Edino Krieger was born in Brusque, Santa Catarina, on March 17, 1928, of German and Italian descent on his father’s side and of Portuguese and Native Brazilian descent on his mother’s. At the age of seven, he initiated his violin studies with his father, Aldo Krieger, who was a violinist, composer, conductor, and founder of the local conservatory of music. Edino began to perform in violin concerts at the age of nine, and when he was fifteen years old, he moved to Rio de Janeiro with a scholarship from the state of Rio de Janeiro to continue his studies at the Brazilian Conservatory of Music. There he studied counterpoint, harmony, and composition with H.-J. Koellreutter, a German composer and professor who had come to Brazil during World War II.
In 1945, he received the Música Viva Award for his Trio de Sopros, and then became a member of the Música Viva Group of vanguard composers, along with Koellreutter, Claudio Santoro, Guerra-Peixe, and Eunice Catunda. In 1948, he was selected in a competition to study with Aaron Copland at the Berkshire Music Center in Massachusetts, where he also took classes with Darius Milhaud. This was followed with an internship for a year at the Juilliard School of Music in New York, where he studied composition with Peter Mennin. He also studied violin with William Nowinsky, Ivan Galamian’s assistant, at the Henry Street Settlement School of Music. He represented Juilliard at a symposium of U. S. and Canadian composers that took place in Boston, and he played violin with the Mozart Orchestra of New York. Upon his return to Brazil in 1950, he began to produce musical programs for Rádio MEC (Ministry of Education and Culture radio station), where he was the musical director and organized the National Symphonic Orchestra. From 1950 to 1952, he was the music critic for the newspaper Tribuna da Imprensa. In 1952, he studied with Ernst Krenek at the III International Summer Course of Teresópolis, in the state of Rio de Janeiro. In 1955, he received the Rottelini Foundation Award in Rome and the International Peace Prize at the Warsaw Festival.
With a grant from the British Council, he studied in London for a year with Lennox Berkeley of the Royal Academy of Music. In 1959, he was awarded first prize for his Divertimento for Strings at the I National Composition Competition created by the Brazilian Ministry of Education and Culture, and he received the Medal of Honor for the Fifty-Year Anniversary of the Municipal Theater of Rio de Janeiro. In 1961, his String Quartet No. 1 was awarded the National Recording Prize. 
In 1965, Variações Elementares premiered at the III Interamerican Music Festival in Washington, and the following year, the Philadelphia Orchestra premiered Ludus Symphonicus at the III Music Festival of Caracas, Venezuela. In 1966 and 1967, he received gold medals at the International Song Competitions in Rio de Janeiro. In 1969 and 1970, he organized and directed the Guanbara Music Festivals, which, beginning in 1975, gave birth to the Biennials of Brazilian Contemporary Music. He received the Golfinho de Ouro Trophy for his body of work in 1969 and in again in 1988.
His aesthetic evolution started out rooted in impressionism in Improviso para flauta (1944), and evolved to serialism with his Trio de Sopros (1945). In 1952, he abandoned serialism in favor of a more profound experimentation in traditional forms and expressions and in musical themes of a Brazilian nature. In 1965, he produced a synthesis of previous experimentations with Variações Elementares, where he began to use both vanguard and traditional resources, together with elements absorbed from Brazilian musical culture.
He directed the Classical Music Division of the Jornal do Brasil radio station and has been a music critic for the newspaper Jornal do Brasil. In 1976, he took over the artistic direction of FUNTERJ (Foundation for Theaters of Rio de Janeiro), and it was in this capacity that he organized the reopening season of the Municipal Theater of Rio de Janeiro and the Center of Theatrical Productions of Inhaúma. In 1979, he created PRO-MEMUS (Brazilian Musical Memory Project), under the auspices of the INM (National Institute of Music), which in turn is part of FUNARTE (Ministry of Culture’s National Foundation for the Arts). He directed the INM from 1981 to 1989. In 1989, he took over the presidency of FUNARTE. He was also president of the Museum of Image and Sound Foundation from 2003 to 2006.
His catalogue includes chamber and symphonic orchestra works, oratories, chamber music, pieces for choir and for solo voice and instruments, as well as occasional sound tracks for theater and cinema. His compositions have been frequently performed both internationally and in Brazil, including the orchestras of Rio de Janeiro, São Paulo, Porto Alegre, Recife, Bahia, Belo Horizonte, Liege, Brussels, Paris, London, Munich, Buenos Aires, Cordoba, New York, Philadelphia, Washington, Cologne, Tokyo, among others. 
Edino Krieger was honored in Tokyo with a week dedicated to him during which he gave six lectures and Japanese musicians performed both his chamber and symphonic works. He has also been active as a conductor, principally of his own work.   
Web: http://www.abmusica.org.br/site_abm_ingles/index.html (2010)