Photographer: Regine Hendrich ©

Aichinger Oskar


# Title Year of Originsort icon Duration Instrumentation Category
1 Unterwegs 2016
2 Der entwendete Taler - chamber opera 2009 47m
3 Lieder für EKG 2009 12m
4 "... wie vor dem Schnee" 2008 25m
5 Palimpsest - music for dance 2007 31m
6 Hans im Glück - music for a children's dance piece 2007 40m
7 Heimsehnen - Fortsehnen 2007 35m
8 Imaginary Jazzscape 2006 5m
9 Am Fluss 2006 1m 20s
10 14 Intonationen 2006
11 Suedama JIXX 2006 14m
12 Die Geruchschmale 2005 12m
13 May Kasahara, Haruki Murakami gewidmet 2005 9m
14 Eins, zwei, drei 2004 5m
15 Im Anfang war der Rhythmus, Alle Zeit der Welt, piccolo perpetuum 2004 8m
16 Moment Muatterl 2004 11m
17 Impromptu 2004 9m
18 Wien modern 2004 10m
19 Altwien 2004 10m
20 3/4 verstrahlt oder: Ansichten eines Trillers 2004 7m
21 A Maze 2003 12m
22 Wienlieder - based on poems by H.C. Artmann 2003 10m
23 Windspiel 2003 10m
24 Synapsis 2002 48m
25 Dokandili 2001 20m
26 Cut Copy Undo 2001 23m
27 To Touch A Distant Soul - a cycle of 7 pieces 2000 1h
28 Krebs hauert Umkehr 1999 10m
29 8 Stücke für das Oskar Aichinger Trio 1999
30 ... thy hour O Soul ... 1999 20m
31 Unweit Atlantis 1998 15m
32 Inwendig Patagonien 1997 7m
33 Unstolen? 1997 8m
34 Serenata Irritata 1997 8m
35 ...daß ich mich täusch'... 1997 10m
36 Sieben Stücke für das Oskar Aichinger Oktett 1996 ~ 1h 10m
37 Fünf aphorische Stücke für Bläserquintett 1996 8m
38 Eins .......bis.......Einundzwanzig 1996 1h 4m
39 Gute, Böse, das Jenseits und der Wald 1995 20m
40 Entre Nous 1995 13m
41 Ouverture ouvert 1995 8m
42 Chromosom Ans 1994 6m
43 Lumumbach 1994 8m
44 Les Wal 1994 3m
45 L'apres midi favoritien 1994 2m
46 Tok-tok 1994 1m
47 Windungen 1993 5m
48 Capriccio per due 1993 7m
49 Ardis Hall 1992 12m
50 Infected by the Groove - for mixed choir 1992
51 Introduktion, Choral und Fuge 1992 7m
52 Passa il tempo, Cagliostro 1992 14m
53 Springinkerl 1991 9m
54 Hei-Mahd 1991 2m
55 Plankton, zeitweise verdichtet 1991 4m
56 Chromogreinie 1991 5m
57 Sonatine Frei 1990 ~ 17m

General Information

Year of Birth:  1956
Date of Birth:  13. May 1956
Place of Birth:  Vöcklabruck
Region of Birth: 
Country of Birth: 


Born in 1956 in Vöcklabruck, Oskar Aichinger graduated from school in 1974 and began to study at the Montan University in Leoben. In 1976 he broke off his studies and moved to Salzburg, where he began to study music at the Mozarteum. Between 1984 -1986 Aichinger worked as a ballet accompanist at the Vienna State Opera. After leaving the opera, he worked as a music teacher.


In 1990 he decided to start a new musical career with a different style. He founded the duo "Steinaich-Irrding" with Hans Steiner, as well as another duo with Walter Malli. Since 1996, the year in which he founded the Oskar Aichinger Oktett, he has also been performing solo. In the following years Aichinger collaborated and performed with Eugene Chadbourne, John Edwards, Franz Koglmann, Sunny Murray, Michael Moore, Paul Skrepek, Achim tang, Stefan Nemeth, Wolfgang Reisinger and many others. He performed concerts in Austria and abroad (Belgium, Czech Republic, England, Germany, Italy, Poland, Switzerland, USA etc.). He has also written numerous compositions for various ensembles and produced several CDs and radio recordings.


PeriodEducationInstrumentTeacherEducation OrganisationLocation

first piano lessons at the age of 8, later also violin lessons

1974 - 1976


1976 - 1983

music education

1976 - 1983

instrumental studies

1976 - 1983


1976 - 1983

history studies




1979 - 1983

manager of various ensembles and choirs, first contact with jazz and dance music

1983 - 1984

trial year as a grammar-school music teacher

1984 - 1986

ballet accompanist

1986 - 1990


1990 - 1995

duo together with Hans Steiner


reduced the amount of teaching, new musical beginning


participation in workshops with Jimmy Giuffre and Anthony Braxton


ever since in duo with Walter Malli

1991 - 1996

pianist and musical director of the ensemble "Maxixe" (founded by Burkhard Stangl)


part of the movie "Malli - Artist in Residence"

1993 - 2002

part of the educational project


1000 Rosen, Schlager für Hinterbliebene: pianist


ever since member of the Nagl-Malli-Quartet (with Max Nagl, Walter Malli and Sunny Murray)


"Ton.Art plays Austrian Hollywood Composers": composer and conducter


collaboration with the Max Nagl Quintett


founding of the "Oskar Aichinger Octet" and ever since director


ever since musical accompaniment of silent movies (Der Schatz, The Cabinet of Dr. Caligari etc.)


first solo concert


assisted in the production "Der Zerissene"


ever since pianist for "Catatonic Contrasts" by Walter Malli

1998 - 1999

"The Metamagic of Fritz Spielmann": composer and conductor


founder and ever since member of the Oskar Aichinger Trio, together with Achim Tang and Paul Skrepek

1999 - 2000

guest appearances as a violinist


founder of the ensemble "Oskar Aichinger Sextett" with Lorenz Raab, Max Nagl, Martin Siewert, Achim Tang and Paul Skrepek


ever since pianist for "Coincidence" by Thomas Kaufmann


duo with Katarina Klement


ever since pianist for "Songs to anything that moves" by Hannes Enzelsberger


ever since pianist for "Dying will be easy" by Martin Siewert


ever since ensemble "Synapsis", together with Stefan Nemeth, Achim Tang and Paul Skrepek


ever since "Abends spucke ich meine Lunge aus", in collaboration with Vincenz Witzlsberger


ever since in trio together with Franz Koglmann and Wolfgang Reisinger


ever since "Schwarze Lieder", in collaboration with Walter Raffeiner and Max Nagl


ever since "ms franz", in collaboration with Martin Zost, Richard Klammer, Christof Dienz, Petra Ackermann, Vincenz Witzelsberger and Paul Skrepek


ever since in duo with Franz Koglmann (songs by Burt Bacharach)


ever since solo-pianist for "Kosmos Lutos_awski"


trio "Blood" with Michael Moore and John Edwards (music by Carla und Paul Bley, Annette Peacock, Jimmy Giuffre)


Ödön von Horvath - Project "Heimsehnen-Fortsehnen" (with Thomas Berghammer, Karl Sayer, Paul Skrepek)


pianist for Hannes Enzlberger's "My dear Ferenc"


Ensemble EKG (Susanna Heilmayr, Burkhard Stangl, Achim Tang, O.A.), premiere at the Jazzfest Wien


Weanjazz (Tibor Kövesdi, Hannes Löschel, Christian Mühlbacher, Max Nagl, Lorenz Raab, Angela Maria Reisinger, Peter Rom, O.A.), premiere at the festival "Weanhean"

performances at various festivals, a.o. Ulrichsberger Kaleidophon, Konfrontationen Nickelsdorf, Konstanzer Jazzherbst, Hörgänge, Festival of Central European Culture, Jazz Festival Saalfelden, Moving Patterns New York, Jazz Festival Vienna etc.

career-break from teaching, freelancer

concerts in Austria and abroad

several CD-productions

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

for the Mozart-year 2006

other commissions a.o. by Tanztheater (Maja Slattery and Compagnie Smafu) and by attensam quartett


PeriodAwardCompositionAwarding Organisation

Pasticcio-Award for the CD "Cosmos Lutosławski"

Description of Style

Imagine a pile of bricks, cement, glass, window frames, doors, heating pipes and so on. I am not saying that all of this is necessarily needed to build a house or to form a coherent shape. It is enough to bring this pile to a museum and its meaning will be radically changed - it has taken a "form". John Cage did the same with silence, he simply put it in a concert hall. Of course the traditional listener will always expect houses. While these may be unconventional, they still have to remain houses. Our task is to show the listener that there are also other things that can be built from this pile, things that he can understand on his own, with the memory of bricks, glass, heating pipes and so on. And we have to understand how to touch the listener without simply seducing or manipulating. In the time of today's monstrous pop (or lack of) culture this is a tricky endeavor, but absolutely necessary so that art does not withdraw itself and disappear from the social discourse. I assume that what touches the listener in jazz is improvisation, and is thus the externalization or expression of the subject (at least this has always been my impression as a recipient). This should hardly ever be disturbed by the composition, so that the composed elements and formal structure only serve as the sparks in the respective explosive mix of subjects to set the motor for the music in motion. Improvisation that uses standards is ultimately nothing else, but for me it is obsolete due to historical, personal (I am not from New York) and formal reasons. I dream of music that is completely committed to art and its complex mystery, but is yet understandable, simple and refined at the same time - just like a good joke.


Oskar Aichinger 1994

Press Reviews

15. December 2000

Oskar Aichinger's music is an extremely successful attempt to think contradictions. The processes cannot just be comfortably categorised in composition and improvisation.



Oskar Aichinger's Secret of the Arts
"Musicians are often asked what kind of music they make. This usually suggests a stylistic definition, a categorization, maybe even some kind of name dropping, somehow reducing a complex issue to an imaginary skeleton. I feel this is impossible to do, as music is always flesh and bone, mind and soul, individual and collective history," says Oskar Aichinger, composer and pianist, who, over the past ten years, has established himself -- according to Falter -- "without much ado" as a central figure of the "Austrian off-scene" [...] The result, the summary of achievements of musical history in America and Europe over the last century, is captivating, as it is in the case of the trio recording "Elements of Poetry", due to its kaleidoscopic, stylistic diversity, in which the oscillating soul of Bebop finds its place just as much as the sublime spirit of romantic songs, the subtle drive of Swing and the iridescently changing tone colours of contemporary avant-garde.

jazz zeit (Wolfgang Lamprecht)



Aichinger's pieces compose resonance and silence the way that stained glass windows compose light.
Cadence, New York


2. April 1997

"Armed with a few sheets of material - motifs, themes, polychords, formal structures, specifically defined sounds, verbal usabilities etc - I sat down at the piano, hoping I could improvise a whole album, if I just paid enough attention to what I would experience throughout the recording", says Aichinger. The outcome is a melting pot of many different moods; sad, melancholic, somewhat dramatic, cool and yet full of life and poetry.

Wiener Zeitung (Christian Rösner)

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