Kranebitter, Matthias International Festival of Contemporary Music Warsaw Autumn

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born in 1980 in Vienna, he studied electroacoustic composition with Dieter Kaufmann and Gérman Toro-Pérez, lm and media composition with Klaus-Peter Sattler, and piano with Christiane Karajeva at the University of Music and Performing Arts in Vienna. He continued his studies at a postgraduate course at the Conservatoire of Amsterdam as well as at the University of Graz with Alexander Stankovski and Beat Furrer. 

His music reflects aspects of our media society, a dense accumulation and mashup from everyday life’s trash sounds to a flittering–colourful and hyper-heterogenic sound flood, a comic-like, grotesque distortion of clichéd musical gestures performed with an ironic ambivalence, aiming for a culture-liberated art brut (outsider art) in music. 

His works have received awards in the Gaudeamus Music Week in Amsterdam (1st Prize, Project Young Composers, 2009), Impuls International Composition Competition in Graz (2013), SKE Austro Mechana (2013), as well as the Förderungspreis of the City of Vienna (2014), Kompositionspreis der Landeshauptstadt Stuttgart (2020), and Erste Bank Kompositionspreis of Wien Modern / Klangforum Wien (2020). He has worked closely with ensembles such as Nadar, Decoder, Klangforum Wien, Ensemble Phace, Vienna Radio Symphony Orchestra, ensemble mosaik, and Talea. In 2015 he received a scholarship from the Akademie der Künste in Berlin. He is the founder of Black Page Orchestra as well as one of the initiators and organisers of Unsafe+Sounds Festival in Vienna. 

Selected works (since 2010): Concerto in E at major for harpsichord and ensemble (2010), Ringelreigen 138,9g CO2 for bass clarinet and turntables / electronics (2010), Ringelreigen 18,4g CO2 for tenor saxophone / bass clarinet and piano (2010), Candlelight Music mit Rondo for piano (2010), Anfall, Unfall, Abfall for piccolo flute, bass clarinet, and electronics (2010), String Quartet no. 2 for viola and electronics (2010), Stop and Change for flute, baritone saxophone, viola, cello and percussion (2011), Ringelreigen 116,9g CO2 for bassoon and electronics (2011), Der Apfel aus Basra, chamber opera for six voices and ensemble (2011), Blödmaschinen for soprano, baritone, double bass and electronics (2011), gegen die Wand for clarinet, violin and double bass (2011), trinklied vom jammer der erde II – dunkel ist das Leben ist der tod for oboe, horn and piano (2011), fröhliche Relativitäten for ensemble (2012), appassionata mit reprise for clarinet, viola and piano (2012), fröhliche Verunstaltungen (Musik als Neurose) for ensemble (2012),Denudationen 1–104 for soprano saxophone, electric guitar, double bass, piano and percussion (2012), Top 10 (Form als Neurose) for cello, piano / keyboard, electronics and video (2012), 3 nihilistische Etüden über eine Liebe der Musikindustrie for piano and electronics (2013), “a söchtener reuter möcht i wern” for flute, cello and accordion (2013), nihilistic study no. 7 for ensemble (2013), 32bit recorder songs for soprano recorder and electronics (2013), pack the box (with five dozen of my liquor jugs) for flute, trombone, piano and electronics (2013), state of surfeit for ensemble (2014), 96bit music for accordion for accordion and electronics (2014), Versuche gegen die Ohnmacht for flute, clarinet and accordion (2014), minced & bulbous, also: fast (thanks to Don Van Vliet) for saxophone quartet (2014), Concerto for the Invisible Hand (Adam Smith) for soprano saxophone, electric guitar, piano and electronics (2015), Sampling for three dancers / performance artists and electronics (2015), Dead Girl (Requiem E) for flute, electric guitar and electronics (2015), nihilistic study 13 to 14 for accordion and harpsichord (2015), pitch study No.1/contra violin for violin and electronics (2016), Echotecture: Prologue for ensemble (2016), die Auflösung traditioneller Stubenmusik in die Geometrie des Alpenhauptkammes for zither and electronics (2016), Accumulation of unnecessary needs for two soprano saxophones and electronics (2016), Pancrace Royer: Le Vertigo for ensemble and electronics (2016), Stack over flow: exploiting 24 preludes for bass clarinet, cello, electric zither, keyboard, drums and electronics (2016–17), Vestris 4.0 for dancer, cello, and electronics (2017), die Auflösung traditioneller Stubenmusik in die Geometrie des Alpenhauptkammes (2. Versuch) for Alpine zither and electronics (2017), Pancrace Royer: the harpsichord pieces for recorder, flute, harpsichord and electronics (2017), Ghost Box Music for flute, clarinet, violin, viola, cello, accordion, zither and electronics (2017–18), polychotic listening tasks for trumpet, horn, electric guitar, violin, viola and 4-channel electronics (2018), Ghost Box Diaries 24022018 for flute, clarinet, trombone, violin, cello, keyboard and percussion (2018), The Complete Un guranted Egalitarian Aural Realism Part 1 for flute, viola, and electronics (2018), multicompact-superspeed-diffussion-squeezer for trombone, keyboard, percussion, cello, and double bass (2019), Amerika oder die Infektion, chamber opera to a libretto by Antonio Fian for seven singers, ensemble, and electronics (2019), Encyclopaedia of Pitch and Deviation for ensemble (2020), Whirl and Pendulum for clarinet or bass clarinet, cello and piano (2020), Hanna Berger Reenactments for dance and electronics (2020), combative music and its algorithmic demystification for flute, saxophone, electric guitar, piano, percussion and electronics (2021), 60 Auditory Scenes for investigating cocktail party deafness for orchestra and machine listening system (2021).