Raditschnig Werner
- Allgemeine Information
- Ausbildung
- Tätigkeiten
- Aufführungen (Auswahl)
- Stilbeschreibung
- Pressestimmen
- Kontakt, Links
Allgemeine Information
He is a composer as well as a performer in his own music projects and project-related collaborations with other specialists (music, video, theatre, visual arts). Raditschnig's areas of work include: mainly experimental array of instruments, electronics, orchestral sound installation, sculptural music, scenic performances and conceptualised spaces. He has made appearances and given performances at: Aspekte Festival Salzburg, Tage für Neue Musik Bozen, die lange Nacht der Neuen Klänge Wien, Neues Musikform Viktring, Konfrontationen Nickelsdorf, Ulrichsberger Kaleidophon, Kunstverein Wien, Kunstverein Klagenfurt, Brucknerhaus Linz, among others.
Ausbildung
| Zeitraum | Ausbildung | Instrument | AusbildnerIn | Organisation | Ort |
|---|---|---|---|---|---|
|
1972 - 1976
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participation in composition and analysis courses, as well as courses on contemporary music in Köln | ||||
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double bass (H. Bürgschwendtner) | |||||
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live-electronic composition at the Institute for Fundamental Research on Music and Electronic Music (Andor Losonczy) |
Tätigkeiten
| Zeitraum | Tätigkeit | Organisation | Ort |
|---|---|---|---|
|
1971 - 1974
|
Schallmomente: artistic director of the ensemble (composing in collective, improvisation and sound actionism); concerts and workshops in Austria, Germany and France | ||
|
1973
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Pädagogischen Aktionsgruppe PAG, Klagenfurt: member; seminars in Klagenfurt and at Bildungszentrum Mauterndorf | ||
|
1974
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Salzburger Kunstproduzenten, Salzburg: co-initiator | ||
|
1975 - 1981
|
Guttenberg: initiator and group member (musical political actionism) | ||
|
1975 - 1982
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realisation of over 20 compositions of electronic music at the electronic studio | ||
|
1983 - 1990
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Tauto: Duo with Gerhard Laber (conceptional improvisations and compositions), appearances at Konfrontationen Nickelsdorf, Rive de Giere, Mexico City, among others | ||
|
1990 - 1994
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initiator and trustee at the meeting 'Die Macht der Klänge' | ||
|
initiator and trustee at the "Schallortung" festival | |||
|
compositional work, mainly performed by himself, and the compilation of project-related specialist ensembles for music, theatre, visual arts and media art |
Aufführungen (Auswahl)
| Zeitraum | Aufführung | Werk | Organisation | Ort |
|---|---|---|---|---|
|
1996
|
Dommuseum Köln | |||
|
1998
|
Train Stations in Dresden, Prague and Vienna: | |||
|
1999
| ||||
|
2002
| ||||
|
2006
|
Nacht der Komponisten "Elvira-Cut für Sopran" |
Stilbeschreibung
Since the influences of my early years come from the area of experimentation, today I still ask myself: What should be heard? How should it sound? What effect should be communicated to the audience? Simply stated, two possibilities arise: 1) that which I call theoretical music and concertante installations, in which the exactly defined starting material forms the basis for musical processes. 2) applied music, mostly consisting of composition assignments, for which I make similar considerations with a given predetermined array of instruments, though I do not stick to this too strictly. In many of these pieces I apply the technique of bound improvisation. I do not consider musicians to be performance machines or only people who simply implement the written material, but I expect them to grasp my basic ideas for a given period of time and be able to pass them on.
Werner Raditschnig
Pressestimmen
2002
Monochromal sound textures of vastly unfolding attraction resulting from their detail-sprinkled density.
SKUG (Alfred Pranzl)
3. November 1998
Werner Raditschnig's piece "KA oder die Stellvertretung des Fleisches" draws its tonal resources from two polychords. This "raw material" is electronically mutated and relies on the layering of chords and melody formation units added by two cellists, one trombonist and two female singers. For a good 25 minutes one is drawn into an unfamiliar world of sound which at first seems static and blocky. It however incites attentive listening which is then rewarded with an abundance of subtle colours and interesting structures. The piece is convincing as a result of ist dense, directly communicative form.
Salzburger Nachrichten
28. May 1998
He consistently moves away from the concert hall towards new spaces, to "sound art", amalgamating the visual with music, and the listener is also left to his or her independence.
Kronenzeitung
Kontakt, Links
utanet [dot] at
