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1956 | * in Hennef | |
| 1962-76 | Piano tuition | ||
| 1977/78 | Study of Music and Theatre Science in Cologne | ||
| 1979-86 | Study of piano | ||
| seit 1982 | Teaching post for piano at the Music Academy in Kassel | ||
| seit 1986 | Member of lecturing staff for piano and improvisation at the Music Academy and School of Higher Education Kassel. |
| When talking about his music Werner Kirschbaum says that in the piano improvisations he reflects on his own
life. This clearly is an understatement to be heard, for example, in his CD "it's
piano". Whether concerned with dramatic passages of time and events which have left a deep and lasting mark or emphasised banalities and superficial meetings, the piano is for W.K the means of passionate expression. Stylistically he thus creates a further variation of the Avantgarde-Jazz. "In putting together any particular programm it is my momentary moods and personal realities which play a decisive role. The development of the music is a process which runs parallel to the visionary creation of my pieces. What then remains is "simply" the concept - the composition. Only as long as no two concerts are identical can I remain musically alive. Thus the pieces are always heavily dependent on place, time and inner mood." As with "it's piano" the other recordings of Werner Kirschbaum all document his tendency towards originality and the unusual in music. As a child he was so fascinated by his father's tuba music that he soon wanted to learn an instrument himself and indeed received piano tuition at an early age. At twelve he could play all the Mozart sonatas. His brilliant and versatile playing mirrored the thorough classical training he had received through the Liszt greatpupil Eva-Maria Kaiser-Jühe, the Argentinian pianist and composer Diego Feinstein and the pianist Rudolf Buchbinder. Apart from the conventionally played pieces in the Free-Jazz style there are numerous other pieces in Werner Kirschbaum´s repertoire which experiment with techniques using the inner workings of the piano. This is achieved through striking, plucking and employing other sound potential hidden within the instrument. In addition, the musical dialogues as a result of their requirement of harmonic or percussive realisation, demand a high a high level of musical spontaneity from the pianist.. |
| Recordingsn | 1987 | Ragtime | ||
| 1988 | Uraufführungen | |||
| 1994 | gesture | |||
| 1995 | it´s piano |
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