EVEN IF IN MY GAMES I HAVE SOMETIMES WON AND SOMETIMES LOST IN THE END I THREW EVERYTHING INTO THE BLACK WATER. I HAVE BEEN WIPED AWAY, I’VE DISSAPEARED, NOTHING IS LEFT OF ME. I WAS ONLY A SHADOW, NOT THE SMALLEST PARTICLE OF DUST REMAINED OF ME. I WAS A DROPLET, LOST IN THE OCEAN OF MYSTERY, AND NOW I CAN NO LONGER EVEN FIND THIS DROPLET. — Farideddin Attar Neyshapun Continue reading
mudoks records Hubert Bergmann, piano | Lajos Dudas, clarinet | Elmar Guantes, bass Recorded: mudoks studio Überlingen Germany, 2012-12-16 & 2013-04-10 | artwork/photos: Birgit Nagengast : ℗ & © mudoks … 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
Ronin is the result of a long year cooperation between double bass Player Elmar Guantes and pianist Hubert Bergmann. Since over 20 years they work together in various ensembles. Starting her work in vienna, Ronin is now a finish for the present and a new concept of playing duo. Continue reading
Leben von dem man nie erfahren hätte, tauchen empor und mischen sich unter das, was wirklich gewesen ist und verdrängen Vergangenes, das man zu kennen glaubte: denn in dem was aufsteigt, ist eine ausgeruhte, neue Kraft, das aber, was immer da war, ist müde von zu oftem Erinnern. — Rainer Maria Rilke Continue reading
Musical fruitfulness doesn’t come easy. But in an improvisation between two men who are playing together for the first time, something incredible can happen: the instantaneous poignancy of the justgenerated material, the visible sparks of the respective imaginations, the concrete explanation behind that fundamental instinct which pushes gifted humans to attempt a creative act to look into themselves to begin with, and communicate with fellow talented speciments later on. — Massimo Ricci Continue reading
A workshop for improvised and new music -I read – right here in our charming, dreamy resort town on Lake Constance, in my neighborhood? And I know nothing about it? I needed to take a closer look at this. A few days later I am cordially received by Hubert Bergmann, pianist and initiator of the workshop, who suggested the idea of maybe playing together. My period of “free – improvisation” lay in the 1980’s, with the CL4 Clarinet Quartet and the Turk-Bulgarian vocalist Yildiz Ibrahimova. Hubert had recently produced with the guitarist, Mary Halvorson, a free – improvised session. Our musical directions, developmentally, were in opposition, the jazz clarinetist and the pianist, basically in the field of contemporary music.” Would this work? We improvised spontaneous and extensively without particular attention to tempo, theme or scale, having only occasionally paused to discuss an interval, a scale fragment or the character of an atmosphere. The results were surprising to us; we knew immediately that the recording should be made public. You’re holding the disc in your hand, please enjoy! — Lajos Dudas Continue reading
mudoks nr. 011-1168 Phil Nylund – piano | Alexander Bergmann – alt sax, bass clarinet | Julian Seyfried – cello | Joe Eschrich – drums Recording date: 2. – 5. … 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