Spiegel im Spiegel [Mirror in the Mirror]

Spiegel im Spiegel Hans-Joachim Hessler:
Mirror in the Mirror

A programmatic improvisation on four stories from the cycle of the same title by Michael Ende.

"...the quintessence of my producing sofar..."
(Hans-Joachim Hessler)
...with the terrific Matthias Schubert at the tenor saxophone...
»Hessler & Schubert reaped enthusiasm«
(Rheinische Post dated July 07,2009)
...with jazzband, church organ, string quartet and orchestra...
...after the correspondent Labyrinth of the master-narrator Michael Ende

"Hardly anyone knows that Michael Ende, the terrific creator of the Neverending Story, also wrote texts for adults - for example his prose volume The Mirror in the Mirror, a series of absurd and surreal reflections that turn our usual perceptions upside down. The idea of mirroring also fascinated the composer and pianist Joachim Hessler - after all, mirrorings, reversings and canons have been well-known musical techniques ever since the middle ages. Hessler mirrors four narrations of Ende's work with musical refinement and connects coposed and free passages so elaborately that the Berlin tenor Matthias Schubert, who considering his amazing scope belongs to the strongest saxophone players of Germany, can play out his entire emotionality. A dazzling reflex which, illuminated by Ende, surpasses usual expectations« (Traumzeit, July 6, 2009)

The "participants combined composed and free passages in such a way that they created a dream-like world of sound..." (Coolibri 4/2012, p. 28).

"So when a musician undertakes a programmatic improvisation from the cycle [Mirror in the Mirror by Michael Ende], the circle of painting, literature and music is complete. [...] As frontier runner between contemporary composition and free improvisation, Hessler dedicates himself to his concept of »conceptual discontinuity« with creative plenty, musical finesse, high emotional denseness and partly almost unsettling intensity - thereby creating an own labyrinth of mirroring, surreal, poetic, filled with warm light" (Tobias Boecker in Jazzpodium 7-8/2012, p. 84)

"The main thing is that it is good. And it is good. Ende's text »Heavy black cloth« (track 2) deals with a dancer who waits for his performance which will never take place. This dance, as it is written in Ende's text, is supposed to begin »with a mighty drumbeat«. In the text, which artistically marks time, the releasing drumbeat never occurs. The music, however, delivers it after exactly 6:29 minutes, and then the dance begins: wild, frolic. In another text of Ende, the music delineates the traces, which an ice-skater, in a sophisticated way, draws in the sky with his ice-skates (track 4). Here, the beautiful transitions surprise: in the middle of this piece of music, there is a passage which at first sounds like a popular catchy tune from a fully air- conditioned hotel lobby in Las Vegas. However, the way in which the tenor saxophone (Matthias Schubert) then frees itself from the dialogue with the piano (Hessler) and celebrates odd obstinacy in a most profuse way - that is classy" (Jens Sparschuh, newspaper DER TAGESSPIEGEL Nr. 21399, dated July 22, 2012, p. 28).

"Ideologies, in relation to a «contemporary» language of sound, are unknown to the composer Hans Joachim Hessler. His competence in style allows him to engage with alternations between free-tonal and a-tonal music, between composed and improvised passages, between quote and original. The composer documents this again clearly in his four programmatic improvisations «mirror in the mirror». It becomes clear in the programmatic improvisations on Michael Ende's texts that irony and satire are well-known to Hessler. A precursor to Hessler's surreal streak can be seen in the string quartet «Dance in the bird cage», which with its sounds of flamenco shows folkloristic allusions. The orchestra piece «Nabuli Tintin» of 1999 tells a lot about Hessler's constantly searching and wide-ranging spirit as a composer. As a homage to Arvo Pärt, whose Tintinnabuli-style (Glockenspiel-style) led, in the 1970s, out of modernity, which he felt had no future, «Nabuli Tintin» demonstrates the multifaceted possibilities of «postmodern» composition" (Dr. Barbara Dobrestsberger in Glarean Magazin, dated July 6, 2012).

Matthias Schubert - tenor saxophone
Hans-Joachim Hessler - organ, piano, keyboards
Stefan Werni - double bass, electronic
Klaus Wallmeier - drums, voice

National Philharmonic Orchestra Brasov, Rumania
Director: Ovidiu Dan Chirila

Michael Nachbar - violin
Ogtay Zeynalou - violin
Benjamin Nachbar - viola
Ludmila Pefritschenko - violoncello

NonEM-Records AAM9414

More Than 777 Years

More Than 777 Years Hans-Joachim Heßler:
More Than 777 Years

A stroll through
the history of music

"Hans-Joachim Heßler arouses
archaic allegros on his keys."

"Anyone looking for a connection
to the history of music and religion in Hessler's new recording will find it. [...] Piano music to be enjoyed."
(Dresdner Universitätsjournal)

"The listener has manifold chances to gain a new understanding of music. It has also become clear here that the act of overcoming borders doesn't need to result in a sound muss."
(Neue Westfälische).

"Hans-Joachim Hesslers piano solo taught listeners
how intensely music can be experienced in a physical way. During the solo the pianist seemed to completely become one with his instrument."

"Hans-Joachim Heßler captivated
[his audience] with an energetic presentation and theatrical drama."
(Westfälisches Volksblatt)

"The extraordinary artist presented a
highly exciting musical evening
and fully convinced the audience."
(Westfälischer Anzeiger)

"...[various] influences can be found in a unique, very personal and intensely felt fusion[...],
transcending space and time with the capacity of musical integration."

"There is no blurring, no flattering, no courting the audience. Rather, this directness conveys a deep seriousness of the musical matter, as if the man at the piano simply wanted to tell us something true."
(Dr. Barbara Dobretsberger, lecturer in musicology at the University Mozarteum Salzburg).


Sample 1: Danse de la Renaissance (Beginning)
Sample 2: Balet Bartok (End)
Sample 3: Improvisation sur une sonate de Domenico Scarlatti (excerpt)
Sample 4: Danse turque (End)

NonEM-Records AAM9416

Der Tanz auf dem Vulkan [Dance on the vulcano]

Der Tanz auf dem Vulkan Hans-Joachim Hessler:
Dance on the vulcano

Recording of the concert on November 11, 2006 at the Paulus Church in the north of Dortmund

Hans-Joachim Hessler - organ, piano
Stefan Werni - double bass, Virus-synthesizer
Klaus Wallmeier - drums, percussion, voice

NonEM-Records AAM9407

Image: D. Paley, under the Creative Commons Attribution-ShareAlike Licence in the version 2.0

Modus Toni - Tonus Modi

Modus Toni Organ works by Hans-Joachim Hessler (Nabuli Tintin, Evocation Nr.2, Weil seine Bewohner Böses tun...[Because its inhabitants comit evil],
G.F. H.A.E.)

recorded on December
12-14, 2006 in the catholic church Herz Jesu [Heart of Jesus], Bottrop

Hans-Joachim Hessler, Thomas Klein, Ulrich Prenger and Felix Schoppmeier - organ

NonEM-Records, AAM9405

Sound example 1: A.C.D.E.B. (beginning)
Sound example 2: G.F.H.A.E. (extract)
Sound example 3: Morgenstern-Meditation [Morning star meditation](ending)


D.A. Microelectronic and Mechanical Movements

recorded on August 7 and 8, 2007 in the catholic church Herz Jesu [Heart of Jesus], Bottrop

Hans-Joachim Hessler - Rensch organ (4 manuals, 56 registers), diverse percussion instruments
Stefan Werni - Virus Redback, Virus TI and Yamaha DX7 synthesizer, 1/4 violoncello
Christian Jendreiko - Virus Indigo synthesizer, Hohner SG 57 electric guitar

NonEM-Records AAM9406

Image: S. Jurvetson, under the Creative Commons Attribution-ShareAlike Licence in the version 2.0

Kaleidoskop #1

Kaleidoskop #1 Hans-Joachim Hessler:
Kaleidoskop #1

Recording of the concert »Organ and drums« on October vom 2, 1999 in the Heilig-Geist-Kirche [Holy Ghost Church], Munich

Hans-Joachim Hessler, organ
Hans-Juergen Kanty, drums

NonEM-Records AAM9402

Image: H. Pellikka, under the Creative Commons Attribution-ShareAlike Licence in the version 2.0

Continuum contra Punctum

Continuum contra Punctum Compositions by Hans-Joachim Hessler and Stefan Werni

Recording of the concert on June 28, 1997 in the context of the jazz festival of the University of Dortmund
Live from the Fritz Henssler house

Katharina Herzig, violin
Stefan Werni, double bass
Michael Koball, marimbaphone
Hans-Joachim Hessler, piano

NonEM-Records, AAM9404

Bist du ein Mensch, so fühle meine Not [Are you human, then feel my distress]

Ab-Art-Trio Works by Hans-Joachim Hessler (Ein leerer Traum des Glücks [An empty dream of happiness], S.L.Y., Claude und der ungerade Takt [Claude and the uneven beat], Der Bilderbuchmond [The storybook-moon]) and Ulrich Blomann


Gesine van der Grinten, mezzo-soprano
Hans-Joachim Hessler, piano
Ulrich Blomann, saxophone

NonEM-Records AAM9401

Sound example 1: Claude und der ungerade Takt [Claude and the uneven beat]
Sound example 2: S.L.Y.

Bergaufsicht [Mining authority]

Bergaufsicht A multi-media art experience at the forest fallow and in the machine hall of the former coal-mine Teutoburgia in Herne
September 19-22, 1991

with Hans-Joachim Hessler, piano

Picture and sound documentation, published by the development association Teutoburgia e.V., Herne 1992

CD fn-music 910919 - out of stock

Sophisticated Jazz and Pop

Hans Joachim Hessler (Archibald Ammann):
10 Well-Tempered Appearances Of The Blues


MARA-Records, AMA 626641