Messiaen 2001 ~ 9m
40 Plimbari si popasuri (Spaziergänge und Ruhepausen) 2000 ~ 17m
41 Meine Stimme von da, meine Stimme von woanders 2000 ~ 15m
42 Zwei Lieder nach Gedichten von J. W. von Goethe - für Frauenstimme und Klavier 1999 ~ 9m
43 Contraste Concerto - für Saxophon, Klavier, Schlagzeug und Kammerorchester 1999 ~ 18m
44 Bright Sadness 1999 ~ 14m
45 Webb-Contraste 1999 ~ 7m
46 Sanctus und Benedictus - für Sopran, Chor und Orchester 1997 ~ 4m
47 Re-Trio - für Violine, Klarinette und Klavier 1996 ~ 12m
48 Herbst - Toamna 1995 ~ 7m
49 Wienerische Ruhe - Fünf Stücke für Sopran und Tenorsaxophon 1994 ~ 9m
50 Kadenzen - für Klavier solo 1993 ~ 10m
51 Zeichnung in B - für Ensemble 1992 ~ 10m
52 A D A A 1992
53 Muzica în alb 1992
54 Whitesuntide for Contraste 1990 ~ 8m
55 Lumina lina (Sanftes Licht) 1989 ~ 17m
56 Praeludium - für Klavier, Horn und Streichorchester 1987 ~ 11m
57 Konzert - für Trompete und Orchester 1987 ~ 15m
58 Tala - für zwei Trompeten 1987 ~ 9m
59 NinSoare (Schneefall mit Sonne) 1986 ~ 7m
60 Vogelscharen I, II 1985 ~ 10m
61 Stroluri I 1985
62 Drei Lieder - für Mezzosopran und Ensemble nach Gedichten von Nichita Stanescu 1984 ~ 7m
63 Reflexe N - für Frauenstimme und Ensemble nach Gedichten von Nichita Stanescu 1984 ~ 17m
64 Streichquartett Nr. 1 1983 ~ 12m

General Information

Year of Birth:  1961
Place of Birth:  Bucharest
Country of Birth: 
Nationality: 

I was born in Bucharest, Romania and have been living in Vienna since 1993.
I owe my thorough musical education (the high educational standard in music, which was then centralised and supported by the communist government) and the honour of being close to grand personalities in the arts to my home country. To Austria, I owe my family and clarity in myself, as well as my musical, compositional message.
My years as a teenager were characterised by quality relationships on a personal and artistic level, maybe to compensate for all the reprimands and regulations during the time of dictatorship. I have always got on well with my teachers, not just in a music-related way. I am really thankful to - as a musician and as a person - my piano teachers Brigitte Birnberg, Liviu Segal, Ada Nasturel and later Aurora Ienei; in the field of composition and music theory to the composers and also committed teachers Anatol Vieru, Harald Müller, Aurel Stroe, Theodor Tutuianu, Stefan Niculescu , Myriam Marbe. They all gave me lessons, but they also advised and encouraged me.
After my studies, I joined the association "Junge Komponisten". Its umbrella organisation - the Romanian Composers' Association - made sure the works of young composers were performed or at least discussed. At that time, I gave piano lessons in a provincial town, as we were all barred from the capital.
In 1989, Romania's political situation changed drastically and a new stage began for me in terms of my professional, social and private life. I decided to take a job as an assistant for Romanian folk music at the former Academy of Music in Bucharest. Within three years - namely between 1990 and 1993 - I took part in nine field studies in Romania and the Republic of Moldavia.
In 1992, I met my - then future - husband in Bucharest, an event which - in addition to a scholarship by the Austrian Exchange Service (1993-1994) and the birth of our daughter (June 1994) - led to my move to Vienna, where I am experiencing the difficulty of attaining joy as a composer and teacher with heart (in a money-oriented world) day-by-day.

 

Dana Cristina Probst, 06.2007

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1968 - 1980

George Enescu Lyceum: lessons with Brigitte Birnberg, Silvia Voiculescu

1968 - 1980

George Enescu Lyceum: musical aesthetics (Octavian Nemescu)

1968 - 1980

George Enescu Lyceum: harmonics (Costin Cazaban)

1968 - 1980

George Enescu Lyceum: music history studies (Dumitru Avakian)

1979 - 1980

private lessons in music theory, harmonics

1980 - 1984

Ciprian Porumbescu Conservatory: composition, musicology, music education (Anatol Vieru, Aurel Stroe, Stefan Niculescu, Adrian Ratiu, Harald Müller, Liviu Comes, Theodor Tutuianu, Myriam Marbe, Aurora Ienei)

1994

composition

Activities

PeriodActivityOrganisationLocation
1984 - 1990

Music School Ploiesti, Romania: piano teacher

1990 - 1993

Academy of Music: assistant for Romanian folk music

piano teacher and music theory (private lessons)

2007

director of the multimedial project "Der Klang Brancusi"

2008

ever since member

2009

ever since co-director of the international festival "Tintea muzicala" (in cooperation with Adina Dumitrescu)

2010 - 2011

director of the exchange project HEL-VIE meno paluu - Austrian and Finnish contemporary music for flute and clarinet

2013

jury member of the composition competition, Vienna and Salzburg

2014

ever since board member

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)
1999

Goethe Society Romania: commission for the CD production

2004

Trio Contraste

2007

District Festival Wieden, Agenda 21, musical opening

Awards

PeriodAwardCompositionAwarding Organisation
1984

Composition Contest Gheorghe Dima, Cluj: first prize in the category of chamber music

1993

ÖAD scholarship for musicology

1999

International Composition Contest Aperto, Bucharest: second prize

2012

work scholarship

2013

work scholarship

2015

work scholarship

Description of Style

Often described as intense and powerful and taking neo-modalism as its starting point, her music is characterised by linearity as well as its own harmonic language. Layers of various tempos, heterophony and non-tempered scales are continually present in her works.
Starting at neo-modalism and living through the tension of tightly chromatised harmony, my music is now more and more characterised  by three impetus-providing sources: Romania's traditional folk music, Gregorian chant and Byzantine church music. This development gets more concrete by a) using an individual harmonic language, where fifth, fourth and second (respectively seventh and ninth) are seen as cornerstones, b) using linearity: the melodic aspect is always considered, c) using micro-intervals. The modal scales I am using "grow" from real, traditional, living ground. Old, traditional Romanian folk music also provides elements of a strong, energetic, partly rough, but positive attitude. I creatively alter asymmetric rhythms, as well as superimpositions of different tempi and different tonal systems. The contemplative, the static, also present in my music, often derives from Byzantine music. Non-tempered musical scales and heterophony belong here. An important aspect of my compositions is that the timbre is the natural reflection of the complex work in the depth of the material at the surface of the music and not a purpose in itself (similar to the natural beauty of the skin of a well-nourished person). From an aesthetic-emotional point of view my music is called intensive, powerful and touching.

 

Dana Cristina Probst, 06.2007