
Franz Hautzinger’s groundbreaking solo trumpet recording “Gomberg”, which was released in 2000, was a musical statement you only get to hear once every few years. Long after the end of modernity, a musician came along and by working directly with the material redefined the language of the trumpet: puffing sounds, talking into the trumpet, percussive series of accents, gurgling, bubbling, hissing and fizzing in the most varied overtone nuances and dynamic gradations opened up a hitherto unknown cosmos of music, became ephemeral acoustic sculptures, delicate tone-colour melodies or the intriguing surge of a billowing ocean of sound. Hardly ever before had a trumpeter – by purely acoustic means! – gone this far in exploring both material and his instrument and at the same time produced such sensuous and sculptural results. With “Gomberg” – named after a fictitious character that served as a kind of projection surface for Hautzinger’s absolutely conflicting ideals – the trumpeter placed himself at the cutting edge of the European improv avant-garde, indeed he showed that such an avant-garde still existed as an aesthetic category.
| Trompete: | FRANZ HAUTZINGER |