Andor Losonczy

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Signature of Andor Losonczy

Andor Losonczy [ ɒndor loʃontsi ] (* 2. June 1932 in Budapest , † 8 January 2018 in Salzburg ) was an Austrian avant-garde - Composer and pianist of Hungarian origin. From 1986 to 1998 he held a professorship for piano at the Salzburg Mozarteum with a focus on new music . Losonczy brought about 100 works to premiere , including Kurtág op Eight Pieces for Piano. 3 and the final piece of Takács ' sounds and colors, Op. 95 . He also played the entire piano works by Arnold Schönberg on the radio. As a composer, he particularly distinguished himself with chamber music works. Losonczy has received several awards for his work, most recently the Grand Art Prize of the State of Salzburg .

Life

Hungarian origin and studied music

Andor Losonoczy was born in Budapest in 1932, at a time when Hungary was still officially a kingdom , as the son of the composer and conductor Dezső Losonczy (1891–1950) and his first wife Ilona Mária Mihályfy . District on. After the Second World War, his father married the actress Líviát Marsovszky (born 1919).

At the Pécs Conservatory in southern Hungary, Andor Losonoczy received piano lessons from 1948 with Jenő Takács , who emigrated to Western Europe a little later, and in composition with Rezső Sugár . In 1950 he took up piano studies with Renée Sándor at the Budapest Conservatory. From 1952 he continued his studies at the renowned Budapest Music Academy , founded by Franz Liszt, with Pál Kadosa . He also studied composition with Endre Szervánszky . While socialist realism set the tone in his youth , it was influenced in the 1950s by the modern music of Béla Bartók and Zoltán Kodály .

His piano teacher Takács in 1977 assigned him compositionally to “the experimental type” who was interested in “alienation effects, electronics and, most recently, computer music”. He had “a talent for expressing himself in any idiom”. Most of all, he valued his honesty.

Soloist career as a pianist

Losonczys venue, Vienna hall of the Mozarteum Foundation in Salzburg

After graduating in 1955, Losonczy was initially under contract as a piano soloist with the state concert agency Filharmónia in Budapest. After receiving music prizes in the Eastern Bloc , he took part in the ARD International Music Competition in Munich in 1958 with a delegation of Hungarian musicians . In 1960 he and Bruno Canino received the shared second prize for piano at the Kranichstein Music Prize in Darmstadt. After Gábor Gabos (1958), he was the second Hungarian to receive the prestigious piano award.

Losonczy brought during his solo career numerous works (100) by contemporary composers such as Klaus Ager , Sylvano Bussotti , Henryk Górecki , Heinz Holliger , Josef Maria Horvath, Gyorgy Kurtag , Gyorgy Ligeti , Boguslaw Schaeffer , Karlheinz Stockhausen and Jenő Takács Ur - / first performances. Wolfgang Steinecke brought him to Darmstadt, where he was responsible for the world premiere of the Eight Piano Pieces op. 3 by his childhood friend György Kurtág at the 1960 summer courses . In 1974 he first performed the 15th piece, Valse-Impromptu ( Hommage à Franz Liszt ), of the piano cycle Klänge und Farben op. 95 by Jenő Takács, with whom he and his wife were also friends.

From the 1980s he performed regularly in the chamber music hall ( Vienna hall ) of the Mozarteum Foundation in Salzburg. For example, his interpretation of the Piano Sonata in B minor by Franz Liszt was remembered in the arts pages. Losonczy played at several music festivals; There are recordings as a pianist and composer with European broadcasters (including NDR, HR, BR, ORF, RAI, Swiss and Hungarian broadcasters). On the occasion of the Salzburg Festival in 1962, he took over a piano part in the Altes Festspielhaus in the performance of the Brussels Béjart “ Ballet du XXème Siècle du Théâtre Royal de la Monnaie ” under the direction of Pierre Boulez . For the ORF , which became an important forum for new music, he recorded the entire piano works by Arnold Schönberg.

The music journalist Peter Cossé saw in him an "active, even wild piano player".

University professor at the Mozarteum

Losonczy belonged to a generation of Hungarian composers that included the internationally successful and exiled avant-garde composers György Kurtág and György Ligeti. In the wake of the 1956 Hungarian uprising, which was suppressed by the Red Army , he and his future wife Klára Kupor (also a student of Takács) emigrated to Austria during a music competition in 1960. There he began his career as a university lecturer. After Losonczy was initially only a contract employee , he worked from 1986 until his retirement in 1998 as a full university professor for piano with special emphasis on contemporary music at the University of Music and Performing Arts “Mozarteum” in Salzburg. Losonczy gave courses in live electronics and experimental music . In addition, he lectured on romantic music . He also translated works from Hungarian into German. His students included u. a. Michael Neunteufel , Werner Raditschnig and Biliana Tzinlikova as well as Wolfgang Niessner as a private student .

Between 1959 and 1966 he was a participant five times in the New Music Institute Darmstadt Summer Course . There he was u. a. Taught by the leading pianist of the Schönberg circle, Eduard Steuermann , and repeatedly by compatriot György Ligeti. At the 61 summer courses he took part in the seminar for " Electronic Music - Composition and Realization", which was headed by Karlheinz Stockhausen , who had helped shape the compositional discourse in Darmstadt in the post-war period. In the seminar, the electronic production part of the Stockhausen play Contacts and the realization of the performance were discussed. The introduction to the central composers of the Second Viennese School , namely Arnold Schönberg , Anton Webern and Alban Berg , shaped his musical development.

Productive activity in the field of electroacoustic music enabled him during his assistantship at the Salzburg Studio for Electronic Music, the director Irmfried Radauer . For the school year 1962/63 he became a member of the electroacoustic department of the Mozarteum founded by Eberhard Preussner . In 1972 Losonczy took over the work area "Electronic Composition" at the Institute for Basic Musical Research (at times Richter Herf Institute). Together with Josef Maria Horváth , Irmfried Radauer and Gerhard Wimberger , he co-founded the “Cooperative for Computer Music ” in 1976. Relevant research stays , partly funded by the Austrian Federal Ministry for Education and Art , repeatedly took him to the Liberal Arts College of Colgate University in Hamilton, New York (1978 and 1986) and the electron music studio in Stockholm in Sweden, which was open to new music (1978) and the important Institut de Recherche et Coordination Acoustique / Musique ( IRCAM ) in Paris (1980).

Losonczy, who was still stateless in 1961 , took on Austrian citizenship while in Austria .

Compositional creation

Losonczy's works from Hungary before 1960 and his electronic and computer music have been lost with a few exceptions. In this respect, it was beneficial for his lasting compositional work that his new home Salzburg, with its diverse musical institutions, advanced to become a center of new music. There the emigrant, like Josef Maria Horváth and Barna Kováts , belonged to a younger and more avant-garde- oriented composer milieu. For example, the Salzburg premiere in 1970 of his later award-winning work Black Box caused a concert scandal in which the audience expressed their anger with violent words; the piece had to be canceled as a result. Along with four other artists, the composer was featured in Peseckas' short documentary on experimental music in 1997 , Where does the sound come from? , which was to find its way into the Warsaw autumn in 2003 . The music journalist Lothar Knessl described Losonczy elsewhere as a “personally introverted, but expressive character in his constructively oriented work”. Kurtág said: "His [Losonczys] music is really incomparable, very serious and at the same time as humorous as it is bizarre".

Performances of his compositions found u. a. at the Darmstadt Summer Courses (1966), at the Styrian Autumn (1974, 1977, 1983), at the Warsaw Autumn (1975), at the International Gaudeamus Music Week (1981), at the Prague Spring (1996), at the Festival L'art pour l ' Aar (2008) and at musica aperta (2008, 2013) as well as repeatedly at aspects Salzburg . Performers were u. a. the Aspects New Music Ensemble, the Austrian Ensemble for New Music (œnm) and the Ensemble Sortisatio . In 2006, the œnm dedicated several portrait concerts to the composer in the Künstlerhaus Salzburg . The ensemble also prepares its catalog raisonné and has its music archive recorded.

He was a member of the state-approved Society of Authors, Composers and Music Publishers , the Austrian Association of Composers and the IG Composers - IGNM Salzburg and an honorary member of aspects Salzburg. Together with Klaus Ager, the former rector of the Mozarteum, and other composers, Losonczy published his own works, Edition 7 ; At the Universal Edition in Vienna, which focuses on new music, there is a loan in the catalog with Phonophobie for chamber ensemble . Individual works by Losonczy are preserved in the sheet music archive of the IGNM section Austria , which has been part of the music collection of the Vienna Library in the City Hall since 2010 . He appeared to Knessl as the " enfant terrible of the silent scene". In other words, his work is less present in public than it should be due to its importance.

Losonczy died in his adopted home Salzburg in 2018 after a serious illness. He was buried in the Maxglan cemetery.

Audio language

Without relying on musical paradigms, Losonczy composed atonal from the 1950s . This post-tonal tendency was already evident in his early work Two Pictures for Orchestra (1950). He adapted twelve-tone (dodecaphony) or serial composition techniques, whereby he came to his own interpretations.

Following on from this, he used musical collage techniques in the 1950s and 1960s . He based his ensemble music (1959/61), which was divided into five independent ensembles, on the French Nouveau Roman .

In the 1960s and 1970s, he was influenced by surrealism . For example, in the piano piece écriture automatique (1973) he used an everyday object ( objet trouvé ). However , there was no improvisational approach. For the chamber music Duo for Fidel & Klavir (1970) he had out of tune and defective musical instruments used. Some self-made instruments were used in the piece Black Box (1969) for choir and orchestra for two conductors. In terms of a black box , it is a closed system in which the music is not subject to any external control. The musicologist Jürg Stenzl characterized the piece as "a twenty-minute panopticon that lively changes between theatricality, the magical, beginning with a bizarre trombone solo and glissandi of the choir and ensemble".

In addition, Losonczy composed electronic works from the early 1960s . As a result, he also devoted himself to computer music .

From the late 1970s onwards, a number of pieces with a cyclical character were created. On the one hand this includes one of his masterpieces: Growth structures (1978), one on aleatoric supporting chamber music in 100 sets variable cast and bruitistischen approaches. On the other hand, Piranhas (1981), Manhattan (1982), Magia (1983) and the piano school (1984) should be mentioned. In Tuba mirum for tuba from the seven-part series Hydra (1985) he worked with toccata techniques. Losonczy was attested to an excessive virtuosity of the instrumental use.

He backed Events (1970) for four singers and the aforementioned choral work Black Box with his own phonetic texts . An examination of Dadaism took place in the vocal work Texts / New Texts / Latest Texts (1977). The instruments imitate the Dadaist poems. White Box (1981) for choir and orchestra is based on 35 notes, i. H. Root scale and 7 x 4 accidentals . The musicians do not have to reproduce the notes exactly, which ultimately leads to vibrations .

Awards

Works

His oeuvre as a composer amounts to more than 70 pieces from different genres (including stage works , orchestral music and instrumental concerts , solo pieces as well as choral and vocal music ). The main focus of his work was the field of instrumental music , especially chamber music . A more extensive catalog of works (as of 1997) can only be found in the Lexicon of Contemporary Music from Austria .

Discography

LPs

CDs

  • 1994: Andor Losonczy: Losonczy (LondonHALL) with Andor Losonczy (piano) and Oswald Sallaberger (violin) - Igric, Piranhas, Growth Structures, Die Klavierschule and Magia
  • 2006: Unheard of: New Music from Salzburg ( ORF -CD) with Andor Losonczy (piano) and the Austrian Ensemble for New Music a. a. - Magia
  • 2011: Gunnar Berg Ensemble Salzburg (Edition 7) with the Gunnar Berg Ensemble - Growth Structures
  • 2016: Darmstadt Aural Documents ( Neos ) with Andor Losonczy (piano) a. a. - György Kurtág : Eight Piano Pieces op.3

Fonts (selection)

  • [Greeting from Andor Losonczy] . In: Christian Heindl (Ed.): Jenö Takács. Festschrift for the 100th birthday . Doblinger, Vienna [a. a.] 2002, ISBN 3-900695-57-1 , p. 28.

Documentation

documentary

Radio broadcasts

literature

  • Losonczy, Andor. In: Emil H. Lubej , Michael Rot , Walter Szmolyan (editor): Orchestra catalog of contemporary Austrian composers . Part 1: Ager, Klaus to Lutz, Oswald . Loose-leaf edition, Lafita, Vienna undated
  • Losonczy, Andor. In: Paul Frank, Wilhelm Altmann , continued by Burchard Bulling, Florian Noetzel, Helmut Rösner: Kurzgefaßtes Tonkünstlerlexikon . Second part: additions and extensions since 1937 . Volume 2: L-Z . 15th edition, Heinrichshofen, Wilhelmshaven 1978, ISBN 3-7959-0087-5 , p. 44.
  • Losonczy, Andor. In: Harald Goertz (Hrsg.): Austrian composers of the present. A manual. Doblinger, Vienna, Munich 1979, ISBN 3-900035-58-X , p. 61.
  • Gerhard Walterskirchen : Losonczy, Andor. In: Adolf Haslinger (Ed.): Salzburger Kulturlexikon . Residenz-Verlag, Salzburg [u. a.] 1987, ISBN 3-7017-0503-8 , p. 278.
  • Andor Losonczy . In: Peter Hollfelder : History of piano music. Historical developments, composers with biographies and catalog raisonnés, national schools . Volume 1. Noetzel, Wilhelmshaven 1989, ISBN 3-7959-0436-6 , p. 363.
  • Losonczy, Andor. In: Austrian Music Council (Ed.): Contributions '94. Austrian composers of our time . Bärenreiter, Kassel [u. a.] 1994, p. 96. (= contributions from the Austrian Society for Music , Vol. 9)
  • Losonczy, Andor. In: Bernhard Günther (Ed.): Lexicon of contemporary music from Austria. Composers of the 20th century with work lists, discographies, bibliographies and a bilingual introduction . Music Information Center Austria, Vienna 1997, ISBN 3-901837-00-0 , pp. 707-709.
  • Alexander Rausch : Losonczy, Andor . In: Rudolf Flotzinger (Ed.): Oesterreichisches Musiklexikon . Volume 3: Kmentt - Nyzankivskyi . Publishing house of the Austrian Academy of Sciences. Vienna 2004, ISBN 3-7001-3045-7 , p. 1313.
  • Losonczy, Andor. In: Axel Schniederjürgen (Ed.): Kürschner's Musicians' Handbook: Soloists, Conductors, Composers, University Lecturers . 5th edition, Saur Verlag, Munich 2006, ISBN 3-598-24212-3 , p. 283.
  • Jürg Stenzl : "Enfant terrible of the silent scene". The composer Andor Losonczy . In: MusikTexte - magazine for new music , issue 151, November 2016, p. 101f.

Web links

Commons : Andor Losonczy  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Losonczy Dezső in the Magyar Hangosfilm Lexicon (Hungarian), accessed on January 26, 2017.
  2. ↑ a b c d e f g h i Andor Losonczy at the Music Information Center Austria
  3. ↑ a b c d e f g Lexicon of Contemporary Music from Austria 1997, p. 707.
  4. ↑ Valentina Sandu-Dediu (ex. Sorin Georgescu), Eastern Europe, in: Jörn Peter Hiekel , Christian Utz (ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 487–501, here: pp. 497f.
  5. ↑ a b c d Astried Rieder: Interview with Andor Losonczy (with the participation of Georges-Emmanuel Schneider ), Atelier for New Music: Radiofabrik 107.5 , February 20, 2011 ( podcast in the media library CBA - Cultural Broadcast Archive).
  6. ↑ Wolfgang Suppan (author): Jenő Takács: Documents, Analyzes, Commentaries, Eisenstadt 1977, p. 86.
  7. ↑ a b Gianmario Borio , Hermann Danuser (ed.): In the Zenit of Modernity: History and Documentation in Four Volumes, Volume 2, Freiburg im Breisgau 1997, p. 138; Kranichstein Music Prize: Chronology ( Memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , www.internationales-musikinstitut.de, accessed on January 20, 2018, p. 3. @1@ 2Template: Webachiv / IABot / www.internationales-musikinstitut.de
  8. ^ Adrian Thomas : Górecki (Oxford studies of composers). Clarendon Press, Oxford 1997, ISBN 0-19-816394-0 , p. 171.
  9. ↑ a b c d e Kürschner's Musicians Handbook 2006, p. 283.
  10. ↑ a b c d e f Jürg Stenzl : "Enfant terrible of the silent scene". The composer Andor Losonczy . In: MusikTexte - magazine for new music , issue 151, November 2016, p. 101f.
  11. ↑ Friedrich Spangemacher (ed.): György Kurtág, Boosey and Hawkes, Bonn 1989, ISBN 3-87090-205-1 , p. 89 (= Musik der Zeit, Volume 5).
  12. ↑ Wolfgang Suppan (author): Jenő Takács: Documents, Analyzes, Commentaries, Eisenstadt 1977, p. 86.
  13. ↑ Wolfgang Suppan (author): Jenő Takács: Documents, Analyzes, Commentaries, Eisenstadt 1977, p. 115.
  14. ↑ a b Ernst P. Strobl: Honor to whom sounding honor is due, in: Salzburger Nachrichten , No. 93 of April 21, 2016, p. 8.
  15. ↑ BALLET DU XX-ÈME SIÈCLE , salzburgerfestspiele.at, accessed on February 4, 2018.
  16. ↑ Rainer Nonnenmann , Centers for New Music, in: Jörn Peter Hiekel , Christian Utz (ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 620–624, here: p. 621.
  17. ^ Peter Cossé : Regional Initiatives. In: Österreichische Musikzeitschrift 50 (1995) 8/9, pp. 620–624, here: p. 621.
  18. ↑ Wolfgang Suppan (author): Jenő Takács: Documents, Analyzes, Commentaries, Eisenstadt 1977, p. 63.
  19. ^ Gerhard Walterskirchen: Losonczy, Andor. In: Adolf Haslinger (Ed.): Salzburger Kulturlexikon . Residenz-Verlag, Salzburg [u. a.] 1987, ISBN 3-7017-0503-8 , p. 278.
  20. ↑ Ilona Lucz: Kadosa Pál a zeneszerzı, a zongoramővész, a zenepedagógus, dissertation, Budapest 2009, pp. 160f.
  21. ↑ The Polish composers Andrzej Dobrowolski , Bogusław Schaeffer and Zdzisław Wysocki took a comparable life , cf. Manfred Wagner : Migration als Kulturströmung, in: Hartmut Krones (Ed.): Multicultural and International Concepts in New Music: [fourth report on the symposia on the Festival Vienna organized by the Institute for Musical Style Research at the University of Music and Performing Arts, Vienna Modern] (= Viennese writings on stylistics and performance practice / special series of symposia on Vienna Modern. Vol. 4). Böhlau, Vienna [a. a.] 2008, ISBN 978-3-205-77501-0 , here: pp. 69-76, p. 73.
  22. ↑ Appointment as full professor on December 1, 1986, cf. Appointments in the academic year 1986/87, in: University of Music and Performing Arts “Mozarteum” in Salzburg (ed.): Annual report academic year 1986/87. Salzburg, p. 13.
  23. ↑ Retirement at the end of September 30, 1998, cf. Emeritus in the academic year 1997/98, in: University of Music and Performing Arts “Mozarteum” in Salzburg (Ed.): Annual report academic year 1997/98. Salzburg, p. 7.
  24. ^ From Austria's universities, in: Österreichische Hochschulzeitung , Vol. 39, No. 3, March 1987, p. 28.
  25. ↑ a b Harald Goertz: Austrian composers of the present. A manual , p. 61.
  26. ↑ Among other things, he translated for the musicologist Norbert Nagler Bárdos' ideologically burdened work on Franz Liszt from 1976, cf. Norbert Nagler : The belated music of the future. In: Heinz-Klaus Metzger , Rainer Riehn (Ed.): Franz Liszt. Edition text and criticism, Munich 1980, ISBN 3-88377-047-7 , pp. 4–41, here: p. 7 (= music concepts. H. 12).
  27. ↑ Barbara Boisits : Neunteufel, Michael. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 3, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2004, ISBN 3-7001-3045-7 .
  28. ↑ Uwe Harten : Raditschnig, Werner. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
  29. ↑ Lecturers: Biliana Tzinlikova , moz.ac.at, accessed on June 2, 2018.
  30. ↑ Alexander Rausch : Niessner, Wolfgang. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 3, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2004, ISBN 3-7001-3045-7 .
  31. ↑ He was a participant in the courses in 1959, 1960, 1961, 1965 and 1966, cf. Andor Losonczy in the archive of the International Music Institute Darmstadt , URL: https: //www.imd-archiv.de,/  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. accessed on January 20, 2018.@1@ 2Template: Toter Link / www.imd-archiv.de  
  32. ↑ See registrations from Andor Losonczy for the summer courses in 1960 and 1961 in the archive of the International Music Institute Darmstadt , URL: https: //www.imd-archiv.de,/  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. accessed on June 2, 2018.@1@ 2Template: Toter Link / www.imd-archiv.de  
  33. ↑ Tasos Zembylas , Martin Niederauer: Practices of composing: Sociological, knowledge-theoretical and musicological perspectives. Springer, Wiesbaden 2016, ISBN 978-3-658-13508-9 , p. 42.
  34. ^ Karlheinz Stockhausen at the International Summer Courses for New Music in Darmstadt 1951–1996: Documents and Letters . Zsgest. and commented by Imke Misch and Markus Bandur . Stockhausen Foundation for Music, Kürten 2001, ISBN 3-00-007290-X , p. 289.
  35. ^ Gianmario Borio , Hermann Danuser (ed.): Im Zenit der Moderne: History and Documentation in Four Volumes, Volume 2, Freiburg im Breisgau 1997, p. 273.
  36. ↑ Klaus Ager , Achim Bornhöft : Institutions of Electronic Music - in Salzburg, in: Österreichische Musikzeitschrift , Volume 64, No. 10, pp. 34–37, here: p. 34; the works Alliage (1961) and Collage (1962) are documented, cf. Folkmar Hein, Thomas Seelig: International documentation of electroacustic music = International documentation of electroacustic music. Pfau, Saarbrücken 1996, ISBN 3-930735-59-8 , p. 203.
  37. ↑ a b c d Oesterreichisches Musiklexikon Online.
  38. ↑ From Austria's music schools. In: Österreichische Musikzeitschrift 17 (1962) 12, pp. 598–605, here: p. 598.
  39. ↑ Rudolph Angermüller : Salzburg: Libraries, Archives, and Musicological Research, in: Current Musicology 1973/16, pp. 26–30, here: pp. 28f .; Notes, in: Melos 1972/4, p. 251.
  40. ↑ Irmfried Radauer : Enrichment or impoverishment: Possibilities of computer application in music using the example of the computer music computing center CMRS in Salzburg, in: Otto Breicha , Reinhard Urbach (ed.): Austria for example: literature, visual arts, film and music since 1968 , Salzburg 1982, pp. 385-387, here: p. 385.
  41. ^ Press department of the Federal Ministry for Education and the Arts (ed.): Art Report 1978, Vienna, p. 30f.
  42. ↑ Stefan Jena , Northern Europe, in: Jörn Peter Hiekel , Christian Utz (ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 469–474, here: p. 470.
  43. ^ Rainer Nonnenmann , Institutions / Organizations, in: Jörn Peter Hiekel , Christian Utz (Ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 284–289, here: p. 286.
  44. ↑ There are around 100 pieces in his works from Hungary, cf. Concert for the awarding of the great art prize to Andor Losonczy ( Memento from February 16, 2005 in the Internet Archive )
  45. ↑ Inability to find it, presumably also in the course of externally caused transferring of tapes , cf. Klaus Ager : 50 years of electronic music in Salzburg, in: Studio for Electronic Music, Mozarteum University: 50 years of Studio for Electronic Music (1959–2009). Salzburg 2009, p. 9.
  46. ↑ Rainer Nonnenmann , Centers for New Music, in: Jörn Peter Hiekel , Christian Utz (Ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 620–624, here: p. 623.
  47. ^ Walter Szmolyan : Contemporary composers from Salzburg . In: Österreichische Musikzeitschrift 25 (1970) 7, pp. 405-407, here: pp. 406f.
  48. ^ Karl Wagner: Salzburg, in: Österreichische Musikzeitschrift 46 (1981) 3/4, pp. 118–125, here: p. 122.
  49. ↑ Salzburg Films at Festival in Warsaw, in: Salzburger Nachrichten of September 11, 2003, p. 14.
  50. ↑ Lothar Knessl : Bröcklige Österreichische Musiklandschaft (together with small oases of new music), in: Otto Breicha , Reinhard Urbach (ed.): Austria for example: Literature, fine arts, film and music since 1968, Salzburg 1982, pp. 367-376 , here: p. 375.
  51. ↑ Quoted from: Jürg Stenzl : “Enfant terrible of the silent scene”. The composer Andor Losonczy . In: MusikTexte - magazine for new music , issue 151, November 2016, p. 101.
  52. ↑ Markus Grassl , Reinhard Kapp (ed.): Darmstadt Talks: The International Summer Courses for New Music; in Vienna . Böhlau, Vienna [a. a. 1996], ISBN 3-205-98488-9 , pp. 335f. (= Viennese publications on music history ; 1)
  53. ↑ Andor Losonczy , archiv.steirischerherbst.at, accessed on January 26, 2018.
  54. ↑ Tadeusz Kaczynski, Andrzej Zborski, Kazimierz Nowacki: Warszawska Jesień / Warsaw Autumn, Polskie Wydawnictwo Muzyczne, Cracow 1983, p 309; Composers, Compositions, Performers 1956–2016 , warszawska-jesien.art.pl, accessed on January 21, 2018.
  55. ↑ Meinhard Rüdenauer : New Austrian Music at the Gaudeamus Music Week in Holland, in: Österreichische Musikzeitschrift , Volume 36, Issue 12, p. 660.
  56. ↑ Koncert k mileniu Rakouské republiky , festival.cz, accessed on January 31, 2018.
  57. ↑ Archive 2008 , www.artpourlaar.ch, accessed on January 31, 2018.
  58. ↑ Éva Radics : 80 éves Losonczy Andor zeneszerzõ, zongoramûvész, in: Bécsi Napló , November / December 2012, p. 6.
  59. ↑ List of full members of AKM - as of October 2017 , www.akm.at, accessed on January 31, 2018.
  60. ↑ Andor Loonczy the Austrian Composers Society ( Memento of 30 May 2013, Internet Archive )
  61. ↑ Our members , ig-kompisten.at, accessed on January 20, 2018.
  62. ↑ honorary members of ASPECTS Salzburg ( Memento of 6 July 2015, Internet Archive )
  63. ↑ Edition7 - catalog , www.edition7.at, accessed on 20 January 2018; see. Composers bio by Andor Losonczy at Edition 7, www.edition7.at, accessed on June 8, 2018.
  64. ↑ Tobias Janz , Musicology, in: Jörn Peter Hiekel , Christian Utz (ed.), Lexikon Neue Musik, Stuttgart / Kassel 2016, pp. 422–424, here: p. 424.
  65. ^ Works by Andor Losonczy in the UE , www.universaledition.com, accessed on January 20, 2018.
  66. ↑ "Die Klavierschule", New Texts, Two Pictures for Orchestra, Party and Duo for Fidel and Piano are collected in archive box 21, cf. Vienna library in the town hall / music collection, note archive of IGNM Austria, ZPM 670 , accessed on January 20, 2018.
  67. ↑ Quoted from: Lexicon of contemporary music from Austria 1997, p. 707; Jürg Stenzl : "Enfant terrible of the silent scene". The composer Andor Losonczy . In: MusikTexte - magazine for new music , issue 151, November 2016, p. 101.
  68. ↑ See Astrid Rieder: trans-Art performance “phonophobia” on the occasion of 40 years of the OeNM, Austrian Ensemble for New Music , May 30, 2015, accessed on June 2, 2018.
  69. ↑ Reinhard Kriechbaum : Passion for modernity in the keys , in: Drehpunktkultur - Salzburger Kulturzeitung on the Internet from January 10, 2018, accessed on January 20, 2018.
  70. ↑ Losonczy Andor Prof. búcsúztatása , salzburgi-magyar-koer.org, accessed on June 8, 2018.
  71. ↑ a b c d e f g h i Lexicon of Contemporary Music from Austria 1997, p. 707f.
  72. ^ Peter Revers : New Works - Young Artists: Salzburg. In: Österreichische Musikzeitschrift 34 (1979) 12, p. 635.
  73. ↑ Trio Überklang ao: Glandien, Losonczy, Nilsson, Szalonek, Zapf . In: Inventionen '92 . Akademie der Künste, Berlin 1991, p. 165.
  74. ^ Press department of the Federal Ministry for Education and the Arts (ed.): Art Report 1979, Vienna, p. 49.
  75. ^ Press department of the Federal Ministry for Education and the Arts (ed.): Art Report 1979, Vienna, p. 50.
  76. ↑ State awards awarded: Schausberger honored 25 deserving people with high state awards , in: Salzburger Landeskorrespondenz from July 2, 1998.
  77. ↑ Interventions by technology. Spiluttini, Scherübl and Losonczi receive the Salzburg Art Prize . In: Salzburger Nachrichten , No. 15, January 20, 2005, p. 13.
  78. ↑ The state's major art prizes are awarded: Raus will present the prizes to Andor Losonczy, Margherita Spiluttini and Wilhelm Scherübl on January 20 , in: Salzburger Landeskorrespondenz from January 13, 2005.
  79. ↑ See short biography of Andor Losonczy at ZAY Records ( Memento from March 23, 2016 in the Internet Archive )
personal data
SURNAME Losonczy, Andor
BRIEF DESCRIPTION Austrian composer and pianist of Hungarian origin
DATE OF BIRTH June 2, 1932
PLACE OF BIRTH Budapest
DATE OF DEATH January 8, 2018
Place of death Salzburg