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Martin Lichtfuss - Komponist und Dirigent Martin Lichtfuss - compositeur et chef d'orchestre

In all my compositions, I deliberately try to transform the opposing forces of contemporary music into a personal idiom. This idiom is often characterized by pulsating rhythms repeatedly crossed by ametric sonic situations. The harmony is mostly free-tonal, and it yet glides into atonality time and again. And if most intimate musical passages consistently feature in my orchestral pieces, my chamber music itself is often suffused with symphonic gesture.

composition:

an

infinite

variety of possible syntheses

chamber music -


orchestral works -


organ works -

„Monumentum“ - for H


Music for piano quintet  [ 1998 ]


download score [ pdf-download ]

download parts [ pdf-download ]



C.E.D.A.G.-Quartet

Susanne Merth, Clemens Gahl – violins

Ernst Theuerkauf – Viola

Peter Polzer – cello

Jan Aarsen – piano


duration: 9'00"



Dieses Stück entstand als unmittelbare Reaktion auf den endgültigen Abschied meines Freundes & Komponistenkollegen Haimo Wisser – ein Ereignis, welches mich sehr aufgerüttelt hat. Die Erfahrung des Todes –  besonders, wenn er völlig unvermutet über uns hereinbricht – führt uns die Widersprüchlichkeit der uns umgebenden, zumeist von trügerischer Balance erfüllten Wirklichkeit auf dramatischste Weise vor Augen. Der musikalische Reflex darauf in eben dieser Widersprüchlichkeit ergab sich für mich wie von selbst.


Press:


August 2007 – on Monumentum: Martin Lichtfuss, professor of composition at Vienna University of Music since 2005, has always stood out due to his in-telligent use of the most versatile means of composition, his innovative vital-ity and wide range of expression. This time the world premiere of his subtle funeral music Monumentum composed in 1998 for the untimely decease of Haimo Wisser, reveals his quiet, introverted hand as the four strings, sup-ported by sparing piano tones (Jan Aarsen), pursue their silent, slow, most in-tense vocal lines, attempting to halt the march of time and seemingly leading towards infinity.


Österreichische Musikzeitschrift (Jutta Höpfel)