Udo Schindler lives and works as an architect in the south of Munich, Germany. He is a writer of poetry and works as well in theaters. As a musician (soprano and tenorsax, flute, accordeon, guitar, percussion and cornet) he participated internationally on several festivals and concerts of new music in Germany, Italy, Czech Republic, Roumania, Belgium, Austria and France. During the 70’s Udo played in different rock and jazz-rock bands, mainly guitar and drums, and later on saxophon and flute. He studied flute at the music high-school in Nürnberg, Germany. Beginning of the 80’s he finished his studies as an architect and since then he runs his own architectstudio.
In the 90’s he founded the ARCH.ENSEMBLE ( new and improvised music ). Mainly concentrated on new sound projects for soprano, tenorsax and flute in collaboration with theater companies Udo worked in different projects as a musician, composer, actor and director. He collaborated with musicians and artists like Eddie Prevost, Sebi Tramontana, Gerry Hemingway, Jürg Solothurnmann, Stephan Richter, Gilles Zimmermann, Margarita Holzbauer just to name a few, in his career as a musician.
Udo Schindler also wrote the poem ‘spring!’ ( dedicated to Ilse Aichinger ) published in the anthology: Versnetze – Das grosse Buch der neuen deutschen Lyrik, edited by Verlag Ralf Liebe and other Udo Schindler poems are published in different editions. arch.musik is his own recordlabel.
3 volumes / best of BGS / complete edition / 6 CD’s mudoks record Hubert Bergmann – piano, sopranino saxophone | Elmar Guantes – doublebass | Udo Schindler – soprano … Continue reading
ROME HILLS, in case of tonal emergency The story behind this music is for the most part unknown. Rome 2012. During a brief stay in February – wandering from place to place in the city, pleasantly warm, every day life in the North now vanishing, somehow a newcomer in this interim spawning ground of being, here where Passolini hinted his portent in the ether. The cafes in which the ether coagulates, barely concealing their peace and tranquility, and each place where memories are celebrated are so old that forgetting now is hardly noticeable. History disappears just around the corner. One who fights “against” this forgetfulness , is an atypical Roman, Massimo, whom I met in front of the now entirely contrived Fiaschetteria, once the hangout and meeting place of Roman artists, who gave me an update of the happenings in the Italian scene. Later in the train while the sounds of AH23 fluttered gently through my mind (I imagined his burning finger and M.’s portrait sunk into the Tiber), a video popped up, totally unexpected, on my google site. John Cage and Cathy Berberian, who performed this mysterious aria in Rome, sang a piece whose link I was able to pull up on my computer – something about “yellow” and “wood” that I later discovered was “Yellerwood.” A voice from the Roman Hills sounded so like Berberian. Then the request on this unknown woman, via Mr. Ricci, if she might be interested in contributing her wonderful voice to recordings done in October 2011 with Udo, a bustling multi-reed man. Something however was missing. Her voice shuttled back and forth, a poem added for garnishment, out of which a new and peculiar world blossomed into a fine mood. Something from Berberian, the utter essence of nature and beauty. Everything that knows itself is sound… No reason to crash… Hubert Bergmann Continue reading
There’s a whole new ball game going on. Players: Pianist Hubert Bergmann and the man on the saxophone Udo Schindler. No idea what kind of game they are playing. Anyway, they’re throwing balls across a huge field of notes and keys. American Football? Well, no, the players seem too slim and subtle for that. Too smart when they’re passing the ball. Hockey? Too esoteric. This is music in a democratic vein, its communication is a matter of transparency. Improvisations for each and every member of the audience. Basketball? Handball? Soccer? Actually, who cares? Each and every ball ends up in the goal, the basket or wherever it’s supposed to go – in any case in the ears of the listener. Take your hat off and listen! — Dr. Stephan Richter Continue reading
These recordings are from a period of 1 1/2 years and document the work with children between 11-12 years of playing in an ensemble of new improvised music and more. The approach, as in all activities with children, is conceivable playful and it is amazing to commit with what delicacy and nuance, the players go their way. Children are oriented at a certain age more outward, toward the world of idols and role models. That this is not always in the sense of adults, or even collide, so that speaks for a method that takes up the aspects of this idols with and blends into the unknown own creative work. Thus, the adepts learn to “do their thing” and cultivate themselves in “as saying” the creative potential in themselves. That we keep on using so-called clichés is almost self-evident. We all live of patterns that guide us and we continue that. Goal from the beginning, was a maximum of musical expression with the aid of reflection usually from the moment of creating out. Increasingly, we came here in the fields of game processes which could be called composition or better call it “instant composing”. There, where with re-improvised material, structure and tone will be organized more conscious and more and more complex mobile compositions emerges. A mammoth task. — Hubert Bergmann Continue reading
This is house (construction) music. Frank Lloyd said,“Architecture is frozen music”, and in this sense the architect/musician Udo Schindler and the americanist and jazz critic Stephan Richter interact on this little and subtile free-jazz project as an end in itself.” — felix) freiStil-MAGAZIN FÜR MUSIK Nr.14, Juli 2007
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Der Titel Pneuma (aus dem griechischen, bedeutet Hauch, ätherisches Feuer, Lebensgeist) gibt die konzentrierte Intention der Aufnahme stimmig wieder. — Udo Schindler Continue reading
improvised sound conversations | udo schindler | margarita holzbauer + GO GUITARS: gunnar geisse, harald lillmeyer, adrian pereyra
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improvised sound conversations | udo schindler | margarita holzbauer + GO GUITARS: gunnar geisse, harald lillmeyer, adrian pereyra Continue reading
“schindler / holzbauer / lillmeyer” is a trio that was formed following the musicians’ successful collaboration as members of the ‘Munich Instant Orchestra’. Defining influences for their improvised chamber music include the confrontation of the players’ respective musical roots (free jazz, ancient, experimental and contemporary music), electronic and acoustic sounds, augmented playing techniques (multiphonics, micro¬tonality, preparations, electronic sound design) and the masking and pseudo-concealment of a sound’s origins. Continue reading
Second of the series “Salon für Klang und Kunst”. Live session. Continue reading