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Biographical Data
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Date of Birth:
4.08.1968 in Graz
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Nationality
Austria
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Biography:
Olga Neuwirth was incited through her meetings with Adriana Hölszky, Tristan Murail and Luigi Nono; in 1993/94 she participated in the Stage d'informatique musicale des Ircam, Paris; in 1994 she was a member of the jury of the Munich Biennale for contemporary music theatre; she is a member of the composers' forum at the summer school in Darmstadt; in 1996 she was a guest of DAAD in Berlin. Within the context of the "Next Generation" series, Olga Neuwirth was introduced at the Salzburg Festival in 1998 through two portrait concerts; in 1999-2000, at the Wiener Festwochen 1999, successful world premieres of the first full evening work for music theatre "Bählamms Fest" took place. Her work "Clinamen/Nodus", which was composed for Pierre Boulez and the London Symphony Orchestra had its world premiere in London in March 2000, and a world tour followed; in 2000 she was composer in residence with the Koninklijk Filharmonisch Orkest van Vlaanderen, Antwerp; in 2002 she was composer in residence at the Luzern International Festival of Music.
www.olganeuwirth.com
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Activities:
- 1994 Munich Biennale: jury member
- 2000 Koninklijk Filharmonisch Orkest van Vlaanderen, Antwerpen: composer in residence
- 2002 Luzern International Festival of Music, Luzern: composer in residence
- freelance composer
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Education, Instrument(s) |
Education:
- 1985 - 1986 Conservatory of Music, San Francisco: composition and music theory (Elinor Armer)
- 1985 - 1986 Art College, San Francisco: painting and film
- 1987 - 1993 University of Music and Performing Arts Vienna, Vienna: composition (Erich Urbanner)
- 1987 - 1993 University of Music and Performing Arts Vienna, Vienna: electro-acoustics (Dieter Kaufmann)
- 1987 - 1993 University of Music and Performing Arts Vienna, Vienna: electro-acoustics (Wilhelm Zobl)
- 1993 University of Music and Performing Arts Vienna, Vienna: diploma and Master's degree: "Über den Einsatz von Filmmusik in 'L'amour à mort' von Alain Resnais"
- 1993 - 1994 Paris: studies (Tristan Murail)
- Institut de recherche et coordination acoustique - IRCAM: Stage d'informatique musicale: participation
- Various summer courses ( Vinko Globokar, Tristan Murail, Lugi Nono, among others)
- Crucial encouragement through meeting Adriana Hölszky, Luigi Nono
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Performances, Commissions, Awards
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| Performances:
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Commissions:
- ISCM/IGNM/SICM - International Society for Contemporary Music
- Austrian Broadcasting Corporation
- Forum Stadtpark
- Musikprotokoll im Steirischen Herbst
- Wiener Festwochen
- Staatstheater Stuttgart
- International Contemporary Music Festival Stuttgart
- South-German Broadcasting Corporation - SWF/SWR
- Fondation Royaumont
- Ensemble Modern
- Klangforum Wien
- Arditti Quartet
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Awards:
- 1992 City of Vienna: promotional award
- 1993 Max Brand Award
- 1993 Republic of France: scholarship
- 1994 Austro Mechana - Gesellschaft zur Verwaltung und Auswertung mechanisch musikalischer Urheberrechte GesmbH: publicity award
- 1994 Theodor Körner Foundation: promotional award
- 1995 - 1996 DAAD, Berlin: guest artist on the programme
- 1996 EU: composition award
- 1997 Republic of Austria: state scholarship for composition
- 1997 German Academy of Performing Arts Frankfurt: radio play award
- 1999 Ernst von Siemens Foundation: promotional award
- 1999 Schleswig Holstein Music Festival: Plöner Hindemith Award
- 1999 City of Vienna: Ernst Krenek award for "Bählamms Fest"
- 2005 City of Vienna: music award
- 2008
- 2010 Republic of Austria: Grand State Prize of Austria
- UNESCO Paris: participation in the International Rostrum of Composers
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Description of Style |
Olga Neuwirth develops sound events with harsh (film) cuts and surprising turns. Gestures of movement change repeatedly, unfold, collapse and tip over in a perhaps would-be opposite. From this movement of lingering sounds emerges an instrumental clatter, the "spatialization" of which seems to take on the function of instrumentation. An audio-taped solo brings the movement to a standstill with a sinus chord. However, latest from now on the contradictions in this music begin to upend each other: it is a frantic standstill from which a cautious gesture of movement develops, which burns up its energy in a field of implosions. The intertwined sounds lose their contours, short audio-tape sounds emerge from the amorphous field,; and the underlying rigid harmonics of the field of sounds only leave space for suffocated movement, before an electrically-generated fan opens from the single f note. In the newly-defined sound space, quick, ornamental flowery phrases find their place and likewise, as a reminiscence of the sound characters from the first phase of the piece, sound blocks appear, shifting away from each other. However, the ornaments were once the driving force and the chords gave impetus to the movement, and now seem to be exhausted from the usuriousness and drive, sapped from the bone-crushing embrace of the wildly rampant Lonicera Caprifolium. And again there is a paradoxical state of movement, a moving stiffness, in the sound of the work. In the trills and brittle harmonies of the tenor saxophone, the bass clarinet and two prepared violoncellos, the fugaciousness of those producing sounds and the artificially constructed sound spaces meet. Olga Neuwirth tells of the sound of nervous energy potential in 'Lonicera Caprifolium' which appears when wild usuriousness and delicate embracing, gruffness and tenderness do not confront each other, but find themselves in each other.
Christian Scheib on 'Lonicera Caprifolium', in: Zeitfluß [Programmheft Salzburger Festspiele], Salzburg, 1995
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Press Reviews |
20040000:
Her work is not simple, easily explainable or simply structured. On the contrary: the works of Olga Neuwirth bubble incessantly, there is an underlying uncertainty which constantly pulls the ground from under the feet of the listener. [...]
Falter (Stefan Drees)
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20031200:
[...] Olga Neuwirth is a composer who unites scenes, sound and video elements most intensively and inspirationally. Film as a means of expression brings Neuwirth's music theatre quasi into a further dimension, the third or also the fourth: the filmed images are inserted as an additional layer and are inseparably merged with the unit of the composition. [...]
Neue Musikzeitung (Gerhard Rohde)
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20031103:
[...] From the start, the composer's uncompromisingly tart sound had an exciting and unsettling effect, which in obstreperous ramifications hurls sound realities at the listener's ears directly without fear and romanticism, sentimentalism, psychology and ingratiation. [...]
Süddeutsche Zeitung (Reinhard J. Brembeck)
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19990621:
[...] The 30 year-old Austrian composer is one of the most startling of her generation, writes, not only, but especially here, her music is lively, stirring, fun and full of allusions ... Olga Neuwirth's piece, with its musical dramaturgy, perhaps with the connection of different tonal ranges, offers insights which are worth pursuing. Most of all it is conceived with sparkling imagination and makes for a thrilling, and enjoyable evening. [...]
Neue Zürcher Zeitung (Peter Hagmann)
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Compositions
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- Diagonal Symphony
2007, 09:00 min
Instrumentation: chamber-music, septet, - Hommage à Klaus Nomi - a songplay in nine fits
2007 and 2008, Instrumentation: chamber-music, solo-voice, electronic - In Nacht und Eis
2006, approx. 15:00 min
Instrumentation: chamber-music, duo, - "...miramondo multiplo..." - für Trompete und Orchester
2005 and 2006, 20:00 min
Instrumentation: orchestra, solo - ...no more... - für Singstimme (verstärkt), Trompete, Synthesizer, Violoncello (verstärkt), E-Gitarre, E-Bass und Schlagzeug auf einen eigenen Text
2005, approx. 04:00 min
Instrumentation: chamber-music, sextet, solo-voice - Laki
2005 - M 2-9 / Menzel 3 - für Flöte, Viola, Violoncello und Klavier
2005, Instrumentation: quartet - Musik zu dem Dokumentarfilm "Erik(A)" von Kurt Mayer
2005 - Theatermusik zu "Warten auf Godot" von Samuel Beckett - für Tonband
2005 - tintarella di luna - cold songs - für Bariton und Klavier nach Texten von Michelangelo Buonarotti, Giacomo Leopoardi und Sappho
2005, Instrumentation: solo, solo-voice - "No more secrets, no more lies", drei Songs aus "…ce qui arrive..." - nach Texten von Andrew Patner und Georgette Dee für Stimme (unspezifiziert)
2004, approx. 07:00 min
Instrumentation: instrumental - ...ce qui arrive...
2004, approx. 50:00 min
Instrumentation: instrumental, vocal - Italia Anno Zero, "Staged Concert", Gemeinschaftsprojekt von Olga Neuwirth und Roberto Paci Dalò nach Texten von Antonio Gramsci, Giacomo Leopardi und Pier Paolo Pasolini - für zwei Sprechstimmen, zwei Klarinetten, Theremin, Gitarre, Elektronik, Sampler, Live-Elektronik, Video und Licht
2004, approx. 54:00 min
Instrumentation: instrumental, vocal - Marsyas - für Klavier
2004, approx. 15:00 min
Instrumentation: solo - Zefiro aleggia... nell'infinito... - für Fagott, Orchester und Zuspiel-CD
2004, approx. 15:00 min
Instrumentation: orchestra, solo - Lost Highway - Musiktheater nach David Lynch und Barry Gifford, Libretto von Elfriede Jelinek und Olga Neuwirth
2003, approx. 01:40:00 hour
- Theatermusik zu "Der jüngste Tag" von Ödön von Horváth - für Tonband
2003 - 2004 - Torsion - für Fagott solo
2003, approx. 12:00 min
Instrumentation: solo - Theatermusik zu "Philoktet" von Heiner Müller - für Tonband
2002 - torsion: transparent variation - für Fagott, Ensemble und Zuspiel-CD
2002, approx. 15:00 min
Instrumentation: chamber-orchestra, solo - Verfremdung/Entfremdung
2002 and 2006, Instrumentation: chamber-music, duo, - Verfremdung/Entfremdung - für Flöte, Klavier und sechskanaliges Tonband
2002, approx. 12:00 min
Instrumentation: chamber-music - Abenteuer in Sachen Haut - Eine Raum-Klang-Installation für SchauspielerInnen und Tonband nach Texten von Dylan Thomas, Musik von Olga Neuwirth
2001, approx. 01:10:00 hour
- Construction in Space - Hommage à Naum Gabo - for 4 soloists, 4 ensemble groups and live-electronic
2001, approx. 45:00 min
Instrumentation: chamber-orchestra, solo, electronics live - ecstaloop - für Sopran, Sprecher, Sampler und Ensemble nach Texten von Stephanie Fleischmann, Ivetta Gerasimchuk, Banana Yoshimoto, Craig Raine und Kathrin Röggla
2001, approx. 17:00 min
Instrumentation: chamber-orchestra, solo-voice - locus ... doublure ... solus - für Klavier und Ensemble
2001, approx. 24:00 min
Instrumentation: chamber-orchestra, solo - locus ... doublure ... solus - Version für Klavier und Orchester
2001, approx. 26:00 min
Instrumentation: orchestra, solo - Theatermusik zu "Totenauberg" von Elfriede Jelinek - für Tonband
2001 - anaptyxis - für großes Orchester
2000, approx. 14:00 min
Instrumentation: orchestra - Der Tod und das Mädchen II - Tonbandkomposition für Ballett (Poème choréographique) auf einen Text von Elfriede Jelinek (Stimmen von Anne Bennent und Hanna Schygulla)
2000, approx. 01:20:00 hour
- incidendo/fluido - für Klavier und Zuspiel-CD
2000, approx. 13:00 min
- Theatermusik zu "Ein Sommernachtstraum" von William Shakespeare - für Tonband
2000 - Theatermusik zu "Virus - das Unabomber Projekt" von Henrik Schröder - für Tonband
2000 - ... ad auras ... - in memoriam H.
1999, Instrumentation: chamber-music, trio - ...ad auras... in memoriam H. - für zwei Violinen und Holztrommel ad libitum
1999, approx. 12:00 min
Instrumentation: chamber-music - Anaptyxis
1999 - 2000, Instrumentation: orchestra - Clinamen/Nodus - für Streichorchester, Schlagzeug und Celesta
1999 - 2000, approx. 15:00 min
Instrumentation: orchestra - Suite - für Theremin und Ensemble
1999, Instrumentation: orchestra, solo - The Long Rain - Film-Musik-Projekt von Olga Neuwirth und Michael Kreihsl für vier Solisten [Bassfl., Bass- und Kbklar., Saxofone, Tuba], vier im Raum verteilte Ensemblegruppen und Live-Elektronik nach der gleichnamigen Erzählung von Ray Bradbury
1999 - 2000, approx. 45:00 min
Instrumentation: orchestra, electronic - Drei Rätsel von Mozart
1998 - 1999, approx. 06:00 min
Instrumentation: instrumental, duet - Hommage à Klaus Nomi - Bearbeitungen von 'Falling in Love Again', 'Ding Dong', 'Simple Man', 'Death' für Schlagzeug, Synthesizer, Baßklarinette, Cello, Kontrabass und Trompete
1998, Instrumentation: chamber-music, sextet - Nova/Minraud - für Vokalensemble
1998, 12:00 min
Instrumentation: vocal, instrumental - Ondate II - für zwei Bassklarinetten
1998, 13:00 min
Instrumentation: chamber-music, duo - astonished angels - Klanginstallation für die Häuserecke Kohlmarkt/Graben
1997, Instrumentation: instrumental, electronic - Bählamms Fest - Musiktheater in 13 Bildern nach Leonora Carrington
1997 - 1999, approx. 01:20:00 hour
Instrumentation: instrumental, vocal, electronic - Elfi und Andi
1997, 18:00 min
Instrumentation: chamber-music, quartet, duet - Fondamenta - für Klarinette, Saxophon, Cello und DAT-Band
1997, Instrumentation: chamber-music, trio, - Nova Mob
1997, 12:00 min
Instrumentation: chamber-music, sextet, sextet - Ondate - für Saxophonquartett
1997, 13:00 min
Instrumentation: chamber-music, quartet - Photophorus - für 2 E-Gitarren und Orchester
1997, 15:00 min
Instrumentation: orchestra, duo - sound-cases of memory - Klanginstallation
1997, Instrumentation: solo - sounds of an imaginary city - Hörstück
1997, Instrumentation: solo, electronic - Todesraten - Hörspiel nach einem Text von Elfriede Jelinek
1997, Instrumentation: chamber-music, quintet, duet - ... ?risonanze? ... - für Viola d'amore solo
1996, Instrumentation: solo - Hooloomooloo - für drei Gruppen und Zuspiel-CD
1996 and 1997, 15:00 min
Instrumentation: chamber-orchestra, - Metal/Pallas
1996, 13:00 min
Instrumentation: solo, - Pallas/Construction
1996, 25:00 min
Instrumentation: chamber-music, trio, electronics live - Quasare/Pulsare
1996, 10:00 min
Instrumentation: chamber-music, duo - talking houses - Klanginstallation
1996, 31:00 min
Instrumentation: electronic - Akroate Hadal
1995, approx. 09:00 min
Instrumentation: chamber-music, quartet - La vie - ... ulcérant(e)
1995, approx. 11:00 min
Instrumentation: chamber-music, quintet, duet - Vampyrotheone - für 3 Ensembleformationen mit 3 Solisten
1995, approx. 12:00 min
Instrumentation: chamber-orchestra, solo - Five Daily Miniatures
1994, 09:00 min
Instrumentation: chamber-music, quartet, solo-voice - Jardin désert - Portrait einer Komposition als junger Affe II
1994, 09:00 min
Instrumentation: chamber-music, electronic - Sans soleil - Zerrspiegel für 2 Ondes Martenot, Orchester, Elektronik und Live-Elektronik
1994, 18:00 min
Instrumentation: orchestra, duo - Spleen
1994, 07:00 min
Instrumentation: solo, brass-music - Vexierbilder
1994, 10:00 min
Instrumentation: chamber-music, quintet, electronics live - Lonicera Caprifolium - für Ensemble und A-DAT
1993, 17:00 min
Instrumentation: chamber-orchestra, - Punch & Judy - Hörspiel nach einem Text von H. C. Artmann (Version für Puppentheater)
1993 - 1994, 35:00 min
Instrumentation: chamber-music, solo-voice - !?dialogues suffisants!? - Portrait einer Komposition als junger Affe I
1992, 12:00 min
Instrumentation: chamber-music, duo, - Aufenthalt
1992 - 1993, 19:00 min
Instrumentation: chamber-music, quartet, octet - Canon of Funny Phases
1992, 13:00 min
Instrumentation: chamber-music, sextet - Duplus-Duplex
1992 - 1993, Instrumentation: chamber-music, duo, brass-music - Let's play, play, play ... - für Musikschüler
1992, 08:00 min
Instrumentation: chamber-music, quartet - Quingelquingelquis Weg durchs Orchester
1992, 10:00 min
Instrumentation: orchestra - Schlagschatten
1992, 03:00 min
Instrumentation: solo, electronic - Worddust of Minraud
1992, 07:00 min
Instrumentation: vocal - Cthulhu-Ludium - Vor der Dunkelheit
1991 - 1992, 11:00 min
Instrumentation: orchestra - Zwischenmusik - zu den beiden Musiktheaterwerken
1991 - 1992, Instrumentation: chamber-orchestra - Die neugierigen alten Frauen - Musik für ein Puppentheater
1990, Instrumentation: solo, solo-voice - Die Schamlosen - oder Ein Spektakel in einem Akt (Kurzoper)
1990, 10:00 min
Instrumentation: chamber-music, duo, terzett - Körperliche Veränderungen - nach dem Hörspiel "Ballade von drei wichtigen Männern sowie dem Personenkreis um sie herum". Musiktheater
1990 - 1991, 28:00 min
Instrumentation: orchestra, terzett - Cigarren (elementar)
1989 and 1990, 08:00 min
Instrumentation: chamber-music, trio, solo-voice - Der Wald - ein tönendes Fastfoodgericht - Mini-Oper
1989 and 1990, 11:00 min
Instrumentation: orchestra, choir, quintet - Fünf Stück Filmmusik - für einen Kurzfilm der Brothers Quay (London)
1989, 07:00 min
Instrumentation: chamber-music, trio - Bagatellen für Violoncello allein - Der Geist aus der Flasche nach einem Anagramm von Unica Zürn
1988, 07:00 min
Instrumentation: solo - Der rosarote Zwerg auf dem Weg nach Garanas - oder Die gelbe Kuh tanzt Ragtime
1985, 10:00 min
Instrumentation: orchestra
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