<\/p>\n
Roger Hanschel & Auryn Quartett Auryn Quartett – <\/p>\n “Years of the fifth period”<\/strong> CD eingespielt:<\/em> <\/p>\n The saxophone plays a long, lonely melody. The tones seem to get lost in a vast, empty space, but before that happens, other voices speak up – string instruments. They sink into one’s ears and, through their nervous, slow steadiness, start to excite – <\/span><\/p>\n Roger Hanschel approaches classical music from another angle. What may initially appear as constant or slowly changing repetitions of patterns in unusual metres – offering the platform for lyrical excursions, expressive outbursts or virtuoso escapades, often but not always by the saxophone – reveals itself to be a metamorphosis of classical forms of composition in an unaccustomed environment, of themes that wander through the instrumental parts and much more. Indian music emerges, sequences of tones that sound Ottoman, minimal music, jazz in all forms and variations and indeed, “classical music” – but honestly, what does “classical” mean today? A clich\u00e9 by which each person understands something different. Reason enough, then, to follow the Auryn Quartet’s need to do something different in between. Incidentally, the Auryn Quartet embarks on such excursions from ist ancestral “conventional” world time and time again. Here, they offer the well-known Cologne “Saxophone Mafioso” Roger Hanschel an opportunity to show his mastership in both composition and improvisation. With insatiable curiosity, Roger Hanschel has absorbed the various components of world music and created his very own personal mixture from it. And he is a stupendous virtuoso who knows how to apply new playing techniques – including permanent breathing, for example – in a (not?) breathtaking way. <\/span><\/p>\n <\/p>\n 15 Years after his first Collaboration with the Auryn Quartett Roger Hanschel composed once more a program for saxophone and stringquartet. Roger Hanschel approaches classical music from another angle. What may initially appear as constant or slowly changing repetitions of patterns in unusual metres – offering the platform for lyrical excursions, expressive outbursts or virtuoso escapades, often but not always by the saxophone – reveals itself to be a metamorphosis of classical forms of composition in an unaccustomed environment, of themes that wander through the instrumental parts and much more. Indian music emerges, sequences of tones that sound Ottoman, minimal music, jazz in all forms and variations and indeed, “classical music” – but honestly, what does “classical” mean today? A clich\u00e9 by which each person understands something different. Reason enough, then, to follow the Auryn Quartet’s need to do something different in between. Incidentally, the Auryn Quartet embarks on such excursions from ist ancestral “conventional” world time and time again. Here, they offer the well-known Cologne “Saxophone Mafioso” Roger Hanschel an opportunity to show his mastership in both composition and improvisation. With insatiable curiosity, Roger Hanschel has absorbed the various components of world music and created his very own personal mixture from it. And he is a stupendous virtuoso who knows how to apply new playing techniques – including permanent breathing, for example – in a (not?) breathtaking way.<\/p>\n <\/p>\n <\/p>\n \u201cRoger Hanschel\u2019s composition cycle is intelligent chamber music with small improvisational insertions. It integrates various ethnic and historical idioms, as well as enlightened Cologne Jazz, serial and spontaneous music, all in a tight space and with well-considered concise means…. Hanschel composes far from the mainstream and at the height of the times like few others …. Hanschel exemplifies the same intelligent-integrative agility as a performing musician on the saxophone as he does as a composer. Technically he has everything at his disposal what we today call virtuosity and his culture of sound is breathtaking.<\/em>\u201d\u00a0\u00a0\u00a0\u00a0\u00a0 Frankfurter Rundschau<\/em>, 15 January 1998<\/strong><\/p>\n <\/p>\n \u201cThe serious rigor of the string quartet, the exemplary genre of classical music, and the improvisational freedom with which Roger Hanschel often raises this saxophone over the foundation of the string movements\u2014both together retain their intrinsic value in the inner courtyard of this historical museum. Until the tones penetrate each other, mix into something new, for which the fashion word \u2018cross-over\u2019 is probably too worn out for Hanschel.<\/em>\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Frankfurter Rundschau<\/em>, 16 August 1999<\/strong><\/p>\n <\/p>\n \u201cVery seldom did he use the strings to deliver supporting sounds in order to have a good romp over them, or as background. No, Hanschel incorporated the quartet into his playing for its varying tonal colors, dense melody weaves and minimalist tonal paintings. One time, though, the woodwind took off in an interlude: a virtually endless monologue which used circular breathing and was loaded with effects, constructive and virtuous. No doubt, Hanschel is a perfectionist.<\/em>\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 K\u00f6lner Stadt Anzeiger<\/em>, 16 January 1998<\/strong><\/p>\n <\/p>\n \u201cThe music develops magnetic powers and polarizes. Whoever comes under its spell can lose himself in it.<\/em>\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Frankfurter Allgemeine Zeitung<\/em>, 14, August 1999<\/strong><\/p>\n <\/p>\n \u201c… in his compositions Hanschel combines contemporary classical music and his experiences with jazz and improvised music into expressive and varied tonal images. Most of the time the saxophone stands on an equal basis with the strings and its rich over-tone sound complements and mixes excellently with them. The string movements are very carefully worked out and cleverly use the possibilities of the instruments.<\/em>” \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bonner Rundschau<\/em>, 14 January 2002<\/strong><\/p>\n <\/p>\n \u201c… music for the head and belly\u201d is what he has composed, says Roger Hanschel. He\u2019s right, since what the exceptional saxophonist has succeeded at doing with this project \u2018years of the fifth period\u2019 cannot only be understood as an intellectual pleasure, but also a sensual one<\/em>….\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 General-Anzeiger Bonn<\/em>, 14 January 2002<\/strong><\/p>\n <\/p>\n \u201eWhat first catches the attention is the lightness with which Hanschel succeeds in melding the sound of his saxophone with the so homogenous sound of the string quartet. In order to reach this, he uses his perfect intonation and a clear and clean sound, often without vibrato.<\/em><\/p>\n It is a matter here of a way of playing that is more similar to a classical musician of the French school than to a North American saxophone player. Using an aesthetic that prefers a sound of a sophisticated perfection, Hanschel fits conventional playing techniques into a naturalness that makes one forget how difficult the performance really is<\/em>\u201c.<\/p>\n Martin Liut, Buenos Aires 2001<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Roger Hanschel & Auryn Quartett “Niederschlagsmengen”\u00a0\u00a0 nominated for the “Jahrespreis der deutschen Schallplattenkritik” 2015. Musik f\u00fcr Saxophon und Streichquartett von Roger Hanschel Auryn Quartett – Mathias Lingenfelder Jens Oppermann Stewart Eaton Andreas Arndt “Years of the fifth period” Musik f\u00fcr Saxophon und Streichquartett von Roger Hanschel CD eingespielt: Frankfurt Contemporary Quartett – Freya… <\/p>\n
\n“Niederschlagsmengen”\u00a0\u00a0 nominated for the “Jahrespreis der deutschen Schallplattenkritik” 2015.<\/strong>
\nMusik f\u00fcr Saxophon und Streichquartett von Roger Hanschel<\/em><\/p>\n
\nMathias Lingenfelder
\nJens Oppermann
\nStewart Eaton
\nAndreas Arndt<\/p>\n
\nMusik f\u00fcr Saxophon und Streichquartett von Roger Hanschel<\/em><\/p>\n
\nFrankfurt Contemporary Quartett –
\nFreya Ritts-Kirby – violin
\nJagdish Mistry – violin
\nSusan Knight – viola
\nMichael Kasper – cello<\/p>\n