Gryllus Samu
Composer
Place of Birth
Budapest
Date of Birth
1976
Web
He started his music studies 1990 in the music department of a secondary school in Budapest. In 1991 he received his first invitation to write adapted music work, which was incidental music to a radio play for the Hungarian Radio. In 1993 he composed his first theater music to Sophocles’ Women of Trachis at the University of Theater and Film. Up to now he has composed incidental music to around 30 more performances.
Between 1994 and 2001 he was music director of the Laocoön Group. In 1996 he was accepted to the bass guitar department of the Jazz Department of the Liszt Ferenc Academy of Music, where he graduated in 2001. Between 1999 and 2004 he regularly attended the Bartók Seminar in Szombathely and the courses of Michael Jarrell, Marco Stroppa, Manuel Hidalgo, Martin Bresnik and Örjan Sandred.
Since 1999 he’s been member of the EAR Group as composer and bass guitarist. They have presented numerous new pieces together. In 2000 he took part in the ISMEAM (International Summer Meeting of Electro-Acoustic Music) in Sárvár, and the same year he pursued further studies at the composing department of the Universität für Musik und Darstellende Kunst in Vienna, where his master was Michael Jarrell. He also studied adapted music and media composing in the class of Klaus Peter Sattler. Besides, the master courses of George Aperghis and Péter Eötvös influenced him as well.
He composed soundtrack for the first time in 2001 to the movie „Hukkle” with Balázs Barna. The same year he taught music practice to actors in the studio of the Bárka Theater for a year. In 2002, as musician and composer he participated in the project called „New chansons - literary monuments with voice from the era of doubts” with 12 composers, 12 actors and 12 poets. As request of the Hungarian Radio he composed „In Southeast Asia” for four narrators, a flute quartet and a sampled gamelan orchestra with live electronics in 2002.
Next year he composed music to the two-act children’s musical play titled „A mihasznák” in the Zsigmond Móricz Theater of Nyíregyháza. The same year he attended the summer course of the Indian santur artist Nandkishohr Mulley in Berlin. In 2004 he took part in Daniel Ott’s course, the New-Music-Theater in frames of the Making New Waves Festival. His composition „A Kárhozat Kertje” (Garden of Damnation, 2004) was presented in the Trafó House of Contemporary Arts in Budapest.
The same year he composed and orchestrated Bea Palya’s album „Álom, álom, kitalálom - énekelt mese. In the second semester of 2005 he studied tentative music and theater from Daniel Ott at the composing department of the Universität des Künstes (Berlin) in frames of the Erasmus Programme.
His chamber opera was presented in the Sophiensaele of Berlin in 2007. In 2008 he took part in the formation the international MuPATh (Music-Performance-Art-Theater) Company. Since the autumn of 2008 he’s been holding Fulbright scholarship at the Wesleyan University, in the class of Ron Kuivila, Anthony Braxton and Alvin Lucier.
His interactive cell-phone installation called OperaLooper was performed at the Brooklyn Museum in 2009. Receives the Kodály Zoltán Composition Scholarship in 2010. Living in Budapest and Vienna.
Between 1994 and 2001 he was music director of the Laocoön Group. In 1996 he was accepted to the bass guitar department of the Jazz Department of the Liszt Ferenc Academy of Music, where he graduated in 2001. Between 1999 and 2004 he regularly attended the Bartók Seminar in Szombathely and the courses of Michael Jarrell, Marco Stroppa, Manuel Hidalgo, Martin Bresnik and Örjan Sandred.
Since 1999 he’s been member of the EAR Group as composer and bass guitarist. They have presented numerous new pieces together. In 2000 he took part in the ISMEAM (International Summer Meeting of Electro-Acoustic Music) in Sárvár, and the same year he pursued further studies at the composing department of the Universität für Musik und Darstellende Kunst in Vienna, where his master was Michael Jarrell. He also studied adapted music and media composing in the class of Klaus Peter Sattler. Besides, the master courses of George Aperghis and Péter Eötvös influenced him as well.
He composed soundtrack for the first time in 2001 to the movie „Hukkle” with Balázs Barna. The same year he taught music practice to actors in the studio of the Bárka Theater for a year. In 2002, as musician and composer he participated in the project called „New chansons - literary monuments with voice from the era of doubts” with 12 composers, 12 actors and 12 poets. As request of the Hungarian Radio he composed „In Southeast Asia” for four narrators, a flute quartet and a sampled gamelan orchestra with live electronics in 2002.
Next year he composed music to the two-act children’s musical play titled „A mihasznák” in the Zsigmond Móricz Theater of Nyíregyháza. The same year he attended the summer course of the Indian santur artist Nandkishohr Mulley in Berlin. In 2004 he took part in Daniel Ott’s course, the New-Music-Theater in frames of the Making New Waves Festival. His composition „A Kárhozat Kertje” (Garden of Damnation, 2004) was presented in the Trafó House of Contemporary Arts in Budapest.
The same year he composed and orchestrated Bea Palya’s album „Álom, álom, kitalálom - énekelt mese. In the second semester of 2005 he studied tentative music and theater from Daniel Ott at the composing department of the Universität des Künstes (Berlin) in frames of the Erasmus Programme.
His chamber opera was presented in the Sophiensaele of Berlin in 2007. In 2008 he took part in the formation the international MuPATh (Music-Performance-Art-Theater) Company. Since the autumn of 2008 he’s been holding Fulbright scholarship at the Wesleyan University, in the class of Ron Kuivila, Anthony Braxton and Alvin Lucier.
His interactive cell-phone installation called OperaLooper was performed at the Brooklyn Museum in 2009. Receives the Kodály Zoltán Composition Scholarship in 2010. Living in Budapest and Vienna.
| Title | Type | Year |
|---|---|---|
| ´pöttöm´ in E | Ensemble | 2018 |
| "Round-E" | Chamber Music | 2009 |
| "_." Hommage á Frank Zappa | Chamber Music | 2002 |
| 10 Years, 10 Women | Music for the theater | 0 |
| 4-5 Steps | Multimedia | 2009 |
| <>,>< and … are traveling on the train | Live and tape music | 2008 |
| The Citizens of Kassa | Music for the theater | 0 |
| The Gardener´s Aria | Solo voice(s) a cappella | 2021 |
| The Naked King | Music for the theater | 0 |
| Garten der Verdammnis / Garden of Damnation | Music for the theater | 2004 |
| The Rabbit´s Book | Chamber Music | 1999 |
| Abendstunde im Spätherbst | Music for the theater | 0 |
| The Fairy | Music for the theater | 0 |
| A vadász és a domb | Music for radio drama | 0 |
| AOIHANA – The fifth life | Opera | 2007 |
| Give me Lord... | Vocal music | 0 |
| Subways | Music for radio drama | 1991 |
| Postcard from the Garden of Damnation | Electroacoustic music | 0 |
| Art of Virus # 12 - An outbreak of a break out | Ensemble | 2020 |
| Car thieves | Music for the theater | 0 |
| The Devil and the Witch (Hungarian Folksongs) | Solo voice(s) a cappella | 2009 |
| Witchlaundry | Music for the theater | 2016 |
| Barbakán | Film music | 2008 |
| Billy Liar | Music for the theater | 0 |
| Blaubarts / Bluebeard | Opera | 2011 |
| Blues for Charles | Ensemble | 2004 |
| Canzoni di Arnulf | Electroacoustic music | 2007 |
| Chronotopia | Music for the theater | 0 |
| Crave | Live and tape music | 2006 |
| D.J.-Don Juan | Music for the theater | 0 |
| The Cold Child | Music for the theater | 0 |
| Decapoda | Chamber Music | 2019 |
| Der Waldkönig | Music for the theater | 2006 |
| DoPaMiNa - Patterns | Instrumental solo | 2010 |
| Dopamina - Demonstration | Chamber Music | 2015 |
| South-East | Electroacoustic music | 0 |
| In South-East Asia / In Süd-Ost Asien | Live and prerecorded music | 2002 |
| Eine Symphonische Überdichtung (Hommage á Arnulf Rainer) | Symphony orchestra | 2006 |
| Elementary Influences | Chamber Music | 2011 |
| Exodus | Music for the theater | 2016 |
| Fahrendenenden - Monument III. | Instrumental solo | 2016 |
| Felisút - Leisút | Orchestral work | 0 |
| Floubleagent - Monument II. | Instrumental solo | 2014 |
| Four Simple Studies | Instrumental solo | 2020 |
| Free as a Bell | Electroacoustic music | 2016 |
| Dependence (Hommage á Jerry Lee Lewis) | Solo voice(s) with solo instrument(s) | 2008 |
| Hexameter | Tape music | 2005 |
| Hukkle | Film music | 0 |
| Three Houses Are Being Built | Chamber Music | 1995 |
| Weekday Miracle | Solo voice(s) a cappella | 1998 |
| I heard him saying nothing (Hommage á John Cage) | Chamber Music | 0 |
| Interpretator | Solo voice(s) with solo instrument(s) | 2004 |
| Keep On Keeping On - Monument V. | Electroacoustic music | 2022 |
| Kollmi Szuzi | Stage work | 2008 |
| Coffee stain | Solo voice(s) with ensemble | 2000 |
| Two Women (A) | Opera | 2012 |
| Two Women (B) | Opera | 2017 |
| Eagle with two Heads | Music for the theater | 0 |
| La Chef d`Oeuvre Inconnu - Apres Honore de Balzac / The Hidden Masterpiece - After Honore de Balzac | Chamber Music | 2006 |
| Besucher / Visitors | Music for the theater | 1995 |
| Látványkonyha | Music for the theater | 0 |
| Flypaper I. | Electroacoustic music | 1998 |
| Flypaper II. | Chamber Music | 1995 |
| Make Peace | Tape music | 2009 |
| Medea - Debauched Harbor | Music for the theater | 0 |
| Midsummer Night´s Dream | Music for the theater | 0 |
| Reprobates | Music for the theater | 0 |
| I Can Tell What I Saw | Symphony orchestra | 0 |
| Mobil Jam | Computer music | 2007 |
| MÜHL (RE-CYCLE) | Electroacoustic music | 2005 |
| Nyny_Harmony | Electroacoustic music | 2017 |
| Opera Looper | Computer music | 2009 |
| Ott él, ahol... | Chamber Music | 2000 |
| Out at S.E.A. 456 | Opera | 2013 |
| Out on Stage – Monument I | Stage work | 2014 |
| Oxitocin | Music for the theater | 0 |
| P.E.100X | Choral music | 2017 |
| Parrots | Music for the theater | 0 |
| Planta Inquilina | Music for the theater | 2008 |
| Psyché | Music for the theater | 2005 |
| Der Prozess um des Esels Schatten / The Trial of the Donkey´s Shadow | Music for the theater | 0 |
| Prisoner´s Song | Solo voice(s), choir & solo instrument(s) | 2017 |
| Remembering | Film music | 2011 |
| Ring (Hommage á A. Strindberg) | Chamber Music | 2002 |
| Ring II. (M) | Chamber Music | 2005 |
| S.E.M. (South-East Matters) | Chamber Music | 2009 |
| S_Sc_Sch_cho_hoe_oen | Solo voice(s) with ensemble | 0 |
| Saved | Music for the theater | 0 |
| Scenes and Situations | Ensemble | 2016 |
| Schuschanka und Seidenmuschi | Stage work | 2013 |
| SeRanade | Chamber Music | 2016 |
| Serenade (for Rupert Bergmann) | Solo voice(s) with solo instrument(s) | 2009 |
| Serenade for 4 | Solo voice(s) with solo instrument(s) | 2008 |
| Crave | Music for the theater | 0 |
| Vineyard Ballad | Solo voice(s) a cappella | 2010 |
| Tao Confirmation - Hommage à Charlie Parker | Instrumental solo | 2001 |
| Tarot Collective | Ensemble | 2005 |
| The Cloud(Space TG) | !to be determined | 2010 |
| Aus reinen Herz | Music for the theater | 0 |
| Interpretator | Solo voice(s) with solo instrument(s) | 2004 |
| Women of Trachis | Music for the theater | 0 |
| Trio Collective | Ensemble | 2004 |
| Trio Collider | Electroacoustic music | 2009 |
| Trio | Stage work | 2017 |
| Lake | Orchestral work | 0 |
| Geiselopera / Hostage Opera | Opera | 2021 |
| VIE-AU-LAN-YU | Electroacoustic music | 2008 |
| VIE-AU-LAN-YU | Chamber Music | 2007 |
| Vexilla Regis Prodeunt | Solo voice(s) a cappella | 1999 |
| Who´s there? (Hamlet) | Music for the theater | 0 |
| ]obscene[ | Stage work | 2010 |
| the conformist | Film music | 2004 |
| ÉN-ek | Solo voice(s) with solo instrument(s) | 0 |
| Live | Solo voice(s) with ensemble | 2010 |
| She is better then me | Music for the theater | 0 |