Courtesy of T. Bartosch (private photo ©)
Bartosch Thomas
- Compositions
- General Information
- Education
- Activities
- Performances (Selection)
- Commissions (Selection)
- Description of Style
- Contact, Links
Compositions
General Information
Education
| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
|
1979 - 1990
|
piano (Renate Kramer Preisenhammer) | ||||
|
1979 - 1980
|
concert studies (Hans Petermandl) | ||||
|
1979 - 1984
|
concert studies trumpet | ||||
|
1981 - 1985
|
jazz piano | ||||
|
1990
|
teaching certificate in piano | ||||
|
1999 - 2001
|
composition | ||||
|
1999 - 2001
|
music theory | ||||
|
2001
|
1. diploma | ||||
|
2001 - 2007
|
composition | ||||
|
2007
|
second diploma with honors in composition | ||||
|
2007
|
Master of Arts with distinction |
Activities
| Period | Activity | Organisation | Location |
|---|---|---|---|
|
1976
|
first compositions | ||
|
1976
|
television performances with his own compositions | ||
|
1984
|
orchestra audition | ||
|
1987
|
assistant to MD Andre Bauer | ||
|
1987
|
musical rehearsal of A.L. Webber's "Song and Dance" | ||
|
1987 - 1988
|
on tour with Angelika Milster in German-speaking countries | ||
|
1994
|
tour in India with the dance theatre piece "The Dawn After" (piano solo) | ||
|
1995 - 1999
|
accompanist | ||
|
1997
|
conductor of the musical "Elvis" | ||
|
1997
|
musical director of the Vranitzky Gala "Wider die Gewalt" | ||
|
1998
|
conductor of the musical "High Society" | ||
|
1999
|
musical productions for "Elisabeth" and "Chicago" | ||
|
2003
|
musical rehearsal | ||
|
2003
|
musical rehearsals and arrangements | ||
|
2004
|
conductor of "Barbarella" | ||
|
2005
|
freelance piano and keyboard player for concerts and CD productions | ||
|
2005
|
freelance piano and keyboard player for concerts and CD productions | ||
|
Köhne Quartett, Vienna: composer | |||
|
1. piano and keyboard player in the orchestra | |||
|
freelance musical director and arranger for various musical productions | |||
|
gala performances with Gilbert Bécaud, Jerry Lewis, Agnes Baltsa, Placido Domingo | |||
|
guest performances in Berlin, Moscow, Beijing, Trieste, Tokyo and Osaka | |||
|
active in various jazz formations | |||
|
composer | |||
|
compositions for musical theater | |||
|
composition activities for various contemporary music ensembles | |||
|
ongoing CD productions | |||
|
song accompaniment for, among others, Maria Bill, Alfons Haider, Michael Heltau, Ricky May, Esther Stein | |||
|
Studio musician for Michael Heltau, Harald Juhnke, Peter Alexander (Robert Opratko Orchestra) | |||
|
numerous radio and television recordings and CD productions |
Performances (Selection)
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
|
1988
|
Moscow | |||
|
1994
|
tour in India with the dance theatre piece "The Dawn After" (piano solo) | |||
|
2000
|
Beijing | |||
|
2003
| ||||
|
2007
|
Osaka and Tokyo | |||
|
piano accompaniment for Michael Heltau, Alfons Haider, Harald Juhnke, Peter Alexander, Maria Bill | ||||
|
all musical productions | ||||
|
on tour in Germany, Switzerland |
Commissions (Selection)
| Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
|---|---|---|---|---|
|
2006
|
Stadttheater Bozen: composition | |||
|
2007
|
composition | |||
|
composition |
Description of Style
I always try to define new approach for each composition, therefore my compositions are so different in form and language. My roots regarding rhythm and movement are in jazz, as well as in rock music. Gestures (as well as extreme dynamic processes or instrumentation) are not coupled with the musical language, my ideas are often abstract, are never obliged to certain style constraints and therefore reveal forms with the new idea for every single work.
At the same time, ongoing minimalist elements (moving patterns) of different tempos, for example in my movements 1-3, determine what is happening, while a parallel dramatic development seems important to me.
The interaction of voice, using free invented fantasy words (syllables) with the expressive possibilities of various instruments is the topic of my study 2 for 4 different languages and 6 instrumentalists, similar to the Zellblocktango.
Fine color differentiations (such as in Klangstudie, Streichquartett Nr.2), the feeling of time and peace in my compositions, even a form of meditation is an important part of my thoughts.
Contact, Links
drei [dot] at
