tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro
doors: 8.00 pm CEST
concert starts:
approx. 8.30 pm CEST
Sounds like this:
https://youtu.be/0DFM7qkawaI
Norbert Krampf (FAZ) on the Hornung Trio’s CD released in the fall of 2022:
Perhaps the most striking difference between American and European jazz pianists is that those from the „old world“ largely grow up with classical music before turning to improvised music. It is of course no coincidence that influences from (late) Romanticism to classical modernism can now also be discerned – more strikingly than ever – in Ludwig Hornung’s playing. They give his compositions and dynamic improvisations a decidedly individual character. Moreover, they reveal an almost striking development of the musician and his band, whose debut player was released in 2017 on Double Moon Records....
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tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro
doors: 8.00 pm CEST
concert starts:
approx. 8.30 pm CEST
Sounds like this:
https://youtu.be/0DFM7qkawaI
Norbert Krampf (FAZ) on the Hornung Trio’s CD released in the fall of 2022:
Perhaps the most striking difference between American and European jazz pianists is that those from the „old world“ largely grow up with classical music before turning to improvised music. It is of course no coincidence that influences from (late) Romanticism to classical modernism can now also be discerned – more strikingly than ever – in Ludwig Hornung’s playing. They give his compositions and dynamic improvisations a decidedly individual character. Moreover, they reveal an almost striking development of the musician and his band, whose debut player was released in 2017 on Double Moon Records.
The impressive richness of sound colors, which is made possible by nuanced touch on the grand piano alone, is essential for all pieces on structures. So is the abandonment of traditional forms, such as the typical ‚theme-solo-theme‘ progression. „It was important to me to avoid rigid parameters,“ Ludwig Hornung states, „and even while composing, I was very inspired by the subtle tone formation of classical music.“ Last but not least, he is enthusiastic about the „then revolutionary way in which Scriabin or Messiaen dealt with chords and harmonies.“ While studying music of the early 20th century, Hornung came across a Russian composer whose works had a direct and lasting influence(s) on him: Nikolai Roslavets. „His pieces move on the edge of atonality; I feel him like a link between Scriabin and Schoenberg. What fascinates me about Roslavets is how he combines typical Russian power, gloom and emotional heaviness with conciliatory moods and fine chiseling of French impressionism.“
The album title track Strukturen evokes associations with other classics, its glittering arpeggios suggesting Chopin and Liszt, for example. On the other hand, Hornung’s gripping improvisation makes it clear that he is, above all, a passionate jazzman. As such, he particularly reveres Paul Bley, the „quiet genius of free jazz“ (Melody Maker) who died in 2016. In addition, Hornung has cultivated a soft spot for – watch out, sharp cut – hip-hop since his youth. „I’m particularly interested in these ‚wobbly‘ beats, which I first heard from J Dilla, but which Flying Lotus, for example, also often works with,“ Hornung explains. „So when the snare kicks in a little too late or the kick drum a touch too early. That makes even simple rhythms seem somehow unusual, they get something draggy or asymmetrical.“
The balance, one could also say the seamless alternation between notated and improvised passages as well as the potential for energetic, suction-like increases is also one of the concise creative means of the agile trio founded in 2016. Only in the title piece has Hornung also clearly notated the groove, beyond that he leaves Bernd Oezsevim largely free rein as the intuitive drummer fleshes out the pieces with independent, sometimes complex entries. Hornung’s collaboration with agile bassist Phil Donkin dates back to 2011. „I really appreciate both of them for their energy and ability to accompany with restraint at times,“ notes the bandleader. „Phil is excellent at thinking ideas through and forming cornerstones; he’s extremely rhythmically adept and a strong pulse generator. In addition, he and Bernd work perfectly together – even when there are sometimes longer breaks, because everyone involved is always in demand for other engagements.“
Hornung hints at an important aspect of structures not yet mentioned in his accompanying sentences on the cover. The intensity of the music, he says, also stems from the fact that he wrote a lot of „dirt off his soul.“ „The time was relatively complicated. The music reflects a tension between pain and euphoria in which I was moving at the time and which I was ultimately able to transform into a positive energy,“ Hornung says. „Part of dealing with strong feelings was ultimately how to create structures for my future life.“
The new album of the Ludwig Hornung Trio is a real surprise, at least for those who have not seen the band live recently. Multi-layered compositions and hook-busting improvisations, the pointed play with timbres and dynamics as well as the individual sources of inspiration make structures stand out far from the colorful field of piano jazz. Determined stylistic will, captivating intensity and lively joy of playing provide long-lasting and repeated listening pleasure.
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