Press archive
What was written and broadcast about Harry Pepl: reviews, portraits, interviews and obituaries, with summary and source. The originals are protected by copyright and kept in the archive; we provide them to researchers and the press on request.
Filters active
2 entries filtered · CSV of the filtered entries
Newest first · Oldest first
-
20 March 2024 · Interview · DE
mica music austria (Online): „Uns geht es darum, Gegensätze in unserer Musik zu manifestieren.“ (Raphael Preuschl, Fabulous Austrian Trio, im mica-Interview)
Michael Ternai
Interview with the bassist Raphael Preuschl on the 20th anniversary of the Fabulous Austrian Trio with Alex Machacek and Herbert Pirker. Speaking of Machacek's guitar playing, he says it seeks to lift the limits of a string instrument, and recalls Harry Pepl's piece “Man könnte Klavierspielen müssen”.
Harry Pepl once wrote the song ‘Man könnte Klavierspielen müssen’. I believe it is Alex's intention to lift the limitation of a string instrument and to take on the polyphonic freedom of a keyboard instrument.
Raphael Preuschl
-
1996 · Other · DE
PAO Records (CD-Booklet, CD 10140-2): Booklettext zu „Flow“
Georg Pepl
Liner notes by Georg Pepl, musicologist and Harry Pepl’s elder son, for the solo piano album “Flow” (recorded on Sunday, 10 March 1996, in the Brahms Hall of the Vienna Musikverein), printed in the booklet also in Stephen Ferguson’s English translation. The text presents the improviser at the piano as an image of isolation and of freedom and draws a line from Carl Philipp Emanuel Bach’s free fantasias via Mozart and Beethoven to jazz, which built dams against the “flood of improvisation”. He reads the flowing that gives the album its name through Rousseau’s “Reveries of the Solitary Walker”, Goethe’s “Werther”, Freud’s “oceanic feeling” and Herbert Marcuse. At the piano Pepl enjoys losing himself in the moment, the notes stream out “all by themselves, as silent water or as a flow”; in “Grace & Gary” and “2 Klavierpianos” he improvised a second piano track over the first. On the titles: “Man könnte Klavierspielen müssen” as a reminiscence of Glenn Gould, “Improv 2” of Schubert’s impromptus, “Grace & Gary” of the film “High Noon”; on “3 Mo” he quotes Pepl himself (“mothy, momenty, minory”). The German text is freely available as a text PDF, Ferguson’s English version for signed-in users.
While playing the piano Harry Pepl enjoys being able to elevate himself to the mood of the moment, or to plunge into a different sense of being. The notes are independent, streaming out all by themselves, as silent water or as a flow.
Just looking at the titles of his pieces one recognises that Pepl is a deeply musical and romantic artist. Musically his playing is related to language itself, he has listened to its rhythms and double meanings.
The improvising pianist flows out into the world of tones, the piano player melts into oneness with the piano, desists in his identity as a subjective entity.
3 Mo stands for mothy, momenty, minory. Mothy because the music sounds as if the moths are waiting to pounce.
Word play on his piano piece “3 Mo” from the album “Flow” (1996): three German adjectives beginning with “mo”, echoing Motten (moths), Moll (minor key) and Moment
Harry Pepl