Austrian trumpeter Franz Koglmann (1947) debuted in the 1970s.
Bill Dixon's Opium contained the 17-minute For Franz (august 1976) performed by a quintet with two trumpets (Dixon and Koglmann), tenor saxophone, bass (Alan Silva) and percussion. The rest of the album (recorded between december 1975 and november 1976), contains compositions by Koglmann and features Franz Koglmann on flugelhorn and Steve Lacy on soprano sax except one piece that is an early electronic experiment with Gerd Geier on computer and Toni Michlmayr on bass.
founded the Chamber Jazz Emsembles Pipetet that debuted with Schlaf Schlemmer Schlaf Magritte (december 1984), a vehicle for his brainy scores that embedded everything from Arnold Schoenberg's dodecaphony to swing to free jazz, all done with a Dadaist attitude worthy of Pere Ubu (notably in the four-movement Tanzmusick Fuer Paszstueckem).
Evolving through fragmented albums such as Ich (october 1986), his manyfold art of composition and deconstruction bloomed on the nine-movement suite
The Use of Memory (october 1990), almost a colossal compendium of
20th century music.
Orte Der Geometrie (november 1988) featured
alto saxophonist Guillermo Gregorio,
soprano saxophonist Roberto Ottaviano,
Jean-Christophe Mastnak on French horn,
bassist Klaus Koch,
trombonist Rudolf Ruschel,
tuba player Raoul Herget,
clarinetist Martin Schelling,
pianists Ran Blake and Robert Michael Weiss,
oboe player Mario Arcari,
guitarist Burkhard Stangl,
drummer Fritz Hauser,
"conductor" Gustav Bauer.
A White Line (november 1989) was a collaboration with an ensemble conducted by Gustav Bauwer: Jean-Christoph Mastnak (flugelhorn), Raoul Herget (tuba), Mario Arcari (oboe), Tony Coe (clarinet and tenor sax), Helmut Federle (accordion), Paul Bley (piano), Burkhard Stangl (guitar), Klaus Koch (bass), and Gerry Hemingway (drums).
A theorist not so much of post-modern but of post-classical music, Koglmann continued to rehearse a cryptic vision of music on albums such as L'Heure Bleue (april 1991) only to unleash another massive, powerful reconceptualization of the century's music with Cantos I-IV (october 1992) for orchestrated improvisers.
Koglmann had coined a moving music of contradictions, misunderstandings and, ultimately, of mistakes.
His monumental and demented synthesis of improvised and composed music continued on O Moon My Pin Up (march 1997), explicitly dedicated to poet Ezra Pound.
After Make Believe (november 1998) for a quintet, he also ventured outside chamber music with the electroacoustic opera Fear Death By Water (march 2003) and the "imaginary play" Let's Make Love (september 2004).
One of the greatest composers of his generation, Koglmann metabolized the past in order to create the future.
Lo-lee-ta (2009) was inspired by Vladimir Nabokov's texts and performed
by the Monoblue Quartet (Tony Coe on clarinet/alto saxophone, Ed Renshaw on guitar, Peter Herbert on bass).
Join! (Orf, 2014), the first album in five years, is a sci-fi opera,
premiered in may 2013, for seven opera singers and a chamber ensemble.
G(ood)luck (april 2015) documents a trio with
Mario Arcari on English horn and oboe, and Attila Pasztor on cello.
A septet with John Clark (french horn), Mario Arcari (oboe, english horn), Daniele D'Agaro (clarinet, bass clarinet, tenor sax), Milan Turkovic (bassoon), Attila Pasztor (cello), and Austrian Peter Herbert (double bass) recorded Fruits Of Solitude (september 2018).
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