SUAL Archives | 2016

GOMBERG REVISITED — Interpreting Franz Hautzinger’s Gomberg Scores

Duration:      29‘44“
Featuring:    Tiziana Bertoncini, violin | Irene Kepl, violin | noid, violoncello
Type:              Recorded live at SUAL 2016
Credits:         Audio recording and editing by AH


After a three-year long hiatus Austrian trumpeter Franz Hautzinger returned in 2000, publishing his Solo-CD Gomberg to wide international acclaim. Presenting unusual playing and sound generating techniques, it disclosed a sophisticated and at the same time highly personal musical language. In the course of his ‘comeback’, Hautzinger also published a book of the same name in 2002, containing drawings resp. graphic score. In GOMBERG REVISITED a selection from it is going to be interpreted by Tiziana Bertoncini, Irene Kepl and noid.

[Bernhard Gál]

Franz Hautzinger

Detours often lead to more thrilling goals because they open up new perspectives. Franz Hautzinger has taken long and bendy detours and turned to many dead ends, he has spent years without instrumental activity and has made a hopeful new start. All this, those victories and defeats, this “History from the Total Crash to ‘Emergency Individualism’”, as he himself described it, made Franz Hautzinger the highly profiled musical personality that he is today. Born on March 11, 1963 in Seewinkel, Burgenland, a Hannibal Marvin Peterson concert at Jazzgalerie Nickelsdorf was the young trumpeter’s “awakening experience”. He studied at the Jazz department of today’s Art University in Graz from 1981 to 1983 until lip palsy forced him to take a six year total break from trumpeting. After moving to Vienna in 1986 he started in 1989 to explore the trumpet in his very own and un-academic way. He became attached to the circles around Christoph Cech and Christian Mühlbacher, played in the Big Band “Nouvelle Cuisine” and the octet “Striped Roses”; the CD “Zong of se Boboolink”, which he recorded with saxophonist Helge Hinteregger and which was influenced by sampler collages was the first personal CD statement. His 10 month stay in London provided new ideas and contacts, amongst others Kenny Wheeler, Henry Lowther, John Russel, and Steve Noble. Hautzinger assimilated the stimuli in very different ways: in „Regenorchester“ („Rain Orchestra“) with its changing instrumentation, in the quartet with Helge Hinteregger, Oren Marshall and Steve Noble as well as in the trio “Speakers’ Corner” with guitarist Martin Siewert and drummer Wolfgang Reisinger. The conscious decision to avoid electronic sound sources but to still comprehend the development of digital music on the trumpet – the quarter tone trumpet purchased in 1997 – were decisive stages for the creation of Franz Hautzinger’s sensational solo trumpet CD Gomberg (2000) on which he presented this new until then unheard cosmos of sound that he had developed on his instrument. Hautzinger positioned himself with Gomberg at the front line of the international improvisation avant-garde; collaborations and CD records with Derek Bailey, the “AMM” veterans Keith Rowe and John Tilbury as well as Axel Dörner, Christian Fennesz or Otomo Yoshihide, and Sachiko M followed. The step into the world of decelerated sound microscopy and from 2003 on the re-discovery of musical sensualism, the confrontation of his trumpet sounds with groove and tunes (“Regenorchester XI” and XII) can be considered as important stages in his development. Franz Hautzinger teaches at the Vienna Music University since 1989, is a member of the Berliner Ensemble “Zeitkratzer” since 1999 and received commissions from Klangforum Vienna amongst others. He is a globetrotter whose unmistakeable musical signature is known from Vienna to Berlin, London to Beirut, or in Tokyo, New York, and Chicago. Franz Hautzinger has shown that even in times where postmodernism is history an instrument can still be reinvented.

[Andreas Felber, translated by Astrid Donaubauer]

Tiziana Bertoncini

After graduating in violin and in painting Bertoncini played as interpreter in orchestras and chamber music ensembles. Since many years she has been focusing on contemporary music, written and improvised. Her work is developing from interpretation ad improvisation towards composition and collaboration with artists of other medias. At the same time her interest is focused on the crossing and synthesis between visual elements and music/sound. She has been performing in many international festivals and contexts and has been part of numerous dance, theatre, video and multi-media projects, contributing the musical part of them. Her “solo” work includes composition, performance and installation. In 2011 her electro-acoustic piece “Nur Sand” was awarded at the competition Ferrari (r)écouté announced by hr2-kultur, ZKM | Institute for Music and Acoustics. She is part of the ensemble]h[iatus, which moves in the territories of improvisation and interpretation of contemporary pieces. She was artist in residence at “Bridge guard – Residential Art/Science Centre” in Stúrovo/SK, AIR Krems, Centre National de Création Musicale Césaré in Reims/F, Künstlerhaus Eckernförde and GEDOK Schleswig-Holstein.

Irene Kepl

The renowned violinist and composer studied classical violin, jazz and improvisation at the Anton Bruckner University in Linz. For a decade now, she’s engaging explicitly in contemporary music, free improvisation and composition as well as jazz. Additionally, her work includes collaborations with theatres, film and dance. For her compositional work she has been chosen for grants and awards like the G. Mahler Prize, as well as the Theodor Körner Composition prize, the Talent Promotional Fund for Composition Upper Austria and the Starting Grant of the BKA for Music, Austria. Additionally, she’s been invited to residencies, most recently “music OMI” New York. Commissioned works for “Wiener Festwochen”, ORF Musikprotokoll, Brucknerfest Linz, Tossi Company Arnhem/NLD & Hamburg/Ger. As a musician she was invited to Klangspuren Tirol, Java Jazz Festival/IO, 12points/SE und Moers Festival/Ger. The most recent projects are: SololoS (CD Fou records 2017), Violet Spin (CD Listen Closely 2017), Ensemble Verso, Kepl & Holub (CD Slam records 2015), the resonators (CD Another Timbre 2016).

noid (aka Arnold Haberl)

composer . performer . improviser | auricular . cello . electronic devices

his musical approach can be described as fundamental research. his works span a wide range of contradictory outcome, from solos to compositions for ensembles, from sound installations to videos. using electronics as well as acoustical instruments. consequently denying the borderline between music and sound-art. this lead him to collaborations with artists of different fields – choreographers, like joão fiadeiro, colette sadler, akemi takeya, philipp gehmacher, etc. – visual artists as for instance alexander schellow, heike kaltenbrunner, erik hable or andré goncalves. as an improviser he performs among others with: klaus filip, taku unami, o.blaat, axel doerner, christian weber, erikM, dieb13, kazuhisa uchihashi, burkhard stangl, yan jun, taku han-noda, carl stone, mattin, etc. he is programmer for the “ppooll” project: an open source / copyleft / freeware, designed for live – improvisation, composition, interactive installations, etc… together with klaus filip (the main programmer) he was invited to present this software at the cycling74 user conference in san francisco april 2009 []. he is part of the organizing team for the annual “reheat” interdisciplinary festival [], and he was curating sound art exhibitions in the framework of the “konfrontationen nickelsdorf” festival in 2009 and 2010.

[info as of 12/2016]