Bernhard Lang

Bernhard Lang (2007)

Bernhard Lang (born 24 February 1957 Linz, Austria) is an Austrian composer, improviser and programmer of musical patches and applications. His work can be described as contemporary classical, with roots, however, in various genres such as 20th-century avant-garde, European classical music, jazz, free jazz, rock, punk, techno, EDM, electronica, electronic music, and computer-generated music. His works range from solo pieces and chamber music to large ensemble pieces and works for orchestra and musical theatre. Besides music for concert halls, Lang designs sound and music for theatre, dance, film and sound installations.

Bernhard Lang came to prominence with his work cycle Differenz/Wiederholung (DW, Difference/Repetition), composed since 1998, in which he illuminated and examined the themes of reproductive and DJ cultures based on the philosophic work of Gilles Deleuze. Sociocultural and socially critical questions, as in Das Theater der Wiederholungen/The Theatre of Repetitions (2003) are examined as closely as intrinsically musical and music-cultural problems ("I hate Mozart", 2006).

Another focus is the "recycling" of historic music, which Lang performs using self-programmed patches, applying filter and mutation processes (as in the "Monadologie" cycle).

In the works of Lang's Game series, the performers are given a set of predetermined rules by which they must guide their decisions and interactions. In other words, these works are based on the principles of controlled improvisation or determined indeterminacy.

In addition to classical European instruments, Lang also makes use of their amplified electrical counterparts (e.g. electric viola) as well as mutually microtonally de-tuned ensemble groups. Analogue and digital synthesizers, keyboards, rock music instruments (electric guitar and bass, drumset), turntables (the trailblazing instrument of the hiphop culture), rappers, Arabian singers, the spoken voice and live-electronics (mainly the self-programmed "Loop Generator") are similarly used.

Education and career

Bernhard Lang studied at the Brucknerkonservatorium in Linz (Austria). In 1975, he moved to Graz to study philosophy and German philology, jazz (Dieter Glawischnig), piano (Harald Neuwirth), counterpoint (Hermann Markus Pressl), and harmony and composition (Andrzej Dobrowolski). From 1977 to 1981, he worked with various jazz ensembles as composer, arranger and pianist. At the Institute of Electronic Music (IEM) in Graz, he began his work in the area of electronic music and computer-based composition systems. From 1984 to 1989, he worked at the Conservatory in Graz while continuing his studies with Georg Friedrich Haas and Gösta Neuwirth. In 1987, he co-founded the composer's club "die andere saite" (roughly "the alternate string", a German-language pun referring also to "the other side"). Together with Winfried Ritsch, he developed the software CADMUS in C++.

In 1989, he began teaching at the Graz University of the Arts, where he was appointed Professor of Composition in 2003, a post which he held until his retirement in 2022.

Since 2000, Lang has given numerous lectures in Europe and abroad, including at the Darmstadt Summer Course, Ostrava Days, Impuls Graz, Berlin’s University of the Arts, Vienna’s University of Music and Performing Arts and the Vienna Conservatory, as well as holding guest lectureships in, among other cities, Munich, Zurich, Basle, Oslo, Madrid, London, New York and Paris.

Lang has collobarated with dancers and choreographers such as Xavier Le Roy, Willi Dorner, Christine Gaigg and Silke Grabinger.

In 2004–2005 Lang had a scholarship at the International Artists' House Villa Concordia in Bamberg, and in 2006 he was a central composer at Wien Modern. This was followed by a working residency in 2007 at the Künstleratelier Thomas Bernhard Archiv in Gmunden. In 2007-2008 he was composer in residence at the Theater Basel, in 2008-2009 Capell-Compositeur of the Sächsische Staatskapelle Dresden and in 2013–14 guest lecturer for composition in Lucerne.

Bernhard Lang is an honorary member of Klangforum Wien and has been a member of the Akademie der Künste Berlin since 2014. According to an evaluation initiated in 2017 by the Italian music magazine "Classic Voice" by more than 100 experts in contemporary music, Lang is one of the ten most important living composers.

Lang's works have been released on numerous CDs and LPs, most notably on Kairos and GODrec.

Since 2016, Bernhard Lang’s entire catalogue of works are published by Ricordi Berlin.

The Differenz/Wiederholung (DW) series

Gilles Deleuze's book Difference and Repetition marks a turning point in Lang's compositional language. The Differenz/Wiederholung (DW, Difference/Repetition) series began in 1998 and currently comprises about 40 works.

Lang uses DJ techniques like loops and scratching in his music, he uses repetitions in different ways: Sections that are repeated in the same form or motifs whose shape changes slightly with each repetition; automatic repetitions result from this procedure, as do continuous developments or abrupt changes. Just as important as the repetition is the difference; the question arises whether one is now hearing the same or whether something has changed after all. It is not only about the actual reproduction, but also about the individual perception.

Music Theatre

Music theatre is a special passion of Bernhard Lang. There are currently about 20 works in this genre, among them:

Das Theater der Wiederholungen, based on the writings of the Marquis de Sade and William S. Burroughs and choreographed by Xavier Le Roy, was premiered at the festival Steirischer Herbst, Graz in 2003.

esc#5 Impostors, for five voices and amplified ensemble, is one of seven short operas based on a libretto by Jonathan Safran Foer. The premiere took place in 2005 at the Oper unter den Linden, Berlin.

I Hate Mozart, with a libretto by Michael Sturminger, was composed for the Viennese Mozart Year festival in 2006. It is a parody of the opera business, a behind-the-scenes look at the relationships between singers, opera conductors, managers and artists' agents.

Montezuma – Fallender Adler, based on a text by Christian Loidl, for 6 voices, choir, jazz combo, turntables, ensemble and pre-recorded electronic sounds, is a work commissioned by the Kulturhauptstadt Linz09, but was not performed in Linz. The premiere took place in June 2010 at the Nationaltheater Mannheim, with further performances in the following season.

Der Reigen, after a libretto by the Viennese writer-director Michael Sturminger and based on the play by Austrian dramatist Arthur Schnitzler, was commissioned by the German Schwetzingen Festival, where it had its premiere in 2014. Further performances followed in 2014 at the New Opera Days Ostrava and in 2019 at the Bregenzer Festspiele and at the Wien Modern Festival.

Der Golem, for voices, choir, large orchestra and jazz trio based on the novel by Gustav Meyrink and a video libretto by Peter Misotten, was premiered at the Nationaltheater Mannheim in 2016.

ParZeFool, based on Richard Wagner's Parsifal and staged by Jonathan Meese, was composed in 2017 and commissioned by the Vienna Festival, with performances at the Theater an der Wien and the Berlin Festival.

Der Hetzer, a re-writing of Giuseppe Verdi's Otello, had its world premiere at the Dortmund Theatre in 2021. In the intervals between the four acts local hip-hop artists, rappers and DJs comment on their own experiences with the opera's central themes.

Cheap Opera #2 "Playing Trump", a work commissioned by the Hamburg State Opera with a libretto by Dieter Sperl, based on original texts by the former US president, premiered in 2021.

The End of Creation. Anthropocene, premiered at the Staatstheater Augsburg in April 2022, is an overwriting of Haydn's Schöpfung. The original libretto is replaced by a new one written by André Bücker based on Lord Byron's Darkness and Jean Paul's Rede des Toten Christus vom Weltgebäude herab (Speech of the Dead Christ from the World Building). Lang's work is the last part of the full-length staged oratorio. The first two parts of Haydn's Schöpfung conform for the most part with the original, but the recitatives have been transformed by Dietmar Dath into scenes for actors. Lang composed the very different third part, which shows our planet when the human part of creation comes to an end. The work was also performed in the 2022/23 season.

HIOB, an opera for voices, choir, orchestra and jazz trio, based on Michael Sturminger's libretto after the novel Job by Joseph Roth, was premiered in February 2023 at the Stadttheater Klagenfurt to standing ovations.

The Monadologie series

The Monadologie series, beginning in 2007, consists of more than 40 works. Lang calls the concept "musical-cellular processing", derived from Leibniz's Monadology. Lang’s pieces are basically meta-compositions, i.e. machine reworkings of existing scores. With the use of a computer programme he developed, they are destroyed and reassembled with the help of cellular automata and granulators, similar to the experimental film techniques of the destructivist Raphael Montañez Ortiz.

Lang uses his own works as source material, but also compositions by, for example, Beethoven (Hammerklaviersonate, VII. Sinfonie), Richard Strauss (Don Quixote), Anton Bruckner (Linzer Sinfonie –Das kecke Beserl), Puccini (Butterfly Overture, Madame Butterfly's aria Im weiten Weltall fühlt sich der Yankee heimisch), Chopin (12 Études), Arnold Schönberg (II. Kammersinfonie) and Petr Kotik's (Many Many Women).

The GAME series

Lang has been composing pieces of the GAME series since 2016. The basis for this is experience of improvisation, e.g. with Uli Fussenegger, and with organised improvisation projects of Klangforum Wien, the Scan Projects. In the GAME pieces there is no longer a continuous score, but a collection of playing rules from which the musicians can make choices. Therefore, the pieces change with each performance.

The Hermetika series

The Hermetika series, begun in 2008, consists of choral pieces based on a collection of hermetic texts ranging from ancient mystical writings to quasi-dadaistic enigmatic codes. These can be inner voices, voices of angels and demons, happenings in trance or sleep states, the voices described in medivial grimoires. Language is transformed into sound or into imaginary meanings and signs through projection and individual interpretation.

The musical machinery of difference/repetition loops is used both for the analysis and evocation of sounds.

Festivals

Lang's works have been performed at numerous festivals, such as Moscow Alternativa Festival, Moscow Modern, resistance fluctuations Los Angeles 1998, Tage Absoluter Musik Allentsteig I und II, Klangarten, Herbstfestival Lissabon 1998, Steirischer Herbst Graz, Wien Modern, Münchner Opernfestspiele, Darmstädter Ferienkurse, Donaueschingen Festival, Salzburg Festival, Disturbances – Music Theater Workshop Copenhagen 2003, Moving Sounds Festival New York 2010, Wittener Tage für neue Kammermusik, Impuls Tanz Wien, MaerzMusik Berlin, Warsaw Autumn, Contempuls Prague, Eclat Stuttgart, Edinburgh International Festival, Suntory Hall Summer Festival Tokyo, ManiFeste Festival Paris, and Ostrava Days.

Awards and honors

• Music Prize, City of Graz 1986
• 1st Prize Alpe-Adria Composition Competition 1988
• Sponsorship "Musikprotokoll" Graz 1988
• Special Honour of the Federal Council of Science, Austria
• Andrej Dobrowolski Price Styria 2001
• Anton Bruckner Sponsorship Upper Austria 2001
• Sponsorship International Artist House Villa Concordia in Bamberg 2004/05
• Central Composer at Wien Modern (Vienna Modern)
• Capell-Compositeur of the "Sächsische Staatskapelle" Dresden 2008/09
• Music Prize City of Vienna 2008
• "Erste Bank" Composition Award 2009
• "Outstanding Artist Award" in the category of music (composition) from the Austrian Federal Ministry of Art and Culture 2014
• Austrian Art Prize for Music in 2019

Works (selection)

Lang's entire catalogue of works are published by Ricordi.

Stage works

• Dora (2021–2022). Music theatre based on a libretto by Frank Witzel
• Hiob (2017–2018). Opera after a libretto by Michael Sturminger, based on the novel Job by Joseph Roth, for voices, choir, orchestra and jazz trio. WP Stadttheater Klagenfurt 2023
• Cheap Opera #3 (2021) for 6 voices, bass clarinet, video and live electronics. WP Donaueschinger Musiktage 2022
• Cheap Opera #2 "Playing Trump" (2020). Libretto by Dieter Sperl, premiered at the Staatsoper Hamburg 2021
• The End of Creation (2020). Music theatre – transcription of Haydn's Schöpfung – based on texts by Lord Byron and Jean Paul in a libretto version by André Bücker. WP Staatstheater Augsburg 2022
• Der Hetzer (2019–2020). Music theatre based on Verdi's Otello for voices, large orchestra and choir, with 4 rap interventions. WP Theater Dortmund 2021
• Cheap Opera #1 "Répétitions" (2019). Libretto based on texts by European right-wing politicians 1926–2018. WP Berlin 2019
• ParZeFool. Der Tumbe Thor (2015–2016). Music theatre for voices, choir, ensemble and 2 jazz musicians based on Richard Wagner's Parsifal. Premiere at the Wiener Festwochen 2017
• Der Golem (2014) after Gustav Meyrink. Music theatre for large orchestra, choir and voices. WP Nationaltheater Mannheim 2016
• Der Reigen/Re:igen. Music theatre for voices and 23 instruments after a libretto by Michael Sturminger, based on Arthur Schnitzler's Reigen. WP Schwetzingen Festival 2014
• Monadologie XXIV "The Stoned Guest" (2013). Kurzoper for 3 voices, flute, clarinet, cello, accordion and percussion. UA Vienna 2013
• Montezuma – Fallender Adler. Music theatre based on a text by Christian Loidl for 6 voices, choir, jazz combo, turntables, ensemble and tape. Commissioned by European Capital of Culture Linz 2009, WP at the Nationaltheater Mannheim 2010
• Haydn bricht auf: Sieben Tage die die Welt verändern (2008–2009). Premiere by the Kabinetttheater at the Theater an der Wien 2009
• Der Alte vom Berge(2007). Music theatre for 6 voices and amplified ensemble. WP Schwetzinger Festspiele 2007
• Odio Mozart/I hate Mozart (2006). Music theatre in two acts, libretto Michael Sturminger. Wiener Mozartjahr 2006
• esc#5 Impostors (2005). Music theatre for 5 voices and amplified ensemble after a text by Jonathan Safran Foer. WP Deutsche Oper Berlin 2005
• Schachoper (2005), based on a concept by Zenita Komad. Premiere Kunsthalle Wien 2005
• Das Theater der Wiederholungen (2000–2002). Music theatre based on texts by Marquis de Sade, William S. Burroughs, trial records and testimonies of eyewitnesses. WP Styrian Autumn Festival Graz 2003
• Versuch über Drei Traumkongruenzen (1990) after a text by Günther Freitag for an actor, a female singer, a cellist and live electronics. WP Forum Stadtpark Graz 1990

Orchestra music

• Monadologie XXXIX for violin and orchestra (2018–2019). Commissioned by musica viva, WP Munich 2020
• Monadologie XXXVII "Loops for Leoš" for large orchestra (2017). WP Ostrava 2017
• Monadologie XXXIV "… for Ludvik" for orchestra and pianoforte (2016). WP Beethovenfest Bonn 2018
• DW 28 "Loops for Davis" for bass clarinet, sampler and orchestra (2016). WP Donaueschinger Musiktage 2017
• Monadologie XXV "10 Paintings" based on artworks by Lisa-Abbott-Canfield for large orchestra (2013)
• Monadologie XXIII "…For Stanley K." for large orchestra. Commissioned by the RSO for Wien Modern 2013
• Monadologie XIII "The Saucy Maid" for two orchestra groups in quarter-tone intervals, after Anton Bruckner's Linzer Sinfonie "Das kecke Beserl" (2011–2012). WP Donaueschinger Musiktage 2013
• Monadologie XIX "SacRemix… for Igor" for large orchestra (2012)
• Monadologie II: "A New Don Quichotte" (2008). Commissioned by Sächsische Staatskapelle Dresden
• Monadologie I for e-zither and large orchestra (2007). Commissioned by musica viva, WP Munich 2008
• DW 17 Doubles/Schatten II (2004) for e-viola, e-cello und surround orchestra. WP Donaueschinger Musiktage 2005
• DW 14 for saxophone, jazz trio and orchestra loops (2004). WP Konzerthaus Wien 2005
• DW 11.2 "orchestra loops #2" for orchestra (2003). WP Weimar 2005
• DW 8 for orchestra and two turntablists (2003). Commissioned by musica viva, WP Munich 2004
• DW 7 for large orchestra and loop generator (2002). WP Donaueschinger Musiktage 2002
• Hommage à Martin Arnold 2 for large orchestra (1996). WP Grazer Musikverein 1997
• Felder for string orchestra (1993–1994). WP Konzerthaus Wien 1994
• La Bas à S. for low orchestra, two solistic tenor saxes and solo viola (1993). WP Graz 1993
• Kohelet for choir, orchestra and soloists (1987). WP Belgrade 1988

Other works

• DW26 "The Exhausted" for voice and ensemble, based on texts by Beckett und Deleuze [40'], commissioned by Ensemble SoundInitiative Paris and 2015 Bendigo International Festival of Exploratory Music (2014)
• DW23b "Loops for Dr. X" for clarinet, electric flute, cello and pickup, electric guitar, keyboard and laptop, double bass [25'] (2014)
• DW25 "..more Loops for U." for double bass solo [15'] (2014)
• Monadologie XXIX "London in the Rain" for flute, recorder, harp and cembalo [17'] (2014)
• Monadologie XXVIII "Seven" for flute, violin, cello, keyboard and piano, adaption of Beethoven VIIth Sinfony [24'] (2013)
• Songbook 3 for soprano voice and piano, based on texts of "West-Östlicher Divan" [20'] (2013)
• DW24 "Loops for Al Jourgensen" [24'] (2013)
• DW23 "Loops for Doctor X" for clarinet, violin and pickup, cello and pickup, electric guitar, keyboard and laptop (2013)
• Songbook 2 for bariton voice and piano, based on texts by Dieter Sperl and Christian Loidl [18'] (2013)
• Monadologie XXVII "Brahms-Variationen" for clarinet, violoncello and piano (2013)
• Monadologie XXVI "...for Pauline and Conrad" for two violins detuned in quarter tones, based on materials by Paganini and Bach [18'] (2013)
• Monadologie XXIV "The Stoned Guest", chort opera for 3 voices, flute, clarinet, cello, akkordeon and percussion [15'], commissioned by IGNM (2013)
• Epilog 2 for soprano voice, clarinet, violin, viola, double bass, akkordeon and laptop [8'], nach Texten von P. Levi (2013)
• Monadologie XXII "SolEtude for Re" by PurcelLang für countertenor solo
• Monadologie XXI "...for Franz II" for flute, violoncello and quarter tone akkordeon (based on Schubert op.99) [15'] (2012)
• Monadologie XX "...for Franz I" for piano trio (based on Schubert op.100) [20'] (2012)
• Monadologie XVIII "Moving Architecture" for voice, fl, cl, hrn, tp, synth, perc, 1-1-1-1 and choreography by plans of ACF (by R. Abraham) and texts by B. Dylan and Rose Ausländer (U.A. NYC 2012) [55'] (2011/12)
• Monadologie XVII "SheWAsOne" for fl, cl, ob, bsn, hrn, tp, synth, perc, 4-1-1-1 (10') (2011)
• Hermetica V "Fremde Sprachen" for bass clarinet and 7 voices [30'] (U.A. 2013, Stuttgarter Vocalsolisten) (2011)
• Hermetica IV "O Dolorosa Gioia" for double quire and two organs mutually quarter tone detuned [30'] U.A. Heidelberg 2012 (2011)
• Schrift 5 für Stimme Solo [10'], based on texts by Christian Loidl (2011)
• Monadologie XVI "Solfeggio" for flute solo [5'] (2011)
• Monadologie XV "Druck" for 4 saxophones, 2 pianos and 2 percussionists [40'], U.A. Wittenner Tage für Neue Kammermusik 2013 (2011)
• Conference for the same titled film by Norbert Pfaffenbichler (2011)
• Monadologie XIVa "Puccini-Variationen: Butterfly-Overtüre" [9'], commissioned by Ostrava Center for New Music (2011)
• Monadologie XIVb "Puccini-Variationen: Im weiten Weltall fühlt sich der Yankee heimisch" [15'], commissioned by Nieuw Ensemble Amsterdam (2011)
• Monadologie XII for tp, sax, clar, akkordeon, piano, contrabass + 2 perc [40'] (2010–11)
• Monadologie XI "for Anton" (by Webern's II.Kammersinfonie), commissioned by MusikFabrik Köln [30'] (2010)
• DW22 "Winterlicht" for bass flute and contrabass,commissioned by Riccarda Caflisch [25'] (2010)
• TablesAreTurned for turntables and amplified ensemble by a song of Amon Düül2 [60'] (2010)
• DW21 "..and we just keep on pretending.." for flute and percussion [20'] (2010)
• Hermetica III for mixed choir [7'] (2010)
• Maschinenhalle#1 for 12 sounding disks, player pianos und 12 dancer [60']
• Standards-Project Preview: "My Funny V" for bass clarinet and tape, commissioned by WDR [8'] (2010)
• Monadologie X "alla turca" für player piano, commissioned by SWR [5'30"] (2010)
• Monadologie IX, III. Streichquartett, für Arditti String Quartet, commissioned by Donaueschingen, [60'] (2010)
• Monadologie VIII: Robotika II for Big Band, commissioned by HR [24'] (2009)
• Monadologie VII "Kammersinfonie" für Kammerorchester commissioned by Klangforum Wien [30'] (2009)
• Monadologie VI IN NOMINE for flute, clarinet, string trio and percussion, commissioned by ensemble recherche [5'] (2008)
• Monadologie V "Seven Last Words of Hasan" for piano solo [30'] (2008–09)
• Monadologie IV for 3 percussionists, U.A. Dresden 2009 [15'] (2008)
• Die Gläserne Kapelle interactive soundinstallation in the "Gläserne Manufaktur" for the "Saechsische Staatskapelle Dresden"'s 460th birthday
• Monadologie III "Lamentatio/Metamorphosis" for sring orchestra, commissioned by Sächsischen Staatskapelle Dresden and the Münchner Kammerorchesters [22'] (2008)
• Playhouse sound installation for 8-channels for an installation by Norbert Pfaffenbichler (2008)
• DW20 (Differenz/Wiederholung 20)"con complicatione": Hermetica I for boy's choir[5'] (2008)
• DW20 (Differenz/Wiederholung 20)"facile": Hermetica I for boy's choir [5'] (2008)
• DW4d for viola, trombone, piano and loopgenerator, commissioned by Ensemble Mosaik, Berlin (2007)
• Paranoia for 2 rappers, tape and CD, commissioned by Donaueschingen (2007)
• Die Sterne des Hungers based on texts by Christine Lavant, U.A. Kunstfest Weimar 2007 (2007)
• Mosaik Mécanique music installation for Norbert Paffenbichler's film (2007)
• * DW6c for electric guitar and electric bass guitar, drums, and loop generator, commissioned by Wien Modern (2006)
• a1b2c3 music for a video by Pfaffenbichler and Schreiber
• Schwarze Bänder.Hartmann-Studien sound installation for Musica Viva München 2005 (2005)
• The scythe remix of a music by Christoph Dientz [7'] (2004)
• DW16 Songbook I for voice, saxophone, keyboards and percussion based on texts by Bob Dylan, Peter Hammill, Amon Düül2, Dieter Sperl und Robert Creeley [ca 35']U.A. Witten 2005 (2004)
• OP. 6.1 for electronics, U.A. Mittersill 2004 [13'] (2004)
• TRIKE summer dance performance Christine Gaigg Wien, ImPulsTanz (2004 )
• RETRO room installation for Wagner-Loops and one dancer(2004)
• I speak in riddles sound installation based on a text by Nora Gomringer, Bamberg, Villa Concordia Passage (2004)
• DW15 "Songs/Preludes" for zither and mezzo-soprano [26'] (2003)
• DW13b für sheng, viola, flute and loop-generator [21'] (2003)
• DW13 "the lotos pond" for 2 ensembles [22'] (2003)
• DW12 "cellular automata" for piano solo, U.A. Stuttgart 2005 [28'] (2003)
• DW9 "Puppe/Tulpe" for voice and 8 instruments based on texts by P. C. Loidl UA Wittenner Tage für Neue Kammermusik 2003 [26'] (2003)
• DW10b for koto, voice and loop-generator, U.A. Klangspuren Schwaz 2002 [16'] (2002)
• DW10a for koto, voice and loop-generator, U.A. Schwaz 2002 [16'] (2002)
• loops from the 4th district for contrabass and tape (2002)
• Differenz/Wiederholung 1.2 for flute, tenor saxand piano, U.A. Freiburg 2002 [23'] (2002)
• Roman Haubenstock-Ramati: Morendo adaption for electric bass flute and tape, U.A. New York 2002 [10'] (2002)
• DW6a for electric viola and electric violin and loop generator, U.A. New York 2002 [17'] (2002)
• Epilog für Stimme und Akkordeon nach Texten von Primo Levi
• Differenz/Wiederholung 6b "letter code#2" for electric guitar and loop-generator, U.A. Bremen 2001 [30'] (2001)
• Das Theater der Wiederholungen, musical theater, U.A. Graz 2003 [110'] (2000–02)
• Differenz/Wiederholung 5 for 14 instruments and tape [14'] (2000)
• Differenz/Wiederholung 4.1 "letter code#1" for trombone, electric viola and piano [20'] (2000)
• Differenz/Wiederholung 3 for flute, violoncello and akkordeon [24'] (2000)
• Differenz/Wiederholung 2 for amplified chamber ensemble and 3 voices, premiered Musikprotokoll Graz 1999 [49'] (1999)
• Differenz/Wiederholung 1 for flute, violoncello and piano [25'] (1998)
• Schrift 1.2 for flute solo(amanded version of "Schrift 1") [11'] (1998)
• Schrift/Fragment 4 for trumpet, horn and trombone, premiered Cagliari [2'] (1998)
• Schrift/Bild/Schrift for flute, oboe, clarinet, violin, viola, cello, piano, percussion and live amplification, U.A. Bludenz [23'] (1998)
• Schrift 3 for akkordeon solo [12'] (1997)
• 60 FOR G. for saxophone quartet, U.A. Berlin 1997 [60"] (1997)
• Hommage à Martin Arnold 1 for tape, U.A. Allentsteig [10'] (1996)
• Schrift 2 for violoncello solo, U.A. Bludenz 1997 [14'] (1996)
• Schrift 1 for flute solo, UA Bratislava 1997 [10'] (1996)
• Versuch über das Vergessen 2 for violin, electric guitar and live-electronics, U.A. Musikprotokoll Graz 1995 [34'] (1995)
• Icht II for voice, tape and live-electronics, U.A. Offenes Kulturhaus Linz "Das Innere Ohr" 1995 [22'] (1995)
• Icht I for mezzo-soprano and eight instruments, U.A. Hannover 1997 [22'] (1994)
• Rondell-Remise for mobile chamber ensemble, mezzo-soprano and viola, U.A. Intro-Spektion Graz 1993 [20'] (1993)
• Küstenlinien for two pianos and double percussion, U.A. Thallin 1992 [16'] (1992)
• Brüche for clarinet, string quartet and prepared piano, U.A. Lange Nacht der Neuen Klänge, Konzerthaus Wien 1992 [21'] (1992)
• Quartett for flute solo, U.A. Alternativa Moskau 1991 [21'] (1991)
• 2.Streichquartett "Kleine Welten", U.A. Musikprotokoll Graz 1991/Arditti Quartett [26'] (1991)
• Sonett 2 for mixed choir [5'] (1990)
• Sonett 1 for mixed choir [5'] (1990)
• Modern Monsters: 12 kleine Stücke für Violoncello und Klavier, U.A. Open Music, Graz 1991 [12'] (1990)
• Zwischen Morgen und Mitternacht for piano and string quartet, U.A. Die Andere Saite, Graz 1990 [17'] (1989)
• Radiophones Synchronizitätsexperiment 23 Montagen à 1', U.A. Kunstradio 1989 [23'] (1989)
• Niemandsland music for film [7'] (1989)
• Mozart 1789 for actress and nine tape recorders, premiere styriarte Graz 1989 [21'] (1989)
• Relief for flute, viola and harp, U.A. Die Andere Saite, Graz 1989 [14'] (1988)
• Stele for 2 quarter tone detuned pianos, U.A. Musikprotokoll Graz 1988 [12'] (1988)
• Hexagrammatikon for six computer controlled synthesizers, U.A. Allentsteig 1988 [60'] (1988)
• Romanze for piano, U.A. Klangzeichen 1992 [6'] (1988)
• Deformazioni della Notte Concert for recorders, string orchestra and percussion, U.A. Komponistenportrait Graz 1987 [16'] (1986)
• Zeitmasken for string quartet, U.A. Die Andere Saite 1987 [24'] (1986)
• V for 64 analogue generators, U.A. Tage Absoluter Musik Allentsteig 1989 [9'] (1985)
• Necronomicon for clarinet, violin, violoncello and piano, U.A. Die Andere Saite, Graz 1986 [7'] (1985)
• Neue Tänze for violin and piano, U.A. Die Andere Saite, Graz 1987 [10'] (1985)

Further reading

• Dysers, Christine (2023). Bernhard Lang. Critical Guides to Contemporary Composers. Bristol, UK / Chicago, USA: Intellect, The University of Chicago Press. ISBN 978-1-78938-763-6.
• Sarvenaz, Safari (2020). An der Schnittstelle von Mensch und Maschine. Das Theater der Wiederholungen von Bernhard Lang. Schriften (in German). Vol. 17. Leipzig: Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy". ISBN 978-3-487-15923-2.

External links

• Official site
• "Bernhard Lang (biography, works, resources)" (in French and English). IRCAM.
• The online music review La Folia offers an article on Lang's music
• Publisher's Website: Ricordi