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Luna Alcalay

Photo: Gyongyi Borsanyiova Luna Alcalay portrait
Apostroph (violin solo)
Apostrophen (violoncello solo)
Gyroskop (viola solo)
relatif à la sonorité (string trio)
Touches (two pianos)
conversations à trois (woodwind trio)
L'intérieur des pensées (string quartet)
Applications (for sixteen strings)
Pas de deux (two clarinets)
Trio (alto saxophone, drums, double bass)
Syntax (percussion)
En circuit · Der alte Friedhof in Prag (mezzo soprano and ensemble)
Bagatellen (piano solo)
Transparenzen (piano trio)
Sentenzen (violin concerto)
Quasi una Fantasia
(violin and piano)
Touches
(piano concerto)
Der übergangene Mensch
(Music drama)
A Game for Two (percussion (2 players))
Due sentenze (mezzo-soprano, oboe d'amore, piano)
3 poems (marimba)
En passant (Flute solo)
Splitterungen (Flute, clarinet, viola, violoncello)
Escapade (Flute, oboe, clarinet, horn, bassoon)
Un sogno a tre (Flute, viola, harp)


Luna Alcalay was one of Austria's leading composers. She was born in Zagreb in 1928; she studied the piano (with Bruno Seidlhofer) and composition (with Alfred Uhl) at the Vienna Academy of Music and was granted a scholarship to Rome at the end of her studies (1958). After her return to Vienna she primarily worked as a teacher and was soon called to the University of Music and Arts in Vienna.

As a composer. Luna Alcalay very early established contacts to the international avantgarde, visited the Darmstadt holiday music courses and was stimulated in many respects by Bruno Maderna. She had early international success and received a large number of composition prizes - Darmstadt 1963 and 1964, Gaudeamus- competition 1967, Berlin 1972, International ISCM-competition Italy 1973, ORF Steiermark 1973 - and "Preis der Stadt Wien" 1992. Luna Alcalay was dealing with multi-media work since 1975; and also in this field she counted among the internationally most renowned Austrian composer personalities.

Luna Alcalay is the first woman composer to have had a documentation of her work in the Austrian National Library (September 2000), where 'relatif a la sonorite' and 'pas de deux' were performed for the first time.

She described her approach to music, tradition and her work methods, as nonconformist.

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