Walter Haupt

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Walter Haupt (born February 28, 1935 in Munich , full name: Walter Josef Haupt ) is a German composer , conductor , director , sound architect, experimenter. For many years he was director of the experimental stage he founded at the Bavarian State Opera in Munich . His work ranges from the opening ceremony of the 1972 Olympic Games in Munich to the World Exhibition in Vancouver . With his invention of the “ Klangwolke ”, which reached five million viewers across Europe, he gained international popularity. His opera “Marat” was performed in front of 150,000 spectators on the 200th anniversary of the French Revolution . He created the Carmina Burana Monumental Opera for the 100th birthday of Carl Orff. From the music for a landscape to the Linz Klangwolke, from the join -in concerts to The Sky is The Limit in Jerusalem, he experimented with the staging elements of fire, water, laser, light, space, music and created a new musical theater Dimension that unites all audiences under the term “culture for everyone”.

life and work

Walter Haupt originally wanted to study theology to become a priest. During his school days at the humanistic grammar school in Munich, he received his first music lessons and learned to play the harmonica, where he soon became a Bavarian accordion master in the competition. In 1952 he finished his music studies at the city. Musikfachschule Munich as the best student with distinction. As a jazz pianist and accordion player, Haupt earned his tuition in American clubs in 1952.

In 1953 he took acting lessons from Otto Kustermann. At the Musikhochschule in Munich he studied piano with Maria Landes-Hindemith , timpani and drums with Ludwig Porth , conducting with Kurt Eichhorn and composition with Roland Häfner .

In 1955 he regularly produced programs and recordings of his own compositions for Bayerischer Rundfunk in Munich with his “Walter Haupt Ensemble”.

In 1957 Walter Haupt was hired as the first deputy timpanist at the Württemberg State Theater in Stuttgart and in 1960 he moved to the Bavarian State Opera in Munich in the same position . In close friendship with General Music Director Ferdinand Leitner , Walter Haupt learned the art of conducting in Stuttgart and was also active as a composer.

In order to expand his compositional knowledge, he studied in 1967 as a master class student with Hans Werner Henze at the Mozarteum in Salzburg.

In 1968 he founded the ensemble: “New Music of the Bavarian State Opera” and subsequently in 1969, together with the artistic director Günther Rennert , the “Experimental Stage of the Bavarian State Opera”, which he directed for 16 years. During this time, new musical theater works were created, such as performances in a dome projection room or in a movable mirror room. From 1972 onwards, many of these experimental projects took place in the “ Theater im Marstall ”, which still exists today and which Walter Haupt initiated for his experimental works at the Bavarian State Opera in Munich.

He was also co-founder and director of the "New Dance Festival" that has been taking place in Munich since the 1970s.

In 1972, for the opening of the Olympic Games in Munich , Haupt realized an audiovisual “ laser light environment ” with imaginary light spaces and holographic imaginations, which is performed at a ceremony in front of 2,000 international guests on the stage of the Munich National Theater. Haupt was the first theater man who at that time dealt with the medium laser on an opera stage and invented design options for this in connection with his composition "Laser". The one and a half hour production was recorded by the Second German Television .

This was followed in 1973 and again because of the interest in the Munich Theater Festival in 1980, synaesthetic dome projection rooms in a specially designed dome projection room with the title Sensus . The audience lay in this dome on a foam landscape, individually listened to a room-sound composition via headphones and saw moving light, laser and film events that seamlessly played on the seemingly infinite dome space inflated by excess air. Various scents and thermal changes were brought in to match the optical and acoustic components. Around 300 sold out performances at the Munich State Opera marked this trend and even then "virtual reality" was already an issue for Haupt.

Spatial designs and projects followed in variable mirror rooms with performances at the Munich State Opera, for the Pro musica nova festival at the Bremen Kunsthalle in 1974, at the Victoria State Opera Melbourne, in the Roundhouse London.

These diverse projects show how the common thread of his synaesthetic ambitions runs through the work of this composer and director.

In 1974 Haupt composed music for a landscape in search of new musical listening experiences in open space .

Together with Carl Orff , Walter Haupt realized his multi-choir orchestral composition “Entrata” in 1978 as a cloud of sound over downtown Munich. This was also the beginning of open air productions under the title "Klangwolke" (among other things, his invention, the " Linzer Klangwolke ", has existed since 1979 as the largest cultural event in the city of Linz, which takes place every year at the International Bruckner Festival). With these multimedia "clouds of sound", a new kind of listening experience and show game made of fire, water, light and music, in the midst of the landscape, which has already been seen by 5 million viewers across Europe , Walter Haupt achieved international popularity. Today Haupt is considered the leading artist for open-air theater

In 1980 he was a founding member of the “ Ars electronica ” in Linz.

In 1984 he received the composition commission from the Staatstheater Kassel for the opera Marat, which - in addition to productions at the theaters in Aachen, Heidelberg, Kassel and Coburg - was given as an open-air new production in 1989 on the 200th anniversary of the French Revolution in front of 150,000 spectators on Munich's Königsplatz .

In 1986 he freed himself from his permanent position as head of the experimental stage at the Munich State Opera, as he was fascinated by new projects in the open air sector and from then on he wanted to work internationally at the invitation of festivals.

In 1987, as a contribution to “ documenta 8 ”, the Staatstheater Kassel received a second commission and Haupt composed the music theater work “Pier Paolo Pasolini”.

But his own compositional work always had priority. He composed 24 ballet works and some chamber music works for international opera houses .

With his large-scale production of “ Carmina Burana ”, premiered on the 100th birthday of Carl Orff in 1995 in front of 40,000 spectators on Munich's Königsplatz , in memory of his father's friend Carl Orff, he achieved a great success. He traveled with this Carmina Burana Monumental Opera , which he also directed himself, through 48 countries for 14 years. For this he received the “Luna Award” from the Auditorio Nacional of Mexico City . The last performance took place in 2009 in the O2 arena in London.

Walter Haupt ended his work at the Bavarian State Opera in Munich with the commissioned composition of a full-length requiem - in memory of the victims of war crimes. In this, Haupt works with orchestra and choir on various sound and tone levels, as well as with remote orchestras and band music. The work was performed several times in 1997 under the patronage of the Bavarian Prime Minister on the stage of the National Theater in Munich.

From 1997 onwards, Walter Haupt worked mainly as a conductor, composer and opera director worldwide. In 1998 he created the fantasy musical Dracula and the Aida Monumental Opera , in 1999 the opening event of the Munich Airport Center followed , in 2006 he conducted Aida on Fire and in 2007 the Carmen Monumental Opera .

Today Haupt is considered a leading artist for open-air music theater.

He is a member of the German Composers' Association , the Munich Music Academy , GEMA and the Dramaturgical Society .

Walter Haupt has been married to his long-term employee Rosemarie Nistler-Haupt since 1996. In addition to artistic tasks, she organizes the management, as well as the tours, and takes on the evening performance management at all theater and open air events. Both live in Aschheim near Munich.

Awards and honors

  • In 2015 Walter Haupt was awarded the "Great Golden Decoration of Honor of the City of Linz". The mayor of Linz gave the laudatory speech.
  • 2014 Bavarian Order of Merit . The Bavarian gives the laudation. Prime Minister Horst Seehofer
  • 2009 Ring of Honor of the Linz Brucknerhaus (Austria) on the occasion of "30 Years of Linz Sound Cloud"
  • 2004 “Luna Award” in the Auditorio Nacional in Mexico City for his staging and conducting of “Carmina Burana” as the “world's best and most successful classical production”
  • 2003 Cross of Merit 1st Class of the Federal Republic of Germany . The laudation honored the diverse possibilities of expression and new forms of representation of his "art in open space".
  • 2000 Award of the honorary doctorate “Dr. honoris causa ”of the University of Cluj-Napoca
  • 1995 Cross of Merit on Ribbon of the Federal Republic of Germany
  • In 1995 he was the first artist to receive the "Carl Orff Medal" from the Schott publishing house .
  • 1991 Austrian Cross of Honor for Science and Art . Presented by the Federal President of the Republic of Austria in recognition of his extraordinary cultural achievements
  • In 1990 he was awarded the "Culture Medal of the City of Linz" for his annual sound cloud productions, which attract hundreds of thousands of enthusiastic visitors to the Linz Donaupark every year, and for the worldwide cultural reputation that Walter Haupt gives the city of Linz.
  • In 1989, Haupt received the "Culture Lions" from the legendary Mayor of Jerusalem, Teddy Kollek , as a special award for cultural merits .
  • 1987 "International Koussevitzky Record Award" for "Requiem for a Girl"
  • 1986 Honor for "Sylvia Plath" at the world exhibition in Vancouver
  • 1986 Schwabing Art Prize of the City of Munich, which he donated for the realization of the Munich Biennale under the direction of his teacher Hans Werner Henze. At that time, the Munich Biennale planned by Hans Werner Henze was doomed to failure. Haupt addressed the urgent appeal and request to the cultural commissioner to implement this biennale project as a permanent Munich institution and for this he donated his art prize.
  • 1985 Grand Prix of the Belgrade BITEF (for the music to "Sylvia Plath")
  • In 1980, Haupt was awarded the "Media Rose" by the Austrian press as the inventor of the Linz Klangwolke, "an internationally recognized model of exemplary cultural animation with a previously unknown status".
  • In 1974 the City of Munich honored him with the Music Prize .
  • 1971 Grand Prize of the Munich Opera Festival
  • 1970 appointment as Bavarian chamber musician
Munich press awards

1970–1986 for projects, Haupt received from the Münchner Presse a. a. 5 “TZ roses” and 7 “AZ stars”, the “TZ rose bouquet of the year” and was named “Artist of the Year” and “Director of the Year”.

Composer, director, sound architect and experimenter

Operas and experimental music theater

  • 1984 Marat grand opera based on texts by Peter Weiss.
Music: Walter Haupt. Libretto: Gerd Uecker. Director: Siegfried Schoenbohm, conductor: Jeanpierre Faber
A work commissioned by the Staatstheater Kassel. 16 sold out performances. Many German music theater stages took over the opera, which the composer conducted there himself.
In addition, in 1989, on the occasion of the 200th anniversary of the French Revolution, Marat was performed in a new production by Walter Haupt open-air on Munich's Königsplatz in front of 150,000 spectators.
  • 1987 Pier Paolo Pasolini his second great opera.
Music: Walter Haupt. Libretto: Gerd Uecker. Director: Siegfried Schoenbohm, conductor: Jeanpierre Faber
PPP was a contribution to “documenta 8” and again a commission from the Staatstheater Kassel.
  • 1980 Neurosenkavalier an opera dipsa.
Music, direction and musical direction: Walter Haupt. Libretto: Helmut Eisendle
World premiere at the Bayer experimental stage. State Opera Neurosenkavalier is neither a new Rosenkavalier nor a parody of the opera of the same name by Richard Strauss, but a symptomatic image, the monograph of a once famous singer. Martha Mödl was the brilliant protagonist of the premiere. There was also a recording for the second German television.

The following compositions and productions by Walter Haupt were - with a few exceptions - commissioned works by the Bavarian State Opera and were premiered both in the large house and on the experimental stage.

  • 1970 Sümtome, a scenic-optical-acoustic collage about environmental pollution, for actors and unusual instruments. Music: Walter Haupt.
Direction team: Günther Rennert , Max Lehner, Dieter Gackstetter and Walter Haupt
  • 1971 The Doll Scenic action for actors, piano quartet and inflatable sex doll. Music: Walter Haupt, Direction: Vaclav Kaslik and Walter Haupt.
  • 1972 Laser-Light-Environment for a drummer and a dancer
Music and direction: Walter Haupt
The 1972 Olympic Games opened in Munich with this plant.
An audiovisual laser light environment with imaginary light spaces and holographic imaginations, which was performed on the stage of the Munich National Theater at a ceremony in front of 2,000 crowned heads, state presidents and other state guests from all over the world.
Haupt is the first theater man who at that time dealt with the medium laser on an opera stage and invented groundbreaking design possibilities in connection with his composition "Laser".
  • 1973 Sensus was one of his spectacular synaesthetic productions.
Music and staging: Walter Haupt.
In a specially constructed dome projection room, the audience lay on a foam landscape and individually listened to a room-sound composition through headphones and saw moving light, laser and film events that seamlessly played on the seemingly infinite dome room, which was inflated by excess air pressure .
Various scents and thermal changes were brought in to match the optical and acoustic components. As early as 1973, around 300 sold-out performances marked the trend-setting of this psychedelic trend, the birth of synaesthesia in the theater of this century, a topic that still concerns the mainstream today. Sensus was a regular part of the program until 1980 and was the main attraction of the 1st Munich Theater Festival.
  • In 1974 W. Haupt created 4 scenic-kinetic pieces on the experimental stage.
Even then, he primarily initiated the visitors' sense of touch, smell, sight and hearing interactively.
  • In darkness, he suggested to the audience perceptions of space that were not in line with the actual space of the performance.
  • A child sang in vocal pulse and at the moment of the performance his own heartbeats, blood, breathing and pulse noises were sampled with special microphones, made audible and thus accompanied his singing and determined the speed of the musical course.
  • In game mechanics, a concert grand piano was prepared with a variety of mechanisms and small toy devices. It came to life without an interpreter and revealed a new kind of audible and visible sound world. Recording by the second German television with three repetitions.
  • In the program, the topic of "computer graphics" was implemented for the first time with a dancer in the middle of this new medium on a music theater stage.
  • In 1974 he realized a total mirror space with the title Contemplation for the festival “Pro musica nova” in the Kunsthalle in Bremen, in which the visitor triggered a musical-acoustic-room-shaping function through his body movements via sensors. The presence of the audience gave the quiet, monochrome room movement and life.
  • 1977 In his work Dreams (based on Arthur Rimbaud's poem “Das Trunkene Schiff”) he created a movable mirror room for the experimental stage of the State Opera.
Numerous mirror segments (including the floor and ceiling) could be rotated and swiveled out and lowered towards the action area. An elaborate lighting design and a dreamlike choreography with ballet soloists from the Munich State Opera multiplied in different dimensions in the constantly changing, fascinating, polygonal mirror space. The music for this was created with Australian students from the Melbourne Conservatory.
Further productions from 1970–1986 on the Bayer experimental stage. Experimental music theater works developed by the State Opera took place at: Victoria State Opera Melbourne, "Autunno musicale" Como, Roundhouse London, Wiener Festwochen, Ars electronica Festival, etc. a.
  • In 1990 Walter Haupt composed and conceived together with the cabaret artist
Dietrich Paul, Kaba-Cert Oh Automobile for Theater Bremen, a highly original, critical and long overdue inspection of our favorite toy, a truly demonic commodity. And it opened up "an astonishing view under the hood of this automotive society" (quote)

Staged music - sound clouds and open air projects

Klangwolke means staged music with the scenic building blocks fire and fire architecture, smoke, projections on water walls, lasers, actors, images, scenes, ships, light projections, text, language as a total work of art in open space. Walter Haupt endeavors to convey new listening experiences and new visual impressions with his large-scale open-air projects under the motto “Music for All”, “Opera for All” and “Culture for All” at a high artistic level. At the time (1979) these theses were a scandal and a challenge. The elite in the classical music sector saw themselves insulted and provoked because the gods Beethoven, Bruckner, Berlioz, Mahler etc. are not performed in the concert hall, but in the open-air space with the “Klangwolke”, thus making them accessible to a broad audience. How absurd; because composers at all times have wished that many people should hear their music.

Today all highly respected cultural institutions and high-ranking orchestral associations make use of this thesis and organize open-air music festivals under the motto listed above. Even the Bavarian State Opera lures the audience to its open-air performances on the theater forecourt with the slogan “Opera for Everyone”.

  • In 1973 the major event "Music for a Landscape" was the initial spark for the "Linz Sound Cloud" - an octophonic concert with laser and 8-channel light organ in Weißenstein Castle and the valley of Weißenstein (Germany, Baden-Württemberg). The idea for this event came up with the renowned microphotographer, artist and pioneer of video and multimedia art Manfred P. Kage. For this event, Kage built the entire technology with an 8-channel light organ and the loudspeakers. Walter Haupt composed the music and directed the music.
  • 1978 A birthday wish from Carl Orff was the reason for the first sound cloud over Munich's city center.
In collaboration with Orff, Haupt realized his Entrata (1928) for five orchestral groups.
Haupt conducted a large live orchestra formation from the Munich Philharmonic, Graunke Symphony Orchestra and riot police on Marienplatz and on the balconies of the town hall. The individual orchestral groups were transmitted to all church towers in downtown Munich and played back via huge loudspeaker boxes. These acoustically radiated their own sound result into the streets and alleys of the old town. 60,000 listeners strolled through Munich's city center and experienced a constantly changing soundscape.
While Munich failed to integrate this successful open-air event “Klangwolke” into musical life every year, Linz in Austria was keenly interested in Walter Haupt's idea. The result was an extremely fruitful collaboration between ORF, the Brucknerhaus with its International Bruckner Festival and Walter Haupt.
  • In 1979, in a crater landscape near Trieste, a week of existential, scenic and musical implementation processes with compositions by Haupt took place in the middle of this landscape, together with an experimental theater group under the theme "Music and Nature". Patron and client: the lord of the Duino castle, Principe della Torree Tasso. Note: Rilke wrote his "Duineser Elegies" there
  • 1979 The first Linz Klangwolke for the opening of the International Bruckner Festival took place as a symphonic open air on the Danube and in the Donaupark with Bruckner's “Symphony No. 8”.
Conductor: Bernard Haitink, Orchestra: Concertgebouw Amsterdam Idea and realization: Walter Haupt
100,000 visitors listened to the music in the Danube Park, and all those who stayed at home put their radios in the windows and also multiplied Bruckner's music. A whole city identified with this music experiment. The main credo "Music for everyone" was accepted. The Linz sound cloud became the city's cultural landmark.
Since then there has been a “Klangwolken-Weekend” every September to mark the opening of the International Bruckner Festival: on the first day the traditional symphonic and the next day the visualized “Linz Klangwolke”, realized by contemporary artists.
  • 1980 Do with a concert. A call was sent to the people of Linz via ORF for communicative music-making with self-made sound generators.
15,000 participants came to this “Mach mit Konzert”, this “Musica creativa” on the main square in Linz. Idea, preparation, composition and conducting (via traffic lights and mechanical traffic puppets): Walter Haupt.
  • 1980 Linz Klangwolke Music: Anton Bruckner "Symphony No. 4"
Conductor: Theodor Guschlbauer, Orchestra: Bruckner-Orchester-Linz. Visualization: Walter Haupt and Otto Piene
  • 1981 Linz Klangwolke Music: Anton Bruckner "Symphony No. 7"
Conductor: Christoph Eschenbach Orchestra: State Philharmonic of Rhineland-Palatinate Visualization: Walter Haupt and Bernhard Luginbühl
  • 1982 Linz Klangwolke Music: Gustav Mahler "Symphony No. 5"
Conductor: Lorin Maazel, Orchestra: Vienna Philharmonic, visualization: Walter Haupt.
  • 1983 Linz Klangwolke Music: Anton Bruckner "Symphony No. 8"
Conductor: Lorin Maazel, Orchestra: Vienna Philharmonic. Visualization: Walter Haupt.
  • 1984 Berlin fire theater with the Klangwolke. Together with Andre Heller, Walter Haupt realized this superlative event for the opening of the “Berlin Midsummer Night's Dream Festival” in front of the Reichstag building. For this purpose he composed a “Fire Theater Entrada” for four separate large orchestral groups. 500,000 visitors saw this impressive show game in Berlin.
  • 1984 Wannsee-Traum Walter Haupt staged this scenic-musical cloud of sound at the end of the “Berlin Midsummer Night's Dream Festival”. It was shown for three days on the Berlin Wannsee, for 60,000 spectators.
  • 1984 Linz Klangwolke Music: Ludwig van Beethoven "Symphony No. 9"
Conductor: Milan Horvat, orchestra: Zagreb Philharmonic, visualization: Walter Haupt.
  • 1985 Linz Klangwolke Music: Anton Bruckner "Symphony No. 6"
Conductor: Horst Stein, Orchestra: Bamberg Symphony, Visualization: Walter Haupt
  • 1985 Linz Klangwolken-Weekend Music: "The Best of Pink Floyd"
Visualization: Walter Haupt.
  • 1986 Linz Klangwolke Music: Gustav Mahler "Symphony No. 1" Conductor: Vaclav Neumann, Orchestra: Czech Philharmonic. Visualization: Walter Haupt
  • 1986 ZVUCNI OBLAK Sarajevo / Yugoslavia.
For the opening of the Culture Week of the Federal Republic of Germany. Before the Skendenja. Music: Ludwig van Beethoven “Symphony No. 9” Scenography: Walter Haupt. 100,000 listeners
  • 1986 In the summer, the Schwetzinger Festival was opened with the main open-air version of a Ba-Rock night in the palace gardens in front of 50,000 visitors.
  • 1986 In September the newly built concert hall, the "Cologne Philharmonic", was inaugurated with a Cologne sound cloud by Walter Haupt.
The music (by Mussorgsky, Stravinsky and Haupt) was visually represented with the staging elements fire, water, light, laser and huge projections on water walls on the Rhine and in the Rhine floodplains. 150,000 spectators marveled at this major event.
  • 1987 Linz Klangwolke Music: Modest Mussorgskj “Pictures at an Exhibition”, Conductor: Rafael Frühbeck de Burgos, Orchestra: London Symphony Orchestra Visualization. Walter Haupt.
  • 1987 Klangwolke at the lake for the opening of "International Music Days in Konstanz"
Music: Anton Bruckner, visualization: Walter Haupt. 60,000 spectators
  • In 1987, at the opening of the “International June Festival Weeks” in Zurich, a huge cloud of sound appeared over Lake Zurich with the “Symphonie fantastique” by H. Berlioz, in the presence of the French President Mitterrand, who paid special tribute to Walter Haupt and his musical staging, in front of 150,000 spectators instead of. Lake Zurich became the largest natural concert hall in the world (quote).
  • 1988 Linz Klangwolke Music: Ottorino Respighi "Pini di Roma"
Conductor: Georges Prêtre, orchestra: Orchestra di Santa Cecilia Roma, visualization: Walter Haupt, 150,000 visitors.
  • 1988 Jerusalem Light (Jerusalem / Israel)
To mark the opening of the Israel Festival, on the occasion of the 40th anniversary of Israel. Before and below the old western wall. Staging and realization: Walter Haupt. 200,000 listeners
  • 1989 Linz Klangwolke Music: Igor Stravinsky "Le Sacre du Printemps"
Conductor: Michael Tilson Thomas, Orchestra: London Symphony Orchestra. Visualization: Walter Haupt.
  • 1989 The Sky is the limit Closing event of the "Israel Festival" in the presence of the President, in front of 10,000 invited guests and
250,000 onlookers who expressed their thanks for this great event with an ovation. Production and direction: Walter Haupt.
  • 1989 Marat on July 14th, i.e. on the 200th anniversary of the French Revolution, Walter Haupt realized his multimedia opera as a major theatrical project. A joint production by the city of Munich, Bayerischer Rundfunk and the Bavarian State Opera. 150,000 spectators flocked to Königsplatz to experience this event.
After arduous discussions with the state and the city, Walter Haupt succeeded in winning the Königsplatz in Munich for the first time as the ideal venue for major theatrical projects and in creating a fantastic new venue for Munich for all future times.
  • 1990 Berliner Klangwolke The opening of the Berlin Wall and the World Day of Peace were the reason for Walter Haupt to stage this commemorative performance right in front of the Palace of the Republic. 75,000 spectators celebrated.
  • 1990 Klangwolken-Symphonie, a commissioned composition for 5 orchestral groups and percussion ensemble for the 500th anniversary of the city of Linz.
The theme "Johannes Kepler" was staged gigantically by Walter Haupt with 60 ships on the Danube and a large Kepler statue (hanging from a helicopter). 70,000 spectators saw his "Klangwolken-Symphonie" performed. Music and conductor: Walter Haupt, orchestra: ORF Symphony Orchestra Vienna and Schlagwerk Linz. Visualization: Walter Haupt.
  • 1990 Linz Klangwolke Music: Anton Bruckner “Symphony No. 4”, conductor: Claudio Abbado, orchestra: Vienna Philharmonic. Visualization: Walter Haupt.
  • 1991 Mozart Klangwolke on the occasion of the 200th year of WA Mozart's death, the grand opening of the Mozart Festival in Würzburg took place directly in front of the Residenz in front of 80,000 spectators with Walter Haupt's production.
  • 1995 It has always been Carl Orff's great wish that Walter Haupt should realize his Carmina Burana. For the 100th birthday of his fatherly friend Carl Orff, he staged the Carmina Burana Monumental Opera on Munich's Königsplatz in front of 40,000 spectators in a 26-meter-high tower / a mobile theater (stage design and costumes: Mihael Tchernaev, producer Art Concerts Franz Abraham). The event and the success were overwhelming.
With the picture: the Propylaen in the background and in front of it the “Carmina Tower” of W. Haupt's production, the city of Munich is still promoting Königsplatz as a theatrical venue in countless book and photo presentations.
1995 to 2009, i.e. for 14 years, this production went on a permanent world tour under his direction:
u. a. to Rio de Janeiro (with 200,000 spectators on the Copacabana), 17x Sao Paulo, Moscow, 3 sold out performances in front of 56,000 visitors in London, 5 x Paris, Marseille, Lyon, Lebanon, Luxembourg, Portugal, Norway, Denmark, Poland, Hungary, Czech Republic, Austria, Germany, Spain, 3 x Mexico, Washington, Chicago, Montreal, Toronto, Santiago de Chile, Buenos Aires, Milan, etc. The Carmina Burana Monumental Opera was named the "best and most performed classical production worldwide".
  • 1998 Walter Haupt directed and directed Verdi's “Aida” as Aida Monumental Opera and went on a European tour with it. 80,000 viewers saw this production.
  • In 1998 Walter Haupt composed large parts of the fantasy musical Dracula, for which he also wrote the libretto based on Bram Stoker. He also directed and directed this piece, which also went on a European tour and delighted over 60,000 people. In the title role: Uwe Ochsenknecht. CD production by Sony.
  • In 1999 Haupt opened the Munich Airport Center with an international event at a very high level in front of 2,000 invited state guests. Director: Horst Mentzel Haupt composed an elaborate score for solos, choir, large orchestra, instrumental soloists, brass music and unusual instrumental ensembles. The performance is in keeping with the monumental architecture. The personal presentations, the projections, the fire structures, the light figurations, the music and its performers are all excellent. It was a superlative performance.

Most of these spectacular projects were accompanied by television with preliminary discussions, interviews, live broadcasts and recordings.

Music for dance theater

From 1968 Walter Haupt received 24 ballet compositions from international opera houses, most of which he conducted himself. Choreographers such as Kresnik, Bohner, Linke, Pick, Gackstetter, Ferro, Barbier, Doutreval, Hoyer, Breuer have worked with Haupt over and over again.

  • 1968 Apeiron (State Theater Kassel)
  • 1972 Laser for a percussionist and dancer and tape (State Opera Munich) (with ZDF recording)
  • 1973 Laser for a percussionist and dancer, new version for orchestra (Munich State Opera)
  • 1974 program (State Opera Munich)
  • 1976 Moira (State Opera Munich)
  • 1977 Rilke (State Opera Munich)
  • 1978 The Maids (State Opera Munich)
  • 1978 point counterpoint (Munich State Opera)
  • 1982 In the bathtubs (with ZDF recording)
  • 1983 Metamorphoses (Municipal Theaters Augsburg)
  • 1985–1987 Between the Chairs (Bavarian State Opera, Theater an der Wien, Fürth)
  • In 1985 Walter Haupt composed the ballet Peer Gynt as a commissioned work for the Munich State Theater on Gärtnerplatz, in which he ingeniously combines the music of Edvard Grieg with his own tonal language (quote). This successful work saw 75 performances in Munich alone and was performed as a guest performance in Russia at the Mariinsky Theater in St. Petersburg, also in Kiev, and on many other German theaters.
  • 1986 Ein-Sam after S. Beckett (Stadttheater St. Gallen)
  • 1986 Encontros (State Opera Munich)
  • 1987 Golgotha ​​(Municipal Theaters Nuremberg)
  • 1987 Moment and Silence (State Theater Oldenburg)
  • 2016 Gesualdo u. a. with the orchestral piece 1 (Landestheater Salzburg)
  • 2018 Marie Antoinette (Linz Opera House)
  • 2019 In preparation: The big food as Virtual Reality Ballet (Linz Opera House)

An intensive collaboration with the choreographer Johann Kresnik began in 1983 . Numerous full-length “choreographic theater pieces” were created for which Walter Haupt composed the music (mostly for a large orchestra).

  • 1983 Mars (Heidelberg City Theater)
  • 1984 sale (Theater of the City of Heidelberg)
  • 1985 Sylvia Plath / Requiem for a girl
(Theater der Stadt Heidelberg, Theater der Stadt Bremen, Staatstheater Darmstadt, 1985 guest performances at the Wiener Festwochen, Festival International Montpellier, Freie Volksbühne Berlin, Teatro Nuovo Turin, Frankfurt, Neuss)
  • 1986 TV production for Bavarian television
  • 1987 Festival of German Arts, London
  • 1988 Tour: Buenos Aires, Curitiba, Sao Paulo, Rio de Janeiro, Belo Horizonte, Brasilia, Salvador de Bahia
Prices for Sylvia Plath:
  • 1985 Grand Prix of the Belgrade BITEF (for the music to "Sylvia Plath").
  • 1986 EXPO 86 Vancouver / Canada; Official contribution of the FRG to the world exhibition
  • 1987 "International Koussevitzky Record Award" for "Requiem for a Girl"
  • 1986 Pasolini (Theater of the City of Heidelberg)
  • 1986 Welcome (State Opera Munich)
  • 1987 Murderer Woyzeck (Heidelberg City Theater)
  • 2013 Villa Verdi (Volksbühne Berlin)

Symphonic music (for orchestra)

  • 1973 Laser orchestral version (Bavarian State Orchestra)
  • 1973 Sensus orchestral version (Bavarian State Orchestra)
  • 1976 "Moira" symphonic poem (Bavarian State Orchestra)
  • 1977 "Rilke" orchestra suite (Bavarian State Orchestra)
  • 1978 "The Maids" four orchestral pieces (Bavarian State Orchestra)
  • 1984 Symphonic interludes from the opera Marat
  • 1984 Feuertheater-Entrada for four separate large orchestra groups (Bavarian State Orchestra); was recorded in Berlin in front of 500,000 people and released on record by EMI-Electrola.
  • 1985 Requiem for a girl (Heidelberg City Orchestra)
  • 1985 Orchestral Piece 1 (Heidelberg City Orchestra)
  • 1985 Orchestral Piece 2 (Heidelberg City Orchestra)
  • 1985 Peer Gynt orchestral suite (State Orchestra Gärtnerplatztheater Munich)
  • 1987 Symphonic interludes from the opera Pier Paolo Pasolini
  • 1989 Symphonic interludes from the Marat Opera (Bavarian State Orchestra)
  • 1990 Klangwolken Symphony for five large orchestral groups and solo percussion ensemble (ORF Symphony Orchestra Vienna). CD production by ORF
  • 1993 European musical festival anthem. The Mitteldeutsche Rundfunk, as the leading ARD company for the exploitation of the radio rights of EUROPAMUSICALE 1993, broadcast the festival live from Munich to almost 58 countries every day. The radio broadcasts reached approximately one billion listeners worldwide. (Idea and organization of the EM: Pankraz von Freyberg)
  • 1995 Königsplatz fanfare was played in advance on several world tours from 1995 to 2008
  • 1997 Requiem - in memory of the victims of warlike crimes for soloists, large mixed choir, large orchestra and long-distance orchestra soloists, choir and orchestra of the Bayer State Opera Co-production Bayer. State Opera / Bavarian. Broadcasting conductor: Peter Schneider
  • 1999 MAC – Suite (commissioned for the opening of the “Munich Airport Center”) for solos, choir, large orchestra, instrumental soloists, brass music and an unusual instrumental ensemble

Choral music

  • 1984 Pater noster for mixed choir a cappella
  • 1985 four pieces from the opera Marat for mixed choir a cappella
  • 1986 four vocalises for mixed choir a cappella
  • 2003 Aschheim anthem for mixed choir and brass band

Chamber music

  • 1959 monologue of an aging woman for alto voice and chamber ensemble.
  • 1960 Apeiron for percussion ensemble
  • 1965 piece 65 for soprano voice and percussion
  • 1966 piece 66 for soprano voice and percussion
  • 1969 Volume for percussion ensemble and tape
  • 1970 piano quartet
  • 1971 laser music for a percussionist and tape
  • 1973 Sensus BR radio version for synthesizer and drums
  • 1974 program for chamber ensemble
  • 1974 Konnex a quadrophonic composition for synthesizers
  • 1975 reciprocal for percussion ensemble and live electronic
  • 1975 To learn to hear from one who moved out. A composition for dummy head stereophony and percussion ensemble
  • 1975 dioramas; a cycle of multi-layered piano soundscapes for prepared pianos and tape
  • 1984 three songs based on poems by Sylvia Plath, for mezzo-soprano, alto voice and instrumental ensemble
  • 1985 Interview for two pianos
  • 1988 Circulus small solo percussion pieces in the series: "Works for Percussion" (Schott-Verlag)
  • 1989 popular music percussion in the series “piccolo percussione” (Wrede-V.).
  • 1993 Nexus piano quintet, first performance at Elmau Castle
  • 2000 Tube Society and Tube Entertainer, composition commission from Bayer. Broadcast for 30 bass tubes
  • 2000 Csardas for salon orchestra. World premiere by musicians from the Bayer Symphony Orchestra. Broadcasting in the Munich Prinzregententheater. Head: Florian Sonnleitner
  • 2013 Csardas new version and Österr. First performance by the Bruckner Orchestra
  • In 2017 Csardas, the Qatar Philharmonic Orchestra plays this composition for the first time

Solo work

  • 1961 “CSS1” cello solo sonata


While Haupt was mainly active as a composer and director in the early years and his conducting activities were of secondary importance to him, he later made a name for himself as a conductor. Despite offers from some state theaters and cultural orchestras, Walter Haupt did not want to accept any permanent contractual ties as chief conductor.

Guest conducting German ensembles (selection)
Guest conductors of international orchestras (selection)
  • On his world tours he conducted the Carmen Monumental Opera (director: Yekta Kara), Aida on Fire (stage: Pier'Alli-Milan Scala), the fantasy musical Dracula and the Carmina Burana Monumental Opera in large halls and open air. He conducted his production of the “Carmina Burana Monumental Opera” alone over 300 times with changing solos, choirs and orchestras and has thus won millions of viewers.
  • Haupt worked u. a. together with the Royal Philharmonic Orchestra London, Orchester Metropolitain Montreal, Russian National Orchestra Moscow, Theatro Municipal Orchester Sao Paulo, Metropolitan Orchestra Lisbon, Orquesta de las Americás Mexico City, Choir and Orchestra National Theater Brno, National Academie Choir of Ukraine, Czech National Symphony -Orchestra Prague.


vinyl record
  • 1985: Orchestral Pieces 1 & 2, Heidelberg City Orchestra, composer & conductor: Walter Haupt (WK 30.412)
  • 1985: Dioramas, Heidelberg City Orchestra, composer & conductor: Walter Haupt (WK 30.413)
  • 1985: Requiem for a girl, Heidelberg City Orchestra, composer & conductor: Walter Haupt (WK 30.414)
  • 1984: Feuertheater-Entrada for four separate orchestral groups, Bavarian State Orchestra, composer & conductor: Walter Haupt (EMI Electrola)
  • 2004: Aschheimer Hymne, brass music church choir men's choir of the community of Aschheim uur opening of the Aschheimer Feststadl, composer & conductor: Walter Haupt (community Aschheim)
  • 1999: Requiem - in memory of the victims of warlike crimes for soloists, large mixed choir, large orchestra and long-distance orchestra, soloists, choir and orchestra of the Bayer State Opera, co-production Bayer. State Opera / Bavarian. Radio, conductor: Peter Schneider (Musica Creativa)
  • 1998 Fantasy Musical Dracula Composer & Conductor: Walter Haupt (Sony)
  • 1990 Klangwolken-Symphonie for five large orchestral groups and solo percussion ensemble, ORF Symphony Orchestra Vienna - Schlagwerk Linz Composer & Conductor: Walter Haupt (ORF)
  • 2006: Art Concerts, Aida on fire, Conductor: Walter Haupt
  • 1995: Art Concerts, Carmina Burana Monumental Opera, direction and conductor: Walter Haupt, interview a. a. with Alexander Kluge

Multimedia lectures

  • 1975–1978 Walter Haupt traveled repeatedly around the world (from England, Spain, Italy, Austria, Turkey, Mexico, USA, India, Hong Kong, Indonesia, the Philippines to Australia) on behalf of the Goethe-Institut and stopped at universities and opera houses multimedia lectures on his experimental stage and his compositional work.
  • In 1977, 1988 and again in 2012, Walter Haupt spoke at the invitation of the Munich Opera Friends, the IBS (Interest Association of the Bavarian State Opera Audience) in the Munich Künstlerhaus on Lenbachplatz about his artistic development over the past 35 years, during which he was mainly abroad in huge stadiums and halls Audiences of millions acted worldwide.

Literature and publications (selection)

  • District Office Munich (Hrsg.): Diversity in the district of Munich . Heller & Partner Publishing 2004, ISBN 3-88863-022-3 . Pages 306–313: Rosemarie Nistler musician, conductor, composer, director and inventor - Walter Haupt
  • Hannes Leopoldseder: Linzer Klangwolke - Art experience between heaven and earth - The story of a trademark . Christian Brandstätter Verlag & Edition 1988, ISBN 3-85447-309-5 . The book covers all of Walter Haupt's sound clouds in Linz
  • Wolfgang Winkler (Ed.): On a Tuesday evening - 30 years of Linzer Klangwolke Brucknerhaus Edition, Linz, Austria. 2009, ISBN 978-3-9500999-4-2 . Walter Haupt composer-conductor-director, Ideaman der Linzer Klangwolke: Get out of the concert hall
  • Henschel Verlag Ute Ackermann (Ed.): Johann Kresnik and his Choreographisches Theater page 62, 132-133., 206-207, 214, 216: Walter Haupt: The important invisible in staging - the music of Berlin 1999, ISBN 3-89487 -317-5
  • Europamusicale Veranstaltungs GmbH (Hrsg.): Europamusicale end-text and end-text: Score page from the "Entrada zu EUROPAMUSICALE 1993" by Walter Haupt (composition commissioned by EM, 1993), page 449: Biography: Walter Haupt, composer of the Entrada zu EUROPAMUSICALE 1993 Munich 1993. ISBN 3-923547-76-5
  • Landesverlag Linz (eds.): Karl Gerbel / Hannes Leopoldseder: Ars Electronica - Art in the leap in time Page 78–80: Walter Haupt's Linz Klangwolke and join in a concert Page 105: Walter Haupt's pieces Dreams and Worms in the Piano Pages 176–177 : Walter Haupt on Ars Electronica Linz, Austria 1989. ISBN 3-85214-496-5
  • Rowohlt Taschenbuch Verlag (ed.): Susanne Schlicher: Tanz Theater Page 59, 207, 277, 284: Johann Kresnik - Walter Haupt Hamburg 1987. ISBN 3-499-55441-0
  • Breitkopf & Härtel (ed.): Georg Rebscher: Nature in Music . Page 126–128: “Walter Haupt Music for a Landscape” Wiesbaden 1976. ISBN 3-7651-0124-9
  • Callwey publishing house. Winzer.Bergfeld.Reichelt.Schober: Laser graphics . Pages 18, 19, text and photo: Lightenvironment 'Laser' by Walter Haupt . Page 88, Photo: Walter Haupt Page 105: Walter Haupt Experimental Stage Statement . Munich 1975, ISBN 3-7667-0336-6
  • Verlag F. Bruckmann, Munich (ed.): Thilo Koch: Pictogram of the games, pages 2, 3, 4: "Laser-Light-Environment for drums and a dancer by Walter Haupt" Munich 1973. ISBN 3-7654-1535-9
  • B. Schott's Sons Mainz Publishing House. Karl Peinkofer - Fritz Tannigel: manual of the drums . Page 116 and 176: W. Haupt Apeiron, sheet music example . Mainz 1969. BSSS 42 191, Edition 5524, ISBN 978-3-7957-2641-6

Programs, Festschriften (selection)

  • 2009/2015 : Reclam Verlag: Reclams Ballettführer , About Johann Kresnik and Walter Haupt, ISBN 978-3-15-011030-0 , pp. 199, 505
  • 2005: Communications from the Carl Orff Foundation “Orff today”, interview with Walter Haupt, pp. 44–50
  • 1997: Bayer. State Opera, Musical Academy (ed.): Barbara Zuber: Dedicated to the victims of war crimes. About Walter Haupt's Requiem. Munich 1997. Program for the 1st Academy Concert 1997/98 of the Bavarian State Orchestra
  • 1991: Journal Bayerische Staatsoper 1990 / 91-10 Opera Festival 1991, the world premieres by Walter Haupt at Bayer's experimental stage. State Opera
  • 1987: Music theater by Walter Haupt and Gerd Uecker for Documenta 8 Staatstheater Kassel: Pier Paolo ..., Walter Haupt: Spontaneous thoughts on my music drama 'Pier Paolo ...', Kassel 1987
  • 1985: Theater der Stadt Heidelberg (Ed.): Johann Kresnik Choreographisches Theater, Heidelberg 1985
  • 1982: The Bavarian State Opera 1977/78 - 1981/82: A retrospective: Works and productions by Walter Haupt, Munich 1982
  • 1975 Senator for Science and Art, Berlin, Dietrich Steinbeck (Ed.), Internationales Musiktheater-Colloquium - Documentation, Berlin 1975

Magazines (selection)

  • A well-rounded affair: Walter Haupt 75 years, Virtuos - The GEMA magazine, 2010
  • Klaus Reichold: Federal Cross of Merit for Walter Haupt: Master of the Klangwolken, Süddeutsche Zeitung 1994
  • Walter Haupt Opera and Ballet Experiments, Interview: Unconventional and full of ideas: Walter Haupt

Journal München - Munich's current monthly magazine, Journal Verlag Kunst & Kultur 1986, pp. 64–66

  • 10 years of the experimental stage - Interview with Walter Haupt: Opernwelt - The international opera magazine 1981
  • Walter Haupt ... provokes the audience's imagination, Münchner Theaterzeitung 1979
  • Heidi Rauch: People in Munich - Walter Haupt makes music sound for five towers. In: Süddeutsche Zeitung 1979
  • Helmut Lesch: Conversation with Walter Haupt, Opernwelt - The International Opera Magazine
  • Helmut Lohmüller: I met Walter Haupt. In: MELOS / New Magazine for Music, 04/1974

Lexicons (selection)

  • 2000: German Composers' Association (Ed.): Contemporary Composers, Berlin 2000, ISBN 3-932581-34-2 , p. 407, Walter Haupt Vita
  • 1991: Heinz Wagner: The great manual of the opera, Florian Noetzel Verlag, Munich, S, 303–304: Haupt Walter, Marat
  • 1982: Reiner E. Moritz: Knaurs Musiklexikon, Droemer Knaur Verlag, Munich 1982. ISBN 3-426-07823-6 , p. 342: Haupt Walter, Vita
  • Since 1981: Walter Habel: Who is who? The German Who's Who, Verlag Schmidt-Römhild, Lübeck, ISBN 3-7950-2002-6 , pp. 443–444: Haupt Walter, composer, director, conductor, director of the Bayer experimental stage. State Opera Munich
  • Melrose Press: International who's who in music Haupt Walter, composer, conductor, stage director. Cambridge, England 1977. ISBN 0-900332-44-1 , p. 352

TV and radio (selection)

TV via Walter Haupt
  • 2011: 3sat interview partner in Georg Wübbolt's film about the legendary conductor Carlos Kleiber "I've lost the world"
  • 1997: Bayer. Television, 3 Walter main portraits, a. a. "I love the changing baths" (Director: Eckehard Schmid)
  • 1989: Bayer. Television report by Annerose Katz, director: Jo Baier about Walter Haupt's Marat on Munich's Königsplatz on the occasion of the 200th anniversary of the French Revolution
  • 1984: ARD-Tagesschau, report on the world premiere of Walter Haupt's opera "Marat"
TV by Walter Haupt
  • 1986: Bayer. Television Sylvia Plath (ballet), choreography: Johann Kresnik, music: Walter Haupt
  • 1980: ZDF Neurosen-Kavalier Music & Direction: Walter Haupt
  • 1982: ZDF Im Bade Wannen (ballet) Choreography: Susanne Linke, music: Walter Haupt
  • 1974: ZDF solo for a piano (game mechanics) Music & direction: Walter Haupt
  • 1972: ZDF Laser Music & Director: Walter Haupt
Radio via Walter Haupt
  • February 26, 2015: Bayer. Radio, interview and composer portrait for the 80th birthday of the composer and conductor Walter Haupt , production: Elgin Heuerding, BR-KLASSIK
  • May 16, 2003: Bayer. Rundfunk, Radio, Bayern 4 Klassik: “KlassikPlus” Guest: Walter Haupt. Composer-conductor-director; With Wolf Loeckle
  • 1995: Bayer. Radio, interview and composer portrait for the 60th birthday of the composer and conductor Walter Haupt; From Wolf Löckle
  • 4th July 1976: Sender Free Berlin ; Dietrich Steinbeck / Walter Haupt: Experimental music theater in Munich
Broadcast by Walter Haupt
  • 2000: Concert recording by Bayer. Rundfunks Salon 2000 with Walter Haupts Csardas
  • 1997: Bayer. Broadcast: Requiem
  • 1993: MDR-Kultur: Orchester des MDR: Production of the European musical festival hymn composed by Walter Haupt
  • 1993: MDR-Kultur: Opening of the European Music Festival EUROPAMUSICALE - The Mitteldeutsche Rundfunk, as the leading ARD company for the exploitation of the radio rights of EUROPAMUSICALE 1993, broadcast the festival live daily from Munich to almost 58 countries. The radio broadcasts reached approximately one billion listeners worldwide. (Idea and organization of the EM: Pankraz von Freyberg )
  • 1989: Bayer. Broadcasting Marat


  • February 2016: Deutsches Theatermuseum Munich 150 years Gärtnerplatztheater , text and photo: Peer Gynt , music by Edvard Grieg and Walter Haupt
  • April 2014: District Office Munich, “Livable, Lovable - Aschheim. The community with history and future ”, our personalities: Walter Haupt, composer of the Aschheim anthem
  • Summer 2012: Bayreuth Festival. Bayreuth City Library. “100 years of Martha Mödl - I wanted to sing, nothing else!” The opera's score, the photo Martha Mödl / Walter Haupt (composer and director) and a film about the production can be viewed within the exhibition.
  • June 2002: UMT AG cultural lounge , Starnberg: portraits of contemporary composers by Anne Kirchbach (long-time theater photographer at the Bavarian State Opera, among others)

Web links