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.
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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
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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
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25 April 1996 · Interview · DE
Tiroler Tageszeitung (culture section): „Den Musikern vorsingen, mit ihnen atmen“ (Werner Pirchner feiert in Kufstein sein Debüt als Konzertdirigent)
Rainer Lepuschitz
Interview with Werner Pirchner before his debut as a concert conductor with the Camerata academica in Kufstein. The article recalls that exactly 20 years earlier Pirchner had given his first concert as a vibraphonist in Kufstein, with the Jazzzwio together with Harry Pepl.
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 Pepl.
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9 December 1988 · Interview · DE
Wochenpresse (no. 49): „Saitensprünge“
Wolfgang Kralicek
Two-page portrait with an interview around Pepl’s Austrian tour in December 1988. It describes how “Cracked Mirrors” came about in the Wachau studio, with the drums added afterwards in Oslo, the Montreux and ECM (the renowned European jazz label) period with Pirchner and DeJohnette, and Pepl’s work in his home studio in Hernstein. The albums of 1988 are named.
I couldn’t care less that it’s called jazz.
“Wurscht” (literally “sausage”) is Viennese for “it makes no difference”. Said in an interview during his Austrian tour in December 1988, about his music being labelled jazz
Harry Pepl
The Austrian musician Harry Pepl is a man in demand internationally.
They were all thrilled. A sensation, really.
On the Jazzzwio’s performance at the Montreux Jazz Festival, Switzerland, in 1981, in an interview in 1988
Harry Pepl