"As he succeeds in writing a metamorphosis of Mahler's Adagietto while making a lovesong, Ehrenfellner proves the innovation of tonality." - Die Presse, Wilhelm Sinkowicz
Within a few years only, Christoph Ehrenfellner has made his mark in the musical world as an uncompromisingly original composer of fine quality. In 2009, the sensational debut of his first opera, Mae Mona op.7 (click here for reviews), premiered at the Max Reinhardt Seminar of Vienna’s University of Music, gave an initial kick for Ehrenfellner’s steep career in the domains of dramatic, symphonic, concerto and chamber music.
2015 composer in residence at the PalmKlang Festival Salzburg-Oberalm
2013 composer in residence at the Int. Seiji Ozawa Academy Geneva/CH
2012 composer in residence Mulhouse/France
2009-11 workshop-leader at the Vienna Conservatory
Christoph Ehrenfellner had acclaimed premieres with the Mozarteum Orchester Salzburg, the Turku Philharmonic Orchestra, Toho Gakuen Orchestra Tokyo, Orquesta Sinfonica Nacional Republica Dominicana, Philharmonie Südwestfalen, Orchestre Symphonique de Mulhouse, Wiener Jeunesse Orchester, Sinfonietta Baden, as well as at Festivals like Zeitkunst Festival Berlin, Nobuko Imai Viola Space Festival Tokyo, Carinthian Summer Festival, Academie Lyrique Rochefort, and Chamber Music Festival Berlin.
Artists like Leif Segerstam, Daniel Klajner, Zsolt Hamar, Enrico Calesso, Johannes Wildner, Valentin Erben (Alban Berg Quartet), Alexandra Soumm, Sergey Malov, Matthias Schorn (Wiener Philharmoniker), Tomo Keller (LSO London), Emmanuel Tjeknavorian a.o. are playing Christoph’s music around the world.
Acclaimed symphonic debuts came off at venues such as the Großes Festspielhaus Salzburg, Wiener Musikverein, Wiener Konzerthaus, Kioi- and Hakuju Hall Tokyo, La Filature Mulhouse, Turku Concert Hall, Victoria Hall Geneva, Teatro Nacional S.Domingo, Mainfranken-Theater Würzburg etc.
The most important impuls for Ehrenfellner’s composing derives from György Kurtág. For many years Christoph inhaled the intensity, concentration, clarity and expression of the beloved Hungarian Master. In consequence of Kurtágs teaching the music of Bela Bartók is just as influential on Ehrenfellner as the music of Alban Berg and Gustav Mahler. Ehrenfellner’s composing is deeply rooted in the central European tradition, grounded on the early masters from Vienna: Mozart, Beethoven, Schubert. However, Christoph certainly draws great inspiration elsewhere, namely from the Russian masters Stravinsky, Prokofiev, Shostakovich. This might have to do with their non-ideological, powerful and true handling of tonality – a subject which really matters also for the music of Christoph Ehrenfellner.
Find out more about Christoph Ehrenfellner's works in detail here.