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Austrian trumpeter Franz Koglmann (1947)
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. 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.
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