Gerhard Schedl (1957­2000)

Was born in Vienna, where he studied composition (with Erich Urbanner) and musicology. After receiving an award at the Carl Maria Weber Composers1 Competition in Dresden for children1s opera Der Schweinehirt, and the successes of his stage oratorio Der Großinquisitor and Tango for orchestra (1981), he was honoured by the Austrian Ministry of Education Prize; he was also given a state composer1s grant.
Since 1981 Schedl taught harmony, counterpoint and composition at the Frankfurt Conservatory, and in the years 1982­84 also music theory at the Mainz University. His works were performed by outstanding soloists, chamber ensembles and such renowned orchestras as Berliner Philharmoniker, Vienna Philharmonic, radio orchestras in Berlin and Vienna, Orchestre de Lyon, Minnesota Orchestra. Since 1990 he was
a permanent composer-in-residence of the Landestheater in Salzburg; this collaboration resulted in four premieres of his new operas.
On 30 November 2000 G. Schedl committed suicide, in Eppstein/Tau-nus (Germany).

Selected works: Fantasia for guitar (1976), Nächtliche Szenen for string quartet (1977), Zwei lyrische Stücke for piano (1979), Concerto for Violin and Nine Instruments (1979), Sonata for Cello (1975­80), Rhythmen for guitar (1980), Der Totentanz von Anno Neun, septet according to the paintings of Albin Egger-Lienz (1980), Drei Miniaturen for orchestra (1980), Der Großinquisitor, stage oratorio after Dostoievsky1s Brothers Karamazov (1980), Der Schweinehirt, children1s opera to a libretto by Böcsa (1980), Sonata for flute solo (1981), Tango for orchestra (1981), Passacaglia for organ (1982), Nachtstück for wind quintet (1982), First Symphony (1982), Magnificat for mixed choir a cappella (1982), Kontrabass, chamber opera after S. Pielschmann (1982), Action-Meditation, aleatoric improvisation for organ (1983), Gesänge über ODeh vieni alla finestra1 for violin, cello and piano (1983), Concerto for Guitar and Jazz Ensemble (1983), Pater noster for 16 voices a cappella (1983), Schall und rauch oder Das Leben ist hart genug, three parodies for actor and chamber ensemble (1983), A tre for clarinet, violin and piano (1984), Kontrapunkt IV for large orchestra and tape (1984), Te Deum for soloists, choir, organ and orchestra (1984­85), Schattenbilder for cello and piano (1985), String Quartet, romantic paraphrase on
a theme from Schubert1s song Death and the Maiden(1986), Second Symphony OFleurs du mal1 (1987), s.c.h.a.s...., instrumental theatre after H. C. Artmann (1986­88), Viola Concerto (1988), Melodrama for saxophone player and six percussionists (1989), Pierre et Luce, chamber opera after R. Rolland (1989), Riesen, Zwerge, Menschenfresser, music theatre after O. Wilde (1989), Quasi una fantasia for lute (1990), Third Symphony for baritone and orchestra (to texts by F. Hölderlin; 1990), Concerto da camera for orchestra (1990­91), String Trio (1991), Glaube Liebe Hoffnung, opera based on a drama by Ödön von Horváth (1991­92), Concerto da camera II for voice and chamber ensemble (1994), Violin Concerto (1994­95), Third String Quartet (1996), A cinque for clarinet, string trio and piano (1996­97), Slow, concerto for viola and orchestra (1997), Concertino for violin and piano (1998), Der Ficus spricht, Ominidrama1 (1998), Julie & Jean, Omatch in 12 rounds based on Miss Julie by
A. Strindberg1 (1999), A due for violin and cello (2000), Short Cuts for clarinet and chamber ensemble (2000).

Concerto da camera was commissioned by Kontrapunkte Ensemble and is dedicated to Peter Keuschnig. Schedl once again sets here against Austrian symphonic tradition. According to his own words
Oa question, if the contemporary symphony is at all possible, has to be asked again and again, and the results must be checked practically1.
The composer combines here vast, symphonic gesture with classic, concise, chamber symphonic form, he also refers to the baroque principle of concerto grosso, but without separating any group of instruments ­ he lets every member of an ensemble to play his own Oconcertante1 part. The title Oconcerto da camera1 is perhaps the most logical for describing this synthetic form.
Concerto consists of five movements of different expression; they form a kind of arch, where the expressively intensive movements create a framework for more lyrical fragments.
The first movement, Entreaties, requires a solid and intense interpretation; from the opening grave short motives and lines become thicker, eventually finding a way out for accumulated energy in an oboe recitative, Oentreating1 individuality, sensuality and imagination. Also in the second movement, Dance, the composer employs short motives, showing his penchant for syncopated rhythms, evoking
a colourful combination of piano and harp sounds. The third movement, Intermezzo, is a remarkable dialogue between the violin and clarinet, with the accompaniment of harp1s chords. After a harp cadenza the texture thickens, leading to the fourth movement, Toccata, which, with its motoric character, constitutes a symmetrical counterpart to Dance. Strong articulation (staccato and pizzicato) is marked here by the accented piano chords, bringing associations with jazz and the rhythmic eccentricity of Stravinsky1s music. The dramatic climax leads to a quiet finale, Soundscape, painted with the subtle shades of instrumental colours. Some echoes of faster movements re-appear here but eventually music fades away in the deep string sounds.
(based on the note by Hartmut Krones)