Martin Haselböck - NOSPR
Martin Haselböck Conductor
The Austrian organist and conductor Martin Haselboeck is regarded as one of today's most important artists working in the world of historical performance. Born into a musical Viennese family, he pursued studies in Vienna and Paris. After winning several international competitions, he gained an early reputation as an organ soloist, working with conductors such as Claudio Abbado, Lorin Maazel, Wolfgang Sawallisch, Riccardo Muti and many others.
Several leading contemporary composers such as Ernst Krenek, Alfred Schnittke, Cristobal Halffter and Amy Gilbert have written works for Martin Haselboeck or have dedicated compositions to him. His solo discography of over 50 recordings includes his acclaimed set of the complete works for organ by Franz Liszt, which has received many awards including the Deutscher Schallplattenpreis, Diapason d'Or and the Hungarian Liszt Prize. Martin Haselboeck regularly sits as a jury member for major international organ competitions. He also has frequently been a consultant on numerous concert organ installations and restorations, including the construction of the new organ in the Golden Hall of the Vienna Musikverein, inaugurated in March 2011.
Martin Haselboeck's intensive involvement in the classical church music repertoire in his role as Vienna Court Organist As Vienna Court Organist inspired him to establish the period-instrument Orchester Wiener Akademie in 1985. In addition to giving a yearly concert series in the Vienna Musikverein and in the Liszt Festival Raiding, he and his period-instrument orchestra appear regularly as guests and artists- in-residence in concert halls and opera productions around the world.
Over 60 recordings of repertoire from Bach to contemporary composers have been released by Orchester Wiener Akademie under his direction, most recently a set of Liszt's complete works for orchestra performed on period instruments. Entitled The Sound of Weimar, the series has received the highest praise from the international music press. It has been awarded several prizes including the Jun- Tokusen-Award and, two years in succession, the International Franz Liszt Grand Prix du Disque.
Martin Haselboeck is in demand as a guest conductor of leading international orchestras, appearing with the Vienna Symphony, Leipzig Gewandhaus Orchestra, Deutsche Symphonie-Orchester Berlin, Berlin Konzerthaus Orchestra, Weimar Staatskapelle, Dresden Philharmonic, Giuseppe Verdi Orchestra Milan, The National Philharmonic Orchestras of Spain, Hungary, Czech Republic, Estonia, Slovakia and Slovenia, the National Orchestra of Lyon, Royal Philharmonic Orchestra of Flanders, Mariinsky Orchestra and many others.
His engagements outside of Europe include conducting appearances with the Los Angeles Philharmonic, the Philadelphia Orchestra, the Pittsburgh Symphony Orchestra, Washington National Philharmonic, San Francisco Symphony, Detroit Symphony Orchestra, Toronto and Vancouver Symphonies, the Los Angeles
and Saint Paul Chamber Orchestras as well as the Malaysian Philharmonic Orchestra and the Sydney Symphony Orchestra.
Since 2004, Martin Haselboeck has been the Chief Conductor of the Musica Angelica Baroque Orchestra Los Angeles, with whom he appears regularly in California and abroad.
Martin Haselboeck first studied composition with Michael Radulescu and later with Anton Heiller and Friedrich Cerha. He has composed numerous works for sacred music festivals, and chamber and text- based works in collaboration with Frederike Mayröcker and Ernst Jandl.
Martin Haselboeck was chief editor of the Universal Organ Edition from 1978 to 2000. The series, which he supervised together with Thomas Dajiel Schlee, produced 85 titles and has become one of the most important editions of printed organ music in recent times. Haselboeck's contributions include the first editions of the complete works for organ by Franz Liszt and W.A. Mozart, and the large-scale anthology 'Organ Music of the Viennese Court Organists'. He also authored the book 'Franz Liszt and the Organ', which was published in 1998.
