Press archive
What was written and broadcast about Harry Pepl: reviews, portraits, interviews and obituaries, with summary and source. The originals are protected by copyright and kept in the archive; we provide them to researchers and the press on request.
Filters active
6 entries filtered · CSV of the filtered entries
Newest first · Oldest first
-
20 March 2024 · Interview · DE
mica music austria (Online): „Uns geht es darum, Gegensätze in unserer Musik zu manifestieren.“ (Raphael Preuschl, Fabulous Austrian Trio, im mica-Interview)
Michael Ternai
Interview with the bassist Raphael Preuschl on the 20th anniversary of the Fabulous Austrian Trio with Alex Machacek and Herbert Pirker. Speaking of Machacek's guitar playing, he says it seeks to lift the limits of a string instrument, and recalls Harry Pepl's piece “Man könnte Klavierspielen müssen”.
Harry Pepl once wrote the song ‘Man könnte Klavierspielen müssen’. I believe it is Alex's intention to lift the limitation of a string instrument and to take on the polyphonic freedom of a keyboard instrument.
Raphael Preuschl
-
28 January 2022 · Interview
The San Diego Union-Tribune (Online): „Austrian jazz guitar star Wolfgang Muthspiel jazzed about pending San Diego debut concert“
George Varga
Interview with Wolfgang Muthspiel ahead of his first concert in San Diego. Asked about Austrian role models, he names, besides Joe Zawinul, his teacher Harry Pepl: an important guitarist with a sound of his own, a heavy player with a great sense of time, to him an international figure with his own voice.
There was also an important guitar player by the name of Harry Pepl, who was my teacher. He had a unique sound and was a heavy player, with a great sense of time.
Wolfgang Muthspiel
I think he was an international figure and definitely had his own voice.
Wolfgang Muthspiel
-
3 August 2019 · Interview
christianmuthspiel.com (ORjazzTRA Vienna, Interviews): Interview zum ORjazzTRA Vienna
Christian Muthspiel names four concerts in Graz that made him a jazz musician: Albert Mangelsdorff solo, the Carla Bley Big Band, the Art Ensemble of Chicago and the duo of Harry Pepl and Werner Pirchner.
And not to forget the fourth concert: Harry Pepl and Werner Pirchner.
Christian Muthspiel
-
19 May 2016 · Interview · DE
Die Presse (Online): „Kärntner Jazzer mit langem Atem“
Samir H. Köck
Interview with Wolfgang Puschnig on his 60th birthday. Puschnig names the seven years with Airmail, Harry Pepl’s band, as one of the highlights of his career; Pepl is only a side topic of the conversation.
the seven years with Airmail, the band of the guitarist Harry Pepl, who died in 2005
As a guitarist he was outside every norm. That opened up a new, more flexible approach to phrasing for me.
Wolfgang Puschnig
-
11 September 2014 · Interview
London Jazz News: „Interview: Wolfgang Muthspiel“
Interview with Wolfgang Muthspiel. He introduces “Air Love and Vitamins” as a piece by his former guitar teacher in Graz, Harry Pepl, and recommends Pepl especially for his rhythm.
He is an interesting musician to check out, especially in the rhythmical field.
Wolfgang Muthspiel
-
April 1998 · Interview · DE
Concerto (music magazine), issue 2/1998: „Man könnte Klavierspielen müssen“
Martin Schuster
Interview in the Café Museum in Vienna, conducted in connection with the solo piano CD “Flow”. Pepl talks about his beginnings, the Jazzzwio, the brief engagement with Benny Goodman, Real-time Composing and MIDI technology, and announces reissues of “Gegenwind” and “Montreux 81”.
I wanted you to be able to hear the room on the CD as well.
Harry Pepl
My main problem is my high blood pressure. Another contradiction: on the outside I may seem calm, but inside it races around in me like mad.
Talking to Martin Schuster of the Austrian music magazine Concerto in 1998, at the Café Museum in Vienna, around the time of his piano album “Flow”. Pepl speaks openly and with self-irony about the blood pressure that kept him off the stage from 1994/95, and about the contrast between outward calm and inner high voltage
Harry Pepl
I am a man of contrasts, often very funny or ironic and then very sad again. You can probably hear that in my playing too
Talking to Martin Schuster (Concerto, an Austrian music magazine) at the Café Museum in Vienna in 1998; the interviewer describes how Pepl speaks in a deep, gentle voice, giggles at a bon mot and turns serious again the next moment
Harry Pepl
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 on my nerves.
In Concerto in 1998, about the guitar, which he did not touch for a long time after 1994 because he feared the excitement; „auf den Wecker gehen“ (literally “to get on one’s alarm clock”) is colloquial German for “to get on one’s nerves”, and the remark is self-ironic. At the piano he then found a new freedom
Harry Pepl