Iván Eröd

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In June 2011
(Photographer: Amir Safari)

Iván Eröd (born January 2, 1936 as Erőd Iván in Budapest ; † June 24, 2019 in Vienna ) was an Austrian composer , pianist and university teacher of Hungarian origin.

Life

Several members of Iván Eröd's family were deported to a concentration camp by the Nazis in 1944 . His brother and grandparents were murdered in the Buchenwald and Auschwitz concentration camps .

After the war, Iván Eröd studied piano with Pál Kadosa and composition with Ferenc Szabó at the Budapest Music Academy "Ferenc Liszt" from 1951 to 1956 . He also attended the lecture "Hungarian Folk Music" by Zoltán Kodály . After the failure of the Hungarian uprising in 1956 , he emigrated to Austria in December , came to a refugee camp in Upper Austria as a 21-year-old, but after a week hitchhiked to Linz and soon went to Vienna, where he stayed until 1975.

Thanks to a US scholarship, he continued his education from 1957 to 1961 at the Vienna Music Academy (piano with Richard Hauser, composition with Karl Schiske ; twelve-tone seminar with Hanns Jelinek ). During this time he also attended the Darmstadt Summer Courses for New Music . He had his first solo evening as a pianist in the Brahms Hall of the Gesellschaft der Musikfreunde in Vienna in 1960. During five decades, Iván Eröd had around 500 appearances worldwide (recital concerts, accompaniment by Rudolf Schock and others, member of the ensemble).

Iván Eröd acquired Austrian citizenship ; after 1993 he was given Hungarian citizenship again due to changed passport laws. From 1962 to 1968 he worked as a solo répétiteur and director of studies at the Vienna State Opera and at the Wiener Festwochen . After taking on a teaching position at the Graz University of Music (1967 to 1989), Iván Eröd worked as a full professor for composition and music theory in Graz from 1975 , where he also lived. His most famous students from this time are Rudolf Hinterdorfer, Georg Friedrich Haas , Gerhard Present and Judit Varga . In 1969 he married Marie-Luce Guy, with whom he has five children. His son Adrian Eröd is an opera singer, his son Leonard Eröd is a bassoon player and his son Raphael Schlüsselberg is a conductor.

After a brief guest professorship at the Vienna University of Music, Iván Eröd became a full professor for composition ( harmony and counterpoint ) at the University of Music and Performing Arts Vienna , now known as the University of Music and Performing Arts . He then moved back to Vienna. After holding a visiting professorship at the Budapest Liszt University in 2004, he became a member of the Széchenyi Academy of Arts (Széchenyi Irodalmi és Művészeti Akadémia) in 2009.

Iván Eröd died in June 2019 at the age of 83 in a Viennese hospital as a result of a stroke before a planned operation. He was buried at the Neustift cemetery .

Prizes and awards

plant

Exuberant cheerfulness and the deepest seriousness shaped the work of Iván Eröd and thus musically reflected two distinctive characteristics of the composer. If these characteristics run parallel through the entire work, clearer temporal boundaries can be drawn in the use of the technical means.

In the early works of the Hungarian phase, particularly influenced by Bartók, Kodály and Hungarian folk music , Eröd dealt with the dodecaphony of the “ 2nd generation ” immediately before his emigration and subsequently, especially during lessons with Karl Schiske at the Vienna Music Academy, like many of his generation colleagues . Wiener Schule “and its further developments in seriality . Works such as the wind trio op. 4 (1957; rev. 1987) or Ricercare ed Aria op. 11 for wind quartet (1965) are accordingly based on twelve-tone constructions.

The experience of making music as a répétiteur, ensemble member and song accompanist in the early 1960s allowed Eröd to choose a path that was more directly accessible to the musicians and the audience in terms of compositional means. During the work on the opera Die Seidenraupen (1964 to 1968), a more free design developed from an initially strict series composition.

With the 1st Violin Sonata op. 14 (1969/1970) Eröd finally returned to a completely new tonality or tonal centering and from then on aimed at a tonal language that was quite demanding, but also understandable for a wider audience.

The main difference to conservative-tonal composers of the post-war period consists on the one hand in the variety of the use of tonal means (e.g. modal scales , gypsy scales ), on the other hand in the inclusion of serial experiences - for example, the second of the Three Pieces for Solo Violin Op. 27 (1978 / 1979), Marsch , strict serial construction over a seven-tone row. Other elements of contemporary music are also an integral part of Eröd's music, for example in the technical or metrical area (such as "senza misura" sections in the operas or the orchestral work Soirées imaginaires op. 38, 1981).

Far from the idea of program music, many works contain references to immediate biographical experience or contemporary historical events: for example, the Violin Concerto op.15 (1973), the Crocodile Songs op.28 (1979/1980), the Viola Concerto op.30 (1979/1980) or the 2nd string sextet op. 68 (1996) points to the intimate closeness to his wife and children, so the song cycle Over the Ashes to Sing op. 65 (1994) takes up the experience of the racial persecution of his family during childhood. As a rare case of simultaneous work on two works, the bucolica for chamber ensemble op. 64 (1994) , which was written parallel to the latter, reflects in a relaxed mood the tranquility of the recently newly won idyll of Hungarian country life.

Eröd's music is also specifically shaped by Hungarian elements, such as those in the violin concerto , the 1st piano trio op.21 (1976), the Quintetto ungherese op.58 (1990) or the 1st symphony From the Old World op.67 (1995), but also through jazz and blues , for example in the Piano Concerto op. 19 (1975) and in the Minnesota Sinfonietta op. 51 (1986). The desire to work with folk elements also gives rise to the playful and cheerful character of many works.

The Viola Concerto op. 30 (1980) and the 2nd Piano Trio op. 42 (1981/1982) form a contrast to this “lighter”, entertaining side . Eröd is most serious in some of his vocal works, the Vier Gesänge op. 44 (1983), the cycle Schwarzerde for baritone and orchestra op. 49 (1984/1985) and the cantata Vox Lucis op. 56 (1988/1989).

Web links

Individual evidence

  1. ↑ a b The music world mourns the loss of Ivan Eröd . In: diepresse.com, June 24, 2019, accessed June 24, 2019.
  2. ↑ a b composer Ivan Eröd is dead . In: oe1.orf.at, June 24, 2019, accessed on June 24, 2019.
  3. ↑ The musical world traveler Ivan Eröd is 80 . In: orf.at, January 2, 2016, accessed on January 2, 2016.
  4. ↑ Eröd, family . In: musiklexikon.ac.at, accessed on June 24, 2019.
  5. ↑ Speak through music . In: wienerzeitung.at, June 24, 2019, accessed on June 24, 2019.
  6. ^ Colette M. Schmidt: composer Iván Eröd died . In: Der Standard , June 24, 2019. 
  7. ↑ Ivan Eröd in the search for the deceased at friedhoefewien.at
  8. ↑ outstanding artist award - music ( Memento from January 8, 2014 in the Internet Archive ), accessed October 28, 2012
  9. ↑ List of all decorations awarded by the Federal President for services to the Republic of Austria from 1952 (PDF; 6.9 MB)
  10. ^ US cultural medal for Waltz, Eröd, Welser-Möst and Rabl-Stadler. Retrieved June 20, 2019 .
personal data
SURNAME Eröd, Iván
ALTERNATIVE NAMES Erőd Iván (Hungarian spelling)
BRIEF DESCRIPTION Austrian composer and pianist of Hungarian origin
DATE OF BIRTH January 2, 1936
PLACE OF BIRTH Budapest
DATE OF DEATH June 24, 2019
Place of death Vienna