Johannes Mössinger

Der Pianist aus Freiburg auf Tour

Johannes Mössinger






VI.
What kind of a feeling may it be when ‚Tequila and Salt’ go down one’s throat and the lemon juice on the tongue creates a mixture of dismay and lust. The juice of this magic drink from Central America derives from the heart of the blue agave, known by the brewers as the ‚House of the Moon’. The music reminds of a night sky with a full moon and stormy clouds passing by. The rapid baseline of the left hand reminds of the untouchable inner stability of our mystic moon which totally unimpressed turns around itself while everything else is considered lifeless or static.  What however this mood does with us, is another matter. Mark Twain knew already: Everybody is a moon and has a dark side which is not shown to anyone. Mössinger moves this tune through a whirl of emotions, somewhere in between devotion and being drawn by force. It is precisely like what is happening with our senses when wind and moon and fermented agave and salt are mixed into lustful astonishment.

X.
Improvisation is like a swarm of butterflies in the stomach but flying in formation.  ‚Invention’, is such a flight: the sparkling of tonal bubbles in a creative space. Pushing and drawing, sparkling and spraying, stumbling and flowing while new energies are constantly emerging since everything existing is permitted and also allowed to change.

XI.
Pictures of love are of an inside world. As Rilke phrased it „Through all entities the one space is sufficient“. “The world’s inner space. Birds fly quietly through us. Oh I, who would like to grow, look out and see the tree growing inside of me.”  ‚Pictures of Love’ could be the musical poetry for these words. From outside secluded rooms in which the grand piano receives wings. A piece with a beginning, since each love has a beginning once. But there is no end, the tune remains in expectation. The next sound is created this very moment und must yet still ring out.


XIII.
One is not quite certain whether the beginning is a melodic idea of Satie, Schostakovitsch or Bach, since those sounds have also influenced Mössingers piano playing. Or, when immediately afterwards it turns into a softly restraint jazz groove,  then possibly Keith Jarrett is sitting on his shoulder, or Wolfgang Dauner, or Joachim Kühn or perhaps even Thelonious Monk or Bill Evans. Possibly all of them together? A pianist of today is standing on the shoulders of giants. He needs a lot of balance to keep from falling down. And at the same time he can look into distant shores as did many greats before him. This tune with the mystic title ‚Juli P’ is the final one of Mössinger’s current recording. He faced whatever he turned out to be and fulfilled herewith this matching dream. There he stands now, on the shoulders of many and appears to be balanced out – ten years after his first solo album production "Spring in Versailles" – although not played out. Rather on a mature level, full of affectionate curiosity for sounds to come.  
                                Geseko v. Lüpke

 

Zeilen für Tourneedaten

  • 19.06.2013: Freiburg

Foto

Geben Sie das Passwort ein