Thomas Daniel Schlee

1957

Born on 26 October in Vienna

1970-1976

Began to study organ with Friedrich Lessky

1976-1983

Studied at the Vienna Musikhochschule with Michael Radulescu (organ) and Erich Romanovsky (harmony and counterpoint)

1976-1984

Studied musicology and art history at Vienna University;
earning a PhD.

1977-1978

Audited Olivier Messiaen’s composition class at the Conservatoire National Supérieur de Musique, Paris;
Private pupil of Jean Langlais, Paris

1982-1985

Studied composition with Francis Burt, Vienna

1982

Young Artists Grant from City of Vienna
Prix du concours international de Saint-Rémy-de-Provence

1986-1989

Musical dramaturg, Salzburg Landestheater

1988-1990

Taught at Vienna Musikhochschule

1989-1990

Taught at Department of Musicology, Salzburg University

1990-1998

Artistic director of Bruckner Hall, Linz; artistic director of International Bruckner Festival

1990

Chevalier des Arts et Lettres

1995-2001

Project director of “La cité céleste”, an exhibition on Olivier Messiaen with concerts, symposia and a composition competition, sponsored by the Guardini Foundation, Berlin;

1998-2001

president of the Foundation; since then a member of its governing body and chairman of the board of musical advisors

1997

Joaquín Rodrigo Medal

1998

Cultural prize in music from state of Upper Austria

1999-2003

Deputy director of International Beethoven Festival, Bonn

2002

Church music prize from city of Neuss

2003

Grant-in-aid from the Austrian Federal Chancellery

seit 2004

Director of Carinthian Summer Festival

2005

Officier des Arts et Lettres

2010

Austrian cultural prize of music

Active career as a concert organist with recitals, broadcasts, festival appearances and CD recordings (Diapason d’Or, German Record Critics Prize, 10 de répertoire, etc.).

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“My music is a quest for the traces of beauty and expressivity that shimmer in combinations of notes. This is nothing new, but it is always a wonderful challenge. An aesthetic of denial is no less foreign to my way of thought than randomness in stylistic devices. Every composition has its destiny from which it derives its shape, its progression of harmonic colors, the nature of its melodic and formal fabric. The so-called ‘material’ is set in motion by the initial idea – the inspiration – after which it is subjected to its indwelling dynamism and outside control in mutual interaction. For the composer, this is the most exciting stage of his work. If the material is well-formed and the ear can function as the final arbiter over the succession of sounds, then there just might emerge that magic of an articulate art-form in which memory and imagination blend into a work of art.”

   Thomas Daniel Schlee, 1997

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Foto: Carinthischer Sommer