B I O G R A P H Y

 

 

 

Born 5.6.1954 in Vienna. University of Music in Vienna, M.A. of arts in Composing (F.Cerha), Orchestra-Conducting (O.Suitner), an Musical Pedagogics.

1979 - 1981 appointed teacher at the University of Music in Vienna. Since 1981 freelance composer.

1983 co-initiator of the Viennese Summer Seminars for modern music.

Soyka got many awards for his compositions. He wrote operas, concertos for piano and orchestra, for violin, for two violins, for viola, for flute, for saxophone, for violoncello, for percussion, for organ; ballet music, choral and chamber music, songs e.g. - most of them were performed and broadcasted in several European countries, Australia, Azerbaijan, Japan, Cuba, e.g. Numerous ordered compositions he wrote for music-organisers and festivals in Azerbaijan (Baku Arts-Centre), Klagenfurt and Amstetten (stages), Vienna, Göppingen (municipals), Genova (Italy), Györ (Hungary), Salzburg, Sofia (Bulgaria), Vilnius (Lithuania) , for radio, for records, TV e.g.

Works written by Ulf-Diether Soyka are registered at the Austrian Music Information Centre (www.mica.at). Some of them were published (Noetzel-Musiverlag, KKM-records, Traunmusik, Wiener Waldhornverlag e.g.).

Review:

"Beautiful new music" (Die Furche, Vienna 1986 about Soykas Organ-Concerto).

"It is music, which, last but not least, has been written for the audience, but not in the sense of cheap concession or catching popularity, but out of artistical necessity of the possibility of communication ... Schönbergs (so far not verified) prognosis children would once whistle dodecaphone melodies in the streets, could come true in this case.

Soykas music relies on dodecaphony, but not on the dogmatical ´serielle` one, but on an expanded twelve-tone method, which is determined by melodical and rhythmic ideas and emotion. This emotional component causes a spontaneous understanding with the audience even if it may not be able to discern the structures an details dependent on ´ratio`. His music is diversified, melodious, tuneful, rhythmically vivacious and full of strength" (Werner Pelinka 187 in the cultural magazine MORGEN).

"The sonata for violin and piano, partly demanding much virtuosity, reaches back to tonal, often trivial models, alienating them in a parodistical way, using polytonality as well as single elements of the avant-garde" (Heinz Kratochwil at: Österreichische Musikzeitschrift 1987).

"Fascinating ballet event received with cheers: The Idol with very danceable and worth hearing music by Ulf-Diether Soyka". (Kärntner Tageszeitung about "Das Idol", Stadttheater Klagenfurt 1990).

"The way he manages to make action sound and to undermine the ludicrous libretto with his music shows a clever practitioner of the stage who knows how to handle an orchestra". (Kleine Zeitung about "Das Idol", Stadttheater Klagenfurt 1990).

 

 

 

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