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| Collection | Entry | Year | Identifier | Open and work with |
|---|---|---|---|---|
| Quotation | „The Viennese Harry Pepl, who counts among the most distinctive guitarists on the continent“Wolfgang Gratzer · Salzburger Nachrichten, May 1994 | 1994 | ||
| Quotation | „These were sound meditations between expansive and concentrated, in lyrical solitude and orchestral fullness of sound.“Kürzel CT (vermutlich Chris Thommark) · On the duo with Jack DeJohnette at the Innviertel jazz festival in Raab; Kronen Zeitung, Tuesday, 24 May 1994, p. 17 | 1994 | ||
| Quotation | „Versatility is as much a part of Pepl as his turn to different (compositional) techniques.“Neue Kronen-Zeitung (Steiermark) · “Rastloser Grenzgänger”, Neue Kronen-Zeitung, 28 July 1994, p. 22 | 1994 | ||
| Literature | Aspekte österreichischer Kultur seit 19451995, p. 33 | 1995 | ||
| Literature | Jazz in Graz. Von den Anfängen nach dem Zweiten Weltkrieg bis zu seiner akademischen EtablierungElisabeth Kolleritsch · Akademische Druck- und Verlagsanstalt 1995, ISBN 3-201-01640-3, p. 153 · Graz | 1995 | ||
| Literature | Musikgeschichte Österreichs, Band 3: Von der Revolution 1848 zur GegenwartRudolf Flotzinger, Gernot Gruber (Hg.) · 2nd edition, Böhlau 1995, ISBN 3-205-98338-6, p. 265 · Vienna, Cologne, Weimar | 1995 | ||
| Literature | Nova Música VivaJorge Lima Barreto · Fábrica de Letras 1995, p. 137 | 1995 | ||
| Quotation | „He controls his instrument electronically, from the vibraphone to the organ register.“Kronen Zeitung, 5 November 1995, p. 26; translated from the German | 1995 | ||
| Quotation | „In the two-part melody group, guitarist Harry Pepl is the defining creative force.“Kürzel CT (vermutlich Chris Thommark) · On the CD “Beginnings” by Abstract Truth; Kronen Zeitung, Sunday, 5 November 1995, p. 26 | 1995 | ||
| Quotation | „Thus five sound pictures open up whose colourful motion exerts a considerable pull“Wolfgang Gratzer · On “Anspannen, Überspannen, Abspannen”; Salzburger Nachrichten, Saturday, 19 August 1995 | 1995 | ||
| Quotation | „were back then attuned to each other in the most original improvising way. Their “Gegenwind” album now turns out to be a collector’s item.“Wolfgang Gratzer · On Pepl and Pirchner and the album “Gegenwind”; “Könnte Jazz sein”, Salzburger Nachrichten, Saturday 19 August 1995; translated from the German | 1995 | ||
| Quotation | „were, in their day, attuned to one another in the most original improvising manner“Salzburger Nachrichten, 19 August 1995; translated from the German | 1995 | ||
| Quotation | „When playing the piano I enjoy great freedom. Unburdened by profession and pigeonhole, I can be completely absorbed in the sound of the …“Harry Pepl · Booklet for the piano album “Consequence”, 1995, quoted in Kohler 2006, p. 129 | 1995 | ||
| Literature | Benny Goodman: Wrappin' It UpD. Russell Connor · Scarecrow Press 1996 (Studies in Jazz, 23), xxxi, 179 pages, ISBN 0-8108-3102-3 · Lanham, Md. | 1996 | ||
| Literature | Eintrag zu Harry Pepl, S. 229 bis 230Moschner und Teufert · Margarethe Moschner, Helmut Teufert: Die Komponisten des Industrieviertels und ihre Musik, Industrieviertelmuseum Wiener Neustadt (ed.), Weilburg-Verlag 1996, 407 pages; entry Pepl p. 229 to 230 · Wiener Neustadt | 1996 | ||
| Literature | Jazz de J à ZZGuy Le Querrec, Philippe Carles · Marval 1996, 224 pages, with photographs, ISBN 2-86234-218-1, p. 87, 122 · Paris | 1996 | ||
| Literature | Sleeves of Desire. A Cover StoryECM (Hg.), Konzeption Manfred Eicher u. a. · Lars Müller Publishers 1996, ISBN 3-906700-85-2 · Baden (Switzerland) | 1996 | ||
| Literature | The Guitar in Jazz. An AnthologyJames Sallis (Hg.) · University of Nebraska Press 1996, ISBN 0-8032-4250-6 · Lincoln | 1996 | ||
| Quotation | „3 Mo stands for mothy, momenty, minory. Mothy because the music sounds as if the moths are waiting to pounce.“Harry Pepl · On his piano piece “3 Mo”, quoted by Georg Pepl in the liner notes to “Flow” (PAO Records CD 10140-2, 1996), English version by Stephen Ferguson in the booklet | 1996 | ||
| Quotation | „For it was in Kufstein, exactly 20 years ago, that he also gave his first concert as a vibraphonist with the JazzZwio, together with Harry …“Tiroler Tageszeitung, culture section, 25 April 1996; translated from the German | 1996 | ||
| Quotation | „For me, art is not a game but the last place of transcendence.“Harry Pepl · Own statement 1996, quoted in Günther 1997, p. 824 (also given as “Bernhard 1997” in Kohler 2006), and in Kohler 2006, p. 135 | 1996 | ||
| Quotation | „Genre boundaries and purity of style matter very little to me. Nevertheless, the core of my aesthetics is not postmodern. For me art is not …“Harry Pepl · Harry Pepl 1996, quoted in Bernhard 1997, p. 824, and Kohler 2006, p. 135 | 1996 | ||
| Quotation | „Harry Pepl is a musician who hears. He has that seldom gift–to immediately translate what he hears into music coming from his own fingers …“Stephen Ferguson · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996) | 1996 | ||
| Quotation | „Harry Pepl’s “Exzentrik - Egometrik” will receive its premiere.“Der Standard, 18 October 1996; translated from the German | 1996 | ||
| Quotation | „has come to the fore since 1984 as a composer of European contemporary art music“Information sheet (press material, 5 pages), 1996, p. 3 | 1996 | ||
| Quotation | „he is simply unafraid of any musical task, and has the jazz man’s joy of real time composition.“Stephen Ferguson · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996) | 1996 | ||
| Quotation | „his very own instrument–the guitar–where he is one of Europe’s undisputed jazz masters“Stephen Ferguson · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996) | 1996 | ||
| Quotation | „I believe in the absolute: in the truth in which all opposites coincide.“Harry Pepl · Own statement 1996, quoted in Günther 1997, p. 824 (also given as “Bernhard 1997” in Kohler 2006), and in Kohler 2006, p. 135 | 1996 | ||
| Quotation | „It is a dream played awake, full of snatches of music, gestures, spaces.“Stephen Ferguson · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996), on Pepl’s twelve pieces at the piano | 1996 | ||
| Quotation | „Just looking at the titles of his pieces one recognises that Pepl is a deeply musical and romantic artist. Musically his playing is related …“Georg Pepl · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996), English version by Stephen Ferguson in the booklet | 1996 | ||
| Quotation | „Let us simply enjoy the novelty and richness of this master of the strings becoming a novice at the keyboard, a masterly novice full of …“Stephen Ferguson · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996), closing lines | 1996 | ||
| Quotation | „Richly coloured, electronically supported expression with an enormous range“Kronen Zeitung, 26 February 1996, p. 16; translated from the German | 1996 | ||
| Quotation | „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 …“Georg Pepl · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996), English version by Stephen Ferguson in the booklet | 1996 | ||
| Quotation | „this introduction also contained a shock for guitarist Harry Pepl as Benny announces a guitar solo“Tony Middleton · Liner notes to Benny Goodman, “Berlin 1980” (TCB Records, 1996), on Goodman's unannounced call for a guitar solo at the Berlin Philharmonie, 7 and 8 November 1980, which gave rise to “Harry Pepl's Blues”; quoted from Kohler 2006, p. 54 | 1996 | ||
| Quotation | „What do I listen to at Christmas? Well, Silent Night!“Harry Pepl · Survey by Christian Rösner, Wiener Zeitung, Tuesday, 24 December 1996, p. 4 | 1996 | ||
| Quotation | „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 …“Georg Pepl · Liner notes to “Flow” (Harry Pepl, piano; PAO Records CD 10140-2, 1996), English version by Stephen Ferguson in the booklet | 1996 | ||
| Literature | Der Sinti-JazzAnita Awosusi (Hg.) · Die Musik der Sinti und Roma, vol. 2, Schriftenreihe des Dokumentations- und Kulturzentrums Deutscher Sinti und Roma, vol. 6, 1997, p. 137 · Heidelberg | 1997 | ||
| Literature | Eintrag zu Harry Pepl, S. 824 bis 826Günther · Bernhard Günther (ed.): Lexikon zeitgenössischer Musik aus Österreich. Komponisten und Komponistinnen des 20. Jahrhunderts, music information center austria 1997, 1268 pages; entry Pepl p. 824 to 826 · Vienna | 1997 | ||
| Literature | Norske jazzplater 1960-1995. En diskografiAnne Mill Aakrann Eek, Vilde Beate Ronge Kaastad, Tonje Lehne Pedersen · Biblioteksentralen 1997, ISBN 82-7022-191-0, p. 96 · Oslo | 1997 | ||
| Quotation | „After that Harry Pepl played, first on piano, then on drums, while Franz Hackl stayed with his trumpet.“Oberösterreichisches Volksblatt, 10 December 1997, p. 28; translated from the German | 1997 | ||
| Quotation | „Alongside Harry Pepl and Wolfgang Muthspiel, a generation younger, Ratzer is probably the most important Austrian guitar voice“Der Sinti-Jazz (Hg. Anita Awosusi) · Anita Awosusi (ed.): Der Sinti-Jazz, Heidelberg, Germany, 1997, p. 137; translated from the German | 1997 | ||
| Quotation | „As a string player he created fabulous special moments with Michel Portal, who phrased with a keen sense of sound on bass clarinet and …“Robert Urmann · INNtöne festival at Zell an der Pram Castle; OÖ Nachrichten, Tuesday, 9 December 1997 | 1997 | ||
| Quotation | „let it be said straight away, Pepl does not play guitar but piano“Wiener Zeitung, “Jazzignal” column, 11 November 1997, p. 4; translated from the German | 1997 | ||
| Quotation | „The piano and drum playing of the guitarist Harry Pepl attracted attention.“OÖ Nachrichten, culture section, 9 December 1997; translated from the German | 1997 | ||
| Quotation | „Their joy in playing carried over seamlessly to the audience.“Oberösterreichisches Volksblatt, 10 December 1997, p. 28; translated from the German | 1997 | ||
| Quotation | „Trumpeter Franz Hackl soulfully accentuated Harry Pepl’s piano impressions“Kronen Zeitung, 10 December 1997, p. 28; translated from the German | 1997 | ||
| Literature | Man könnte Klavierspielen müssen (Interview mit Harry Pepl)Martin Schuster · Concerto, no. 2, April/May 1998, p. 44 to 45 | 1998 | ||
| Literature | The Encyclopedia of Popular MusicColin Larkin (Hg.) · 3rd edition, Muze, Macmillan 1998, vol. 8 (index), p. 2890 · London, New York | 1998 | ||
| Quotation | „Exploring the limits was obviously always his endeavour.“Kulturpreis Niederösterreich (state database of prizewinners), 1998, p. 1 | 1998 | ||
| Quotation | „For me music means emotions and memories. And even when I play something I don’t much like, my blood pressure goes up, because then it gets …“Harry Pepl · Conversation with Martin Schuster, “Man könnte Klavierspielen müssen”, Concerto 2/1998; quoted in Kohler 2006, p. 129; translated from the German | 1998 |
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