Clemens Gadenstätter

(b. 1966, Zell am See).

Austrian composer of mostly chamber works that have been performed throughout Europe and elsewhere.

Mr. Gadenstätter studied transverse flute with Urs Wollenmann in Basel and Salzburg and music theory at the Carl Orff-Institut of the Universität Mozarteum Salzburg from 1979–84. He then studied composition with Erich Urbanner and flute with Wolfgang Schulz at the Universität für Musik und darstellende Kunst in Vienna from 1984–92 and graduated with distinction. He finished his studies in composition with Helmut Lachenmann at the Staatliche Hochschule für Musik und darstellende Kunst Stuttgart from 1992–95.

Among his honours are the Arbeitsstipendium from the city of Vienna (1987, 1994), a prize at the Forum junger Komponisten (1992), the Staatsstipendium in composition from the government of Austria (1993, 1999), the Jahresstipendium in composition from the state of Salzburg (1995), the Publicity-Preis of the SKE-Fond (1997), the Förderungspreis from the city of Vienna (1997), the Erste Bank Kompositionspreis in Vienna (2003), and a period as a guest of the Berliner Künstlerprogramm of the Deutscher Akademischer Austauschdienst (2006). He has received commissions from Deutschlandradio Kultur, the Donaueschinger Musiktage, ensemble recherche, the ensemble Klangforum Wien, the Konzerthaus in Vienna, the Musikbiennale Berlin, ORF, the Salzburger Festspiele, SFB, the festival steirischer herbst, SWF, and Trio Accanto.

He is also active in other positions. He performed as a flutist in Klangforum Wien from 1989–92. He co-founded with Florian Ernst Müller the ensemble neue musik – wien in 1990 and co-founded with Ilse Kilic, Lisa Spalt and Fritz Widhalm the association for artistic endeavours .werkschaft in Vienna in 2001. He has been involved in the organisation of various events, including the multimedia festival SALON13 in collaboration with Lisa Spalt (2000). In addition, he served as editor of the music journal ton in Vienna from 1995–2000 and has written essays for numerous publications, as well as the books tag day. ein schreibspiel (2000, with Lisa Spalt, edition gegesaetze) and Stellwerk I (2002, with Ilse Kilic, Lisa Spalt and Fritz Widhalm, edition ch).

He taught at the Universität für Musik und darstellende Kunst in Vienna from 1995–2003 and has taught at the Universität für Musik und darstellende Kunst in Graz since 1998, where he has taught analysis and music theory as a professor since 2003. He has also lectured in Germany, including at the Ferienkurse in Darmstadt in 1994.

His publishers are the Ariadne Verlag, for music written from 1990–2005, and Rai Trade, for music written after 2006.


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Musik für Orchesterensembles, large orchestra in 5 groups, 1990–94

auf takt, large orchestra, 1997–99

Polyskopie, clarinet, trombone, violin, cello, piano, small orchestra, 2000–01

FLUCHTEN / AGORASONIE 1, soloists, large orchestra (around hall), 2009


Trio I, violin, viola, cello, 1990

Trio, bass clarinet, violin, piano, 1990–91

Musik für Soloflöte, flute, 1991

Musik für Soli und Ensemble, flute, tenor saxophone, ensemble (2 voices, 2 clarinets, 2 guitars, 2 cellos, 2 percussion), 1991–92

Duo (Studie I), violin, cello, 1992

Sextett: und die fortsetzungmeine abmagerungglasgewölbe, flute, clarinet, violin, cello, piano, percussion, 1993

Versprachlichung, soprano, 2 trombones, 2 double basses, piano, 2 percussion, fixed media, 1992–94 (shorter concert version of Versprachlichung: dreaming of a land an arm's length awaydie arie des vogelnestaushebers [Installation I])

schniTt, flute, oboe, 2 clarinets, 2 trumpets, 2 trombones, viola, 2 cellos, double bass, piano, 2 percussion, 1993–95

Streichtrio II (friktion), violin, viola, cello, 1995, revised 1997

variationen und alte themen (all players also speak personal information), trombone, guitar, cello, double bass, 1996

schlagsaiten, 2 guitars, 1997

Songbook #011, amplified tenor saxophone (+ amplified soprano saxophone), amplified piano, amplified percussion, live electronics, 2001–02

Comic sense (Staffel I/II/III) (concerto), piano (+ MIDI-keyboard, synthesizer), ensemble (2 clarinets [1st + bass clarinet, 2nd + bass clarinet, contrabass clarinet], tenor saxophone [+ soprano saxophone], French horn [+ bass Wagner tuba], B-flat trumpet, tenor-bass trombone [+ tenor horn], 2 cellos, double bass [+ bass guitar], 2 percussion), 2002–03

SEMANTICAL INVESTIGATIONS I, amplified violin, 2 amplified ad libitum players, amplified ensemble (flute [+ piccolo], 2 clarinets, 2 trumpets, tenor-bass trombone, electric guitar, violin, 2 violas, 2 cellos, double bass, piano [+ 2 MIDI-keyboards], accordion, 2 percussion) (with conductor), 2006

SEMANTICAL INVESTIGATIONS II, clarinet (+ bass clarinet, contrabass clarinet, radio–CD-player), bassoon (+ contrabassoon, radio–CD-player, megaphone), trumpet (+ megaphone), trombone, amplified steel guitar, violin (+ radio–CD-player), cello (+ radio–CD-player), piano (+ MIDI-keyboard, sampler), accordion, 2 percussion (2nd + MIDI-keyboard, sampler, radio–CD-player, megaphone), 2007

FIGUREICONOSONICS I, clarinet, violin, viola, cello, piano, 2008

Blüten. Eine Soziale Schnittstelle, speaker, variable ensemble, 2009

bodiesICONOSONICS II, electric guitar, accordion, 2009–10

Pictures of an exhibitionICONOSONICS III, 9 players, 2010

Le Goût du son, contrabass clarinet, 2010

bersten, platzen (Paramyth 4), cello, piano, 2012

häuten (Streichquartett Nr. 1), string quartet, 2012

SAD SONGS, saxophone, electric guitar, piano, percussion, 2012


powered by emphasis (ballade 2, 3 & 4) (text by Lisa Spalt), female voice, 4 mixed voices, mixed chorus, ensemble (saxophone, electric guitar, piano [+ MIDI-keyboard]), large orchestra (72 players), live electronics, 2003–05

MADRIGALE (text by Lisa Spalt), 6 mixed voices, 2007–11 (its two sections may be performed separately: HEY; WEH)


ballade I (text by Lisa Spalt), female voice/male voice, piano, 1997

Vier Szenen nach Francisco de Goya (text by Lisa Spalt), male voice (+ guitar), 2004–06 (its four sections may be performed separately: tal para qual; Hilan delgado; Porque fue sensible; Encore: Tal para qual)


...für zwei Klaviere (Studie II), 1992, revised 1993–94

akkor(d/t)anz, 1999–2000


Wir müssen einzelne irgendwann bitten, alle jetzt aufzupassen (Hörstück, text by Lisa Spalt), fixed media (8/36 tracks), 2001


Versprachlichung: dreaming of a land an arm's length awaydie arie des vogelnestaushebers (Installation I), soprano, 2 trombones, 2 double basses, piano, 2 percussion, fixed media, film installation (by Joseph Santarromana), 1992–94 (also shorter concert version as Versprachlichung)

TAK-A-LIT (sound installation, film by Toni Kay), 2001

Bildstudie: mit Ruttmann op.3, ensemble, lights/photographs, 2010–11


Polyskopie. Péter Eötvös/Radio Kamer Orkest (col legno: WWE 20215)

Songbook #011; akkor(d/t)anz. Gerald Preinfalk, amplified tenor saxophone, amplified soprano saxophone; Florian Ernst Müller, piano, amplified piano; Lukas Schiske, amplified percussion; Peter Böhm, live electronics (col legno: WWE 20256)

Streichtrio II (friktion); variationen und alte themen. Klangforum Wien; ensemble neue musik – wien (Durian: 015)

Comic sense (Staffel I/II/III). Florian Ernst Müller, piano, MIDI-keyboard, synthesizer; Mark Foster/Klangforum Wien (Kairos: 0012452KAI)

tal para qual. Jürgen Ruck, voice, guitar (Musikproduktion Dabringhaus und Grimm: MDG 603 1341-2)

Versprachlichung; schniTt; Musik für Orchesterensembles. Johannes Kalitzke, Dominique My/Klangforum Wien; Arturo Tamayo/ORF Radio-Symphonieorchester Wien (ORF: Edition Zeitton 221)

bersten, platzen (Paramyth 4). Florian Kitt, cello; Anna Maria Labra-Makk, piano (ORF: 3179)