Wolfram Wagner

1977 Began his studies at the University of Music and Performing Arts in Vienna: harmony and composition with Erich Urbanner (diploma-1987) and Francis Burt, flute with Louis Rivière (diploma-1985); instrumental music and music pedagogy

1983-1986 Upper Austrian Award for the Promotion of Talented Artists City of Vienna Award in Composition (Förderungspreis), participant in the International Summer Courses of New Music in Darmstadt

1989 Co-founder of the “Association for the Presentation of Austrian New Music” (“Music On Line”)

1990/91 Special studies abroad with Robert Saxton in London (Guildhall School of Music)

1991 2nd prize Intercollegiate Composers Award London, participant in the Summer Course for Young Composers with Peter Maxwell-DAvies in Hoy (Scotland)

from 1991 Lectureship in Harmony at the University of Music and Performing Arts in Vienna

1991/92 Guest-Student of Hans Zender at the University of Music in Frankfurt

1992 Merit-Prize (Würdigungspreis) of the Austrian Ministry of Science, Education and Arts, first “Young Composer in Residence“ of the Academy of St. Martin-in-the- Fields, London (commissioned work: Dances in the Ether), 1st prize in the saxophone ensemble competition Melk/Lower Austria, married to cellist Ingrid Kraft

from 1992 Residence in Vienna

1993 Promotional award (Förderungspreis) of Lower Austria

1994 Austrian State Steipendium for Composers

1995 Publicity-Prize of the Austro mechana, Theodor Körner Foundation Promotional Award (Förderungspreis)

1997 International Anton Bruckner Prize for Church Music

1998 Austrian Federal Chancellory Musical Promotion Award (Förderungspreis)

from 2004 Associate Professor in harmony and composition at the University of Music Vienna

The broad stilistic palette, represented by Wagner’s teachers Erich Urbanner, Francis Burt, Robert Saxton and Hans Zender, corresponds to the many facets of Wagners own œuvre. Already in his grand oratorio Hiob, which is based on the subject of human suffering and marks Wagner’s breakthrough into the Viennese musical scene, can we see his essential stylistic features. A feeling of tonality is given by centering around single tones and harmony is often derived from central chords.

Wagner’s studies in London broadened the character of his works with the injection of detailed mathematic structuring and classical form. His Sonatas, Caprices, Canons, Piano trios, and other solo and chamber music has by effective design quickly entered into the repertoire of innume-rable instrumentalists. In the works from the late nineties on, we see an intensification of his tonal tendencies, for example in the acclaimed comic opera Wenn der Teufel tanzt [“When the Devil Dances”] based on a libretto by Ernst A. Ekker, Concerto for two pianos and orchestra, or Sonnengesang  with words by Franz of Assisi. Since the turn of the century Wagner’s catalogue was broadened mainly by new choral pieces and stage works (Endlich Schluss, Stretta). In his recent instrumental pieces there is a contrast of the very small form (piano album Der erste Kuss, Miniaturen in Piano Trio No 3) and large structures (Symphonia etc.).

Christian Heindl / Richard Owen