15 Questions to Friedrich Gauwerky

Hi! How are you? Where are you?
At my desk.


What’s on your schedule right now?
Responding to questions.


Can you still remember the first time you heard a piece of classical music?
I can’t get on  the term “classical music” – what do you mean with it? Music of the Viennese classical period? The general use of this term apparently means all music which did not develop from the genuine folkloristic music of the USA (i.e. Jazz and music emerging out of it).


What was the deciding moment, which made you want to become an artist?
I never wanted to become an “artist” – this is always  fate.


What’s the hardest part about being a musician and what’s the best?
The hardest part of it is to have to deal with music – or what people generally understand of it – the omnipresent acustical pollution in our daily life from the Supermarket to the Hotel–Toilet. The best part of it is to have a small chance to have  unalienated work.


What constitutes a good live performance in your opinion? What’s your approach to performing on stage?
To be as I am.


How do you balance the need to to put your personal emotions into the music you play and the intentions of the composer?
There is never any “need to put ... personal emotion into the music” – the emotion is simply there or it is not. It’s as easy as that - the intentions of the composer are always seen through the interpretors' view – that is the fascinating matter with all reproductive arts.


In which way, would you say, is your cultural background reflected in your performances?
Subconciously penetrating every moment.


How would you describe and rate the scene for classical music of the country you are currently living in?
Could you please stop using the term “classical music” – I know only real music (i.e. music which is made to be listened to in order to evoke an aesthetic experience) and music which is made for other reasons – like (as in 95% of what is generally called “music” ) to drug up people and to enhance economic growth. As such I notice that the situation for music of serious endeavor  is as devestating as hardly ever before in history – at least much worse than Adorno described it for his time


Do you consider it important that more young people care for classical music? If so, how, do you think, could this be achieved?
Hardly anybody realy cares for music nowadays, all of us however are permanently treated with music. The situation is almost completely determined by the economical system of the market economy, with the permanent need to achieve economical profit – a change must start at the fundamental basis of a society, which is determined by the rules of money and capital.


How would you rate the importance of the internet and new media for classical music?
The Internet and Media could have a wonderful meaning for communication of music and arts – but the permanently growing dominance of economic gain–iterests restrict serious endeavours more and more


What’s your view on the relationship between musical education and classical music?
Musical education nowadays is almost helpless against the terror of the cultural industry  


You are given the position of artistic director of a concert hall. What would be on your program for this season?
Music which tries to escape any kind of marketing - ability.


How would you describe the relationship with your instrument?
It is part of myself.


Have you ever tried playing a different instrument? If yes, how good were you at it?
With all instruments I play I try to express myself as well as ever possible, The degree in which I am sucessful in this sense should be judged on by those who listen.


Discography:
Danziger Barockmusik (Danziger Verlagsgesellschaft)
Danzinger Hochzeits- und Kammermusik (Danziger Verlagsgesellschaft)
F. Pütz: "Cello Musik" for Violoncello Solo (AMP)
Ch. Delz: Klavierquartett (Grammont)
Klaus K. Hübler: "Feuerzauber" for Violoncello, 3 Flutes and harp (Wergo/Deutsche Grammophon)
Richard Barrett: "Ne songe plus a fuir" for Violoncello Solo (Etcetera)
Brian Ferneyhough: "Time and Motion Study No.2" for Violoncello solo and electronics (Etcetera)
Australian works for Violoncello solo (ABC Classics)
"Friedrich Gauwerky Cello solo" (Albedo)
Rainer Linz : "The Rehearsal" (NMA Publications)
Richard Barrett: "Furt" (Matchless Recordings)
Richard Barrett: "Von Hinter Dem Schmerz" for Violoncello solo and Ensemble as part of "Opening of the mouth" (ABC Classics)
"From Johann Sebastian Bach to Bernd Alois Zimmermann" (BME)
"Bernd Alois Zimmermann,Chambermusic" (Albedo)
"brave new world prosodisch" (Klanglogo)
"John Cage, Solo for 'Cello" (WERGO)

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Friedrich Gauwerky