Gerold Amann

Courtesy of Musikdokumentationsstelle Vorarlberg ©

Amann Gerold

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 7 Zauberformeln - for harp solo 2012
2 Alemannische Urviecher - a prehistoric song cycle 2012
3 Small Talk - für Soli, Chor und Orchester 2011 12m
4 Schallfossile 2010
5 Tanzmaschinen - open air project for three wind orchestras and agricultural implements 2009
6 Kunstdebatte - Kunstdebatte 2007 ~ 12m
7 5 Gibbongesänge - Transkriptionen ( 1:1, 2:1, 4:1 ) für Streichquartett 2006
8 Lurenmusik - für Blechbläser, Spielanleitung zu Naturton-Improvisationen über E 2005 6m - 8m
9 Formicula - Ameisenstaaten, Musiktheater mit Klangmaschinen 2002 ~ 1m 20s
10 Höllenfahrt im Freiballon - Stücke und Improvisationsvorlagen für Chor und Bläser zu einer Textvorgabe von Eckart Liss 2002 ~ 1h 30m
11 Das Albtraummännlein - sprachunabhängiges Sprechtheater für sieben musikalische Schauspieler und Vokal-Orchester 2001 ~ 1h
12 Internezzo - für Blockflöten und Perkussion 2001 ~ 6m
13 Ö! - zur Lage der Kulturnation, für 3 Bratschen 2001
14 Hydra - sound sculpture 2000
15 Concertino 1999 ~ 6m
16 O Holding Kunst 1999 ~ 6m
17 Hassgeschichte 1998 ~ 1h
18 Eirene - Musikposse mit Comics nach Aristophanes 1998 ~ 30m
19 Lucy - für Orchester 1996 ~ 10m
20 Balzer - für Streichquartett 1996
21 Triungulus - Dokumente von Menschen, Tieren und Maschinen 1994 ~ 1h
22 Planetarium - für Orgel zu vier Händen 1994 ~ 6m
23 Waldeslust - Eine alpine Blechoper in vier Szenen. Neufassung 1993 ~ 30m
24 Bewegungen 1992 ~ 9m
25 Querwolf - Kantate für Sopran, Bläser und Schlaginstrumente 1992 ~ 11m
26 Fünf türkische Märsche 1992
27 Fundevogel - Singspiel 1991 ~ 50m
28 Die Gottesanbeterin - Ein Liebesspiel für Gitarre zu vier Händen 1991 ~ 6m
29 Stilleben 1989 ~ 5m
30 Raggi Risuonanti - für 2 (gestimmte) Räder eines Fahrrades 1989 ~ 7m
31 Drei Balzer - für Orchester 1989 ~ 9m
32 Apokalypse - Musiktheater 1989 ~ 1h
33 Mostellaria - Jägerlateinische Musik-Komödie, frei nach Plautus 1988 ~ 1h 10m
34 Dr. med. Orpheus - Tanzspiel mit Gesang 1987 ~ 30m
35 Von der alemannischen Seele 1986 ~ 3m 40s
36 Laurentius-Suite 1691/1986 1986 ~ 10m
37 Notizen für Klavier - Taxifunk, KW-Salat, Wassertropfen, Zaunkönig-Gesang, Wasserhahn, Uhubalz, Elektronik-Stilleben, Zahlenspiel 1986 ~ 7m
38 Römermusik 1985 ~ 8m 30s
39 Wärmelehre - Musical 1985 ~ 1h
40 Zwei Luftschlösser 1984 ~ 6m
41 Nachricht für den Uhu - Transkription verzögerter Bandwiedergaben (Uhubalz, Maschinenmorsen, Kuckucksuhr) 1983 ~ 9m
42 Quintett für einen gefangenen Singvogel 1983 ~ 9m
43 Marsch von der verschollenen Blaskapelle - zum Hörspiel "March Movie" von Michael Köhlmeier 1983
44 Das Lederhosenballett 1982
45 Mi Hämatle 1981 ~ 7m
46 Veränderung 1981 ~ 2m
47 Der Clown 1980
48 Fensterflügel und Nachtigall - Orchestertranskription verzögerter Bandwiedergaben 1979 ~ 10m
49 Funksignale - Kurzwellentranskription 1979 ~ 6m 40s
50 Streichquartett Nr. 2 1978 ~ 8m
51 Aus dem Liederbuch eines Mönchs - Zyklus für Sopran oder Tenor, Bläserquartett und Orgel 1977 ~ 10m
52 Genesis - oder "... und Gott sprach". Geistliches Trio für Sopran, Flöte und Cembalo nach "Veni creator Spiritus" 1977 ~ 12m
53 Spektakel 1976 ~ 1h
54 Die Lebensalter 1976
55 Waldeslust - Singspiel 1975 ~ 1h 20m
56 Streichquartett Nr. 1 1975 ~ 7m 30s
57 Ton-Folgen - zu Texten von Inge Dapunt 1975 ~ 12m
58 Frei - Lied 1975
59 Autophonie - Lied 1975
60 Goggalori 1973 ~ 1h 10m
61 Naturstudie - Die Stimmen von Amsel, Kohlmeise, Spatz, Rauhfußkauz und Birkhahn 1971 ~ 10m
62 Wie Hans das Gruseln lernte 1970
63 Zwei Chorlieder nach Texten von Matthias Claudius 1962

General Information

Year of Birth:  1937
Date of Birth:  31. October 1937
Place of Birth:  Schnifis
Region of Birth: 
Country of Birth: 
Nationality: 

I was born in the Vorarlberg village Schnifis (altitude 650m) in 1937, shortly before the beginning of the Second World War. Due to the war, as a child I was rebuked when trying to shriek with joy: "Now is not the time to cheer, we are at war!". This was also not the time for big concerts. At the age of 10, I heard music unknown to me on the radio - if I remember correctly it was Bruckner's 4th Symphony. I was determined: "This is something I also want to do!". I probably never managed to reach Bruckner's level, but making music gives my life fulfillment and happiness.

In high school I collected my first experiences as a dance musician in Liechtenstein. As a student in Graz, I played in a jazz band. At the Music Academy I was taught everything worthy to know about classical music and its communication to others (teaching). An additional degree in psychology gave me valuable insights, especially regarding the processes of perception. However, I learned the most by listening to everything that I encountered: animals, machines, my own body, ... I became an arranger of all kinds of sound events. Thereby I've often used the "Tonlupe" (delayed playback) to exhibit the "inside" of sound.

For the most of my life I lived in Vorarlberg, where I taught at the high school in Bludenz and the Vorarlberg State Conservatory. An attempt to break free from this routine via participating in a music project in New Guinea failed. I retired in 1997, but I am still active as a freelancer.

I have not been spoilt with awards, but my music has experienced notable performances, for example at the music protocol at Steirischer Herbst in Graz, at the Forum for Contemporary Music Feldkirch, International Music Festival Kiev, Bregenz Festival as well as in Vienna, Salzburg, Rostok, Wroclaw, Krakow, Riga, Helsinki, Malmö, Chios, Chania (Crete), New York, Indianapolis, Ohio (Erie), Boston, Shanghai, Beijing, Guangzhou. Various TV broadcasts include Goggalori, Spektakel Wanderslust, Das Lederhosenballet, the Zeitton-Portrait for ORF etc.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

architecture, philosophy, psychology

doctorate in philosophy and psychology

composition

composition

Activities

PeriodActivityOrganisationLocation

Gymnasium Bludenz: teacher

professor of composition and music theory

1997

retirement

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

Zeitton portrait

International Music Festival Kiev

TV performances: Goggalori, Spektakel, Waldeslust, Das Lederhosenballett

Vienna, Salzburg, Rostock, Wroclaw, Krakow, Riga, Helsinki, Malmö, Chios, Chania (Crete), New York, Indianapolis, Ohio (Erie), Boston, Shanghai, Beijing, Canton

Awards

PeriodAwardCompositionAwarding Organisation
1974

Prize of the Province of Vorarlberg for Art and Science

1986

Junge CA: composition award

1988

City of Dresden: Carl Maria von Weber Award for Musical

1993

Prize of the Province of Vorarlberg for Art and Science

ÖBV: composition award

composition award

Description of Style

Amann does not develop his music from given music-historical circumstances, but looks for alternative compositional starting materials. His lack of interest in the development of so-called contemporary music makes him an outsider, as his attention is rather focused on scientific, psychological and philosophical areas, which he uses for his compositions. Musical source materials are mostly noise events and other sound phenomena from nature or the environment.

For many years, Amann has been working with recordings of bird songs and environmental sounds, which he has slowed down, transcribed and processed in the form of compositional music studies. His intention is to search for interior, isomorphic structures, as Amann is convinced that there are certain laws of nature that characterize the various sound events. Until the end of the 1980s, finding and processing this music was his main compositional focus.

Rhythm is essential in Amann's work concepts, since it serves as the main guideline for musical activity. This entails ratios that are based on analogies between rhythmic tone length proportions, numerical proportions of the overtone series and the usual intervals. Furthermore, Amann is fascinated by Kepler's planetary calculations, in which he sees the best example for the "exercising of proportions".

The intention to set socially relevant activities has become more and more important in Amann's compositions. He proclaims this when he formulates his initial thought process: "My attempt is to make amateur theater that is not only badly performed professional theater. In other words, amateurs become valid through group performances, choirs, dance groups, but also other things, like riding a motorcycle."

Fritz Jurmann: Zeitton portrait of Gerold Amann. Ö1 radio broadcast, 13.3.1994