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CV AV Für Wikipedia (FV) 1 Anton Voigt Ist Ein CV AV für wikipedia (FV) 1 Anton Voigt ist ein österreichischer Pianist und Musikwissenschaftler (geb. 1947). Ausbildung Nach erstem Musikunterricht durch den Vater (Violine) erhielt Anton Voigt eine umfassende musikalische Ausbildung in den Fächern Klavier, Orgel, Komposition, Dirigieren und Schulmusik am Innsbrucker Konservatorium. Prägend war die Begegnung mit der amerikanischen Pianistin Margot Pinter, mit der er von 1974 bis zu ihrem Tod 1982 verheiratet war. Privatunterricht in Paris bei Yvonne Lefebure, der ehemaligen Assistentin Alfred Cortots, und Meisterkurse bei Lefebure und Wilhelm Kempff dienten der Vorbereitung auf eine Pianistenlaufbahn. Musikwissenschaftliche Studien in Salzburg und Wien, vor allem bei Gernot Gruber und Walter Pass, ergänzten und erweiterten sein musikalisches Denken. Konzerttätigkeit Als Pianist debütierte Anton Voigt im Rahmen der Innsbrucker Jugendkulturwoche 1968 mit einer Aufführung des Ludus tonalis von Paul Hindemith, was ihm ein Stipendium für die Darmstädter Ferienkurse für Neue Musik vermittelte. Der Neuen Musik blieb der Pianist in den Folgejahren in seiner Konzerttätigkeit mit Debüts in Wien (Brahmssaal), London (Wigmore Hall) und Warschau (alle 1974) treu. Es folgten Auftritte beim Carinthischen Sommer, dem Klangbogen Wien, dem Cardiff Music Festival, dem Oxford Wellesz Centenary Festival, dem Manchester Piano Festival. Live-Mitschnitte und Studioproduktionen liegen beim ORF, bei der BBC Cardiff, dem BRT Brüssel, der SRG Zürich und Lausanne vor. Als Solist war Voigt unter anderen mit dem Spoleto Festival Orchestra, dem Bruckner Orchester Linz und dem Barockorchester L’arpa festante München tätig. Ein Repertoire-Schwerpunkt war und ist die Musik der Zweiten Wiener Schule (Erstaufführung der nachgelassenen Webern-Klavierstücke in mehreren europäischen Ländern) und des Umkreises (sämtliche Klavierkompositionen von Egon Wellesz an zwei Abenden, Hans Erich Apostel, Hanns Eisler). Ausgehend von musikwissenschaftlichen Studien über Mozart beschäftigte sich Anton Voigt ab Mitte der 1980er-Jahre mit Historischer Aufführungspraxis und ihrer Anwendung am historischen bzw. am modernen Hammerklavier. Lehrtätigkeit Von 1976 bis 2009 war Voigt als Professor für Klavier am Bruckner-Konservatorium des Landes Oberösterreich/Anton Bruckner Privatuniversität Linz tätig und hielt von 1979 bis 1991 die Einführungslehrveranstaltung zu Musik des 20. Jahrhunderts. Zwischen 1980 und 1984 gestaltete und moderierte er mehr als 100 Sendungen für den Österreichischen Rundfunk, Ö1, großteils zu Neuer Musik. Nach erfolgter Habilitation wurde er 2004 zum Universitätsprofessor für Klavier ernannt. Anton Voigt wurde und wird von zahlreichen in- und ausländischen Institutionen als Gutachter und Juror herangezogen (Habilitationskommissionen, Gutachter in Berufungsverfahren, Nationale und Internationale Klavierwettbewerbe). Seit 2009 ist er Lecturer im Postgraduate Master’s Program Music Management an der Donau- Universität Krems, seit 2015 unterrichtet er im Rahmen des Pre-College an der Universität Mozarteum Salzburg. Hochschulmanagement und Organisation Als Präsidiumsmitglied hatte Voigt Anteil an der Akkreditierung des Bruckner-Konservatoriums als Anton Bruckner Privatuniversität. 1997 bis 2006 war er Dekan der Künstlerischen Studien, 2006/07 Kommissarischer Rektor. Anton Voigt war Konzertkurator der Serie beiSPIELsweise im Brucknerhaus Linz und initiierte (1999) bzw. leitet die Serie Sonntagsmusik im Salon im Oberösterreichischen Landesmuseum, in der junge oberösterreichische Talente neben international tätigen Künstlern zu hören sind. Der European Piano Teachers Association Österreich stand Anton Voigt von 2006 bis 2015 als Präsident vor. In dieser Zeit zeichnete er für die jährlich abgehaltenen Kongresse verantwortlich (z. B. Zwischen Behinderung und Hochbegabung. Mozarteum und Musikum Salzburg, 2010; Was meinst du eigentlich? Aspekte der Kommunikation zwischen Studierenden, Lehrenden, Werk und KomponistInnen. Kunstuniversität Graz, 2015). CV AV für wikipedia (FV) 2 Veröffentlichungen (Auswahl): notations 1985–2015. Texte zu Klavierdidaktik, Werkgeschichte und Interpretation. Hg. gem. mit Karin Wagner im Auftrag der European Piano Teachers Association Österreich. Wien: Universal Edition, 2015. Verweile doch! Du bist so schön! Betrachtungen über das Schöne in der Musik. In: Mythos Schönheit. Facetten des Schönen in Natur, Kunst und Gesellschaft. Ostfildern/Linz: Hatje Cantz, 2015, S. 219–226. Competitions: Opportunity or Lion’s Den? In: Piano Journal. The European Journal for Pianists and Piano Teachers. Vol. 33, No. 103 2014, p. 23–25. Vom Anfangen. In: Aller Anfang ist... Hg. von European Piano Teachers Association Sektion der Bundesrepublik Deutschland. Düsseldorf: Staccato-Verlag, 2015, S. 94–101. Paul Hindemith: Ludus tonalis bzw. Ludi leonum. In: Aufbruch in die Moderne. Hg. von European Piano Teachers Association Sektion der Bundesrepublik Deutschland. Düsseldorf: Staccato- Verlag, 2013, S. 57–64. What Does „Motion in Music“ Stand For? In: Piano Journal. The European Journal for Pianists and Piano Teachers. Vol. 32, No. 100 2013, p. 11–15. „Wem Kummer nur bestimmt, der kann nur weinen.“ Der Neapolitanische Sextakkord in der Klaviermusik des 18. und 19. Jahrhunderts. In: Zuhause sein im Tonsystem. Hg. von European Piano Teachers Association Sektion der Bundesrepublik Deutschland. Düsseldorf: Staccato- Verlag, 2011, S. 113–120. „Eure Rede aber sei: Ja, ja, nein, nein.“ Kunst und Gewissen in Zeiten der Bedrohung. In: Klänge der Macht. Nationalsozialistische Musikpolitik in Oberösterreich. Linz 2010, S. 97–104. Nicht Richter, sondern Helfer. Die Pianistin Margot Pinter als Cultural Officer der amerikanischen Militärverwaltung. Zur „Entnazifizierung von Musik“. In: „Kulturhauptstadt des Führers“. Kunst und Nationalsozialismus in Linz und Oberösterreich. Ein Projekt der oberösterreichischen Landesmuseen in Kooperation mit LINZ 2009 KULTURHAUPTSTADT EUROPAS. S. 261–268. Kein ‚Hof’ und doch bedeutsam. Linz als Nebenstation im Leben Mozarts. In: Mozart. Experiment Aufklärung im Wien des ausgehenden 18. Jahrhunderts. Essayband zur Mozart-Ausstellung. Wien: Hatje Cantz, 2006, S. 551–558. „Contra E“. Anmerkungen zu einem nicht verwendeten Ton in Beethovens Klaviersonate op. 109. In: Querstand I. Beiträge zu Kunst und Kultur. Linz: ConBrio, 2005, S. 177–186. „If only the grown-ups would not have so many prejudices...“ Children’s Pieces by Anton Webern. In: Piano Journal. The European Journal for Pianists and Piano Teachers. Vol. 25, No. 78 Winter 2005, p. 11–17. Deutsche Version als Die Musik eines Verrückten? Gedanken zur Interpretation von Weberns Klaviermusik am Beispiel des „Kinderstücks“. In: Üben&Musizieren. Zeitschrift für Instrumentalpädagogik und musikalisches Lernen. Heft 5, Oktober/November 2007, S. 34–37. „Luft von anderem Planeten“. Schönbergs Drei Klavierstücke op. 11. In: EPTA Österreich. Dokumentation 1998–2001, S. 117–125. Englisch als: Transcription Comes of Age. When Bach- Busoni became Schoenberg-Busoni. In: Piano Journal. The European Journal for Pianists and Piano Teachers. Vol. 24, No. 70 Spring 2003, Issue 70, pp. 14–17. Mozart in Linz und Musik und Theater in Linz zur Zeit Mozarts Mozart in Linz. In: Mozart in Linz. Katalog zur Ausstellung im Schloßmuseum Linz, 1991, S. 11–16 und 25–38. Biographien eines Zeitgenossen: Franz Xaver Glöggl über beide Mozart und Franz Xaver Süßmayr. In: Die Klangwelt Mozarts. Katalog zur Ausstellung im Kunsthistorischen Museum Wien, 1991, S. 149–157. Mozarts „Forte piano pedale“. In: Jahresbericht des Bruckner-Konservatoriums Linz 1988/89. Kopf auf der Spitze des Messers. Gedichte von René Char – vertont von Pierre Boulez. In: Lesezirkel. Literaturmagazin N. 34, 5. Jahrgang, 1988. Zur Konzertpraxis mit Skrjabins Werken aus der Sicht des Interpreten (Pianisten). Gemeinsam mit Margot Pinter. In: Alexander Skrjabin. Hrsg. von Otto Kolleritsch. Graz 1980 (= Studien zur Wertungsforschung, Band 13), S. 155–161. .
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