Peter Havlicek | |
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| Background information | |
| Born | 17 April 1963 |
| Origin | Vienna, Austria |
| Genres | Jazz |
| Occupation(s) | Instrumentalist, singer, composer |
| Instrument(s) | Guitar, vocals, kontragitarre |
| Website | peterhavlicek |
Peter Havlicek (born 17 April 1963 in Vienna) is an Austrian musician - Kontragitarre (viennese harp-guitar), jazz guitar, composition, vocals.
Havlicek studied classical and jazz guitar with Harry Pepl at the University of Music and Dramatic Arts Graz. He obtained the diploma for artistic jazz guitar in 1991. During his studies he founded the duo Steinberg and Havlicek together with the singer Traude Holzer. Havlicek also participated in founding the Quartett Neue Wiener Concert Schrammeln in 1994 and the group Des Ano in 2000.
Peter Havlicek is dedicated to the renewal of the Viennese music and its combination with classic and jazz since the beginning of his musical career.
Peter Havlicek appeared at the Burgtheater, the Volksoper, the Volkstheater and the Theater in der Josefstadt in Vienna, and with Robert Meyer, Karlheinz Hackl, André Heller, Michael Heltau, Karl Markovic, Wolfgang Böck, Hansi Lang, Ed Thigpen, Benny Bailey, Karl Hodina, Trude Mally, Karl Ferdinand Kratzl, Bodo Hell and many others.
assisted by: Neue Wiener Concert Schrammeln, Karl Hodina, Steinberg und Havlicek, zwiefoch +, Agnes Palmisano, Roland Sulzer, Agnes Heginger, Andreas Schreiber, Trio Stippich - Havlicek, Michael Schober, Paul Skrepek jr.
The Second Viennese School was the group of composers that comprised Arnold Schoenberg and his pupils, particularly Alban Berg and Anton Webern, and close associates in early 20th-century Vienna. Their music was initially characterized by late-Romantic expanded tonality and later, a totally chromatic expressionism without firm tonal centre, often referred to as atonality; and later still, Schoenberg's serial twelve-tone technique. Adorno said that the twelve-tone method, when it had evolved into maturity, was a "veritable message in a bottle", addressed to an unknown and uncertain future. Though this common development took place, it neither followed a common time-line nor a cooperative path. Likewise, it was not a direct result of Schoenberg's teaching—which, as his various published textbooks demonstrate, was highly traditional and conservative. Schoenberg's textbooks also reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example.
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