MAXIMILLAN KREUZ/ SAMPLES FROM RECENT Vienna Modern Masters-CDs

 

Born in Vienna, Austria in 1953, MAXIMILLAN KREUZ studied composition with Augustin Kubizek, Francis Burt and Friedrich Cerha at the University for Music and the Performing Arts in Vienna. His music has been heard in Moscow, St. Petersburg, Budapest, Prague, Bratislava, Paris, Meudon, Ville d'Avray, London, Huddersfield, Berlin, Essen, Köln, Bonn, Luzern, Rome, Florence, New York, Toronto, Seoul, and Taipei, as well as in the important cities of Austria Vienna, Salzburg, Linz, und Graz. His compositional emphasis is on music in the large forms, and he has composed many works for orchestra. Recipient of numerous international commissions, he also has many works recorded on compact disc. A leader in the presentation of new music in Austria and abroad, he assumed direction of Projekt Urauffiihrung/Creativcs Centrum Wien in 1980. This series of almost 230 concerts has presented more than 1000 new works by 270 different composers.

MOUVEMENT SYMPHONIQUE, No. 3, Wv.45c was premiered in 2001 by the Vienna Chamber Orchestra with Alexander Liebreich conducting. Scored for chamber orchestra, the one-movement work is in six sections. For a number of years the composer has concerned himself with a new kind of chromatic tonality, which in this piece determines the harmonic language. In contrast to traditional music, certain procedures arise which, although themselves new, are grounded in the historically familiar principle of searching for and finding goals or sometimes even letting the path itself appear as the goal. Extension of the sound space to twelve tones through chromaticism gives the composer access to musical characteristics varying from a light and playful Allegretto to a heavyweight symphonic Moderato.
The Allegretto, derived from the Ländler, remains metrically regular throughout and thus recalls only the dance aspect of the Ländler. The symphonic Moderato is largely dominated by horns- initially and also at the end- which move in descending steps alternating with the ascending basses. A large-scale chorale, played mainly by strings, forms the center of the composition. It explores all facets of the classical chamber orchestra and offers the composer's development technique extensive room to unfold. Creation of this work was supported by the City of Vienna.

Maximilian Kreuz