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__________________________________________________________________________________susanna gartmayer   bass clarinet/contra alto clarinet   improvisation/composition
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Articles  

Frauen ohne herz und Phallisches Genie, Jungle World 2015
http://jungle-world.com/artikel/2015/04/51311.html

gartmayer/ernst/dieb13 Konfrontationen 2014 Day 1 
35th Festival for Free & Improvised Music @ Nickelsdorf, Austria
http://www.classicalite.com/articles/11313/20140910/review-konfrontationen-the-35th-festival-for-free-improvised-music-nickelsdorf-austria-andrew-choate.htm
excerpt: 
Gartmayer's range on bass clarinet is so extensive that no matter where the music goes, she can make that path shine. I really appreciated a moment when she played a soft birdlike series of notes, then repeated the cluster multiple times as Dieb13 started shaking the tables the turntables were on, literally rocking them, making them wobble and get seasick as if under attack from predatory birds. He escaped with speed by playing what sounded like a throng of motors revving. Gartmeyer added raindroppy froghopping using the articulation of the bass-clarinet's pads like wet lilypad kerplops; Dieb13 shifted into a tuned buzz and Ernst played cymbal strums like wind patterns suddenly made percussively existant. I was sitting, like most folks, in a linked series of chairs, so as people in my row started rocking back and forth as they grooved to the music, my body soaked up their pleasure from the backside.
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Andreas Fellinger, freiStil-Magazin 2014
Magische Momente - Die erstaunliche Musik von Susanna Gartmayer
MagischeMomente.txt

http://jungle-world.com/artikel/2015/04/51311.htmlhttp://www.classicalite.com/articles/11313/20140910/review-konfrontationen-the-35th-festival-for-free-improvised-music-nickelsdorf-austria-andrew-choate.htmpress_files/felix_susannatext.txtshapeimage_8_link_0shapeimage_8_link_1shapeimage_8_link_2
Downloads:

download fotos                      infoCV english               Kurzbio deutsch http://gartmayer.klingt.org/Pressfotos/press_files/infoCV_Gartmayer-1.rtfpress_files/Kurbio_Gartmayer.rtfshapeimage_9_link_0shapeimage_9_link_1shapeimage_9_link_2
Some Press Commentaries:  

On „Black Burst Sound Generator“, Duo with Brigitta Bödenauer, released 2020 on Moozak

Freejazzblog Jan 2021
BBSG has developed a minimalist, precise, and often ritualistic interplay but this interplay is also highly surprisingly colorful and totally unpredictable. Bödenauer and Gartmayer incorporate multi-idiomatic elements - electronica, IDM, ambient, and drone, but in every piece, BBSG succeeds to stretch their aesthetics furthermore and expand its vocabulary. The dark, woody sound of Gartmayers Contralto-clarinet is simply addictive and corresponds remarkably with the abstract beats of Bödenauer. Bödenauer and Gartmayer offer complex forms of drama, as on ‚Dauerwelle“ or the mysterious and cinematic Viola
https://www.freejazzblog.org/2021/01/viennese-electronic-dreams.html 

Musikansich Nov 2020
Der Sound ist schwer zu beschreiben. Die elektronischen Elemente sorgen für eine sehr atmosphärische und gleichzeitig interessant arrangierte Perkussion. Zusätzlich werden noch einige atmosphärische bis psychedelische Sounds mit eingespeist. Darüber spielt die Kontra-Alt-Klarinette zumeist sehr pulsierende Klänge, die sich dann auch zu durchaus eingängigen Melodien entwickeln. 
Ein absolut außergewöhnliches Album mit Klängen, die ich so noch nicht gehört habe.https://www.musikansich.de/review.php?id=21750

Unique Machine Nov 2020
There is a pleasing variety to the electronic textures found here, and it's often unclear exactly what the sound source is. Vintage drum machines are only a small fraction of what is heard. There's a lot of buzzing, grinding, chittering distortions and what would be often called 'glitch' in digital music today, only generated by clearly analog means, based on the way the tone sounds. The sounds are often 'granular' in that it seems tiny fragments are being repeated to create these 'grinding' percussive tones.
It's unusual to hear this level of creativity in sound design within the world of dark downtempo. This creativity with sound design I associate more with electroacoustic music and avant garde; this album serves as a bridge between these worlds.

Westzeit 2020
Bevor wir was zur herrlichen Musik sagen, erfreuen wir uns erst mal an der schlauen Herleitung des Projektnamens: Black Burst Sound Generator = BBSG = Brigitta Bödenauer und Susanna Gartmayer. Letztere kennen wir als innovative (Bass)Klarinettistin aus der Wiener ImproSzene, die Elektronikerin Bödenauer ist mir neu, begeistert hier aber mit schneidend scharfen und extrem transparenten Sounds, aus denen sie die rhythmischen Grundstrukturen flicht, in die sich Gartmayers Klarinette perfekt einfühlt. Das Ganze ist schön reduziert, mit ordentlich Hall unterlegt und von feinem Krach durchzogen. Dabei treffen sehr unterschiedliche Ansäàtze immer wieder neu aufeinander: analoger MundstueckZauber vs. digitaler Noise, kühle Distanz vs. impulsiver Lärm, Improvisation vs. Industrial. Und doch fügt sich auf dieser nur in 100er Auflage mit handgedrucktem Cover erscheinenden LP alles ganz wunderbar zu-, in- und an-einander.
https://www.westzeit.de/rezensionen/index.html?id=21764


On „Smaller Sad“, Duo with Christof Kurzmann, released 2020 on Klangfarbe

Sound Projector GB 2020
Austrian woodwindist Susanna Gartmayer blows a sweet blast on her bass clarinet, electing to work with an instrument not often heard in our chosen arena (I for one love the warm and deep sound of this earthen stick, especially when puffed by the great Eric Dolphy). Gartmayer scored a big hit in 2015 with her AOUIE album for CHMAFU and GodRec, has accompanied Maja Osojnik, and played in the Möström trio to make a concept album about whales. For today’s offering Smaller Sad (KLANG GALERIE gg348), she’s teamed up with Christof Kurzmann who adds live electronics – or perhaps synthesis might be more accurate – for four lengthy tracks of semicomposed / improvised minimal jazz pieces that aren’t really jazz, or especially minimal. Kurzmann (fellow Austrian) has shown up on numerous Ertswhile and Mikroton documents of EAI from around 2000 onwards, proving an adept at that particular genre, though he’s also a composer and did the highly unusual El Infierno Musical record in 2012 which piqued the literary interests of Dante scholars across Europe. What he’s playing here is mostly a piece of software called ppooll, about which I know less than zero, but must assume it’s capable of intensive audio manipulation and is entirely suited to the hands of a computer expert such as Kurzmann. Excellent engagement and focus from both players on these three studio cuts (and one live festival cut, methinks). My fave piece is the 8:57 ‘Smaller Forms’, though you may prefer the lengthy ‘Novi Sad’ at 16:36. Both cuts manage a successful balancing act between familiar, humanist sounds and the more alien tones emanating from the digital box. There’s also much to savour in the assured and unhurried way these two creators explore the imaginary space they create, without feeling any need to indulge in agitated chatter or over-cooked technique. The only possible exception to that is ‘Little Rage’, which incorporates voice elements, and turns into an episode in emulating throatsinging techniques; comes on a bit too strong for this listener at this time of the morning, but might work after two cups of java. Otherwise, a nifty set of wistful instrumentals with strong hints of melody and other userfriendly access points, including Gartmayer’s utterly faboo cover painting. 

Westzeit 2020
Die Bassklarinettistin Gartmayer haben wir hier ja erst im letzten Monat als Teil des Black Burst Sound Generators gepriesen und Herrn Kurzmann muss man in interessierten Kreisen auch niemandem mehr vorstellen. Schön, dass die beiden die Zeit fanden, für das Wiener Qualitätslabel Klanggalerie vier ihrer gemeinsam entwickelten Improvisationen für tiefe BläserTöne und schrille ElektroAkustikSchnipsel zu konservieren. Wobei uns das Infoblättchen wissen lässt: "Christof plays ppooll, rubber band and sings". Stimmt, gegen Ende des letzten Stücks erhebt Kurzmann sprech/sing/end seine sanfte Stimme, was "Novi Sad" auf so seltsame wie passende Weise erdet. Könnte sein, dass das Stück in Novi Sad entstand (was die schnöde Wahrheit ist), könnte aber auch sein, dass hier über dunkle QuantenTunnel eine arkane Verbindung zum jüngsten Buch von Clemens Meyer (vgl. WZ 11/20) besteht – die Wege der Kunst sind verschlungen und führen doch immer (gut: meistens), manchmal auch ganz unvermutet, zu einem (vorher nicht gekannten?) Ziel. 

..."Smaller Sad" is the very first collaborational album outing crafted and created by the two Austrian artists Susanna Gartmayer and Christof Kurzmann. Comprised of four tracks spread out over the course of 38 minutes we see Gartmayer combine the sound of her instrument of choice, the bass clarinet whose sound and sonic implications she has extensively explored throughout her career, with Kurzmann's take on rubber band playing and vocal techniques, opening with "Smaller Sad" which opens up the journey into a highly avantgardistic world with a short, Experimental Jazz-leaning intro followed by droning low end pulses in combination with bleeping computational signals and sparse, stripped down harmonic improvisations that could be best described as influenced by Jazz Noir with a deep melancholic late night twist. Following up is "Little Rage", a tune as yearning and seductive as the sirens in Greek mythology, pairing innate sadness with Kurzmann's well experimental take on multilayered, processed vocal performance and a heartbeat resembling pulse whilst "Dip" weighs in tender, somewhat subaquatic and minimalist Tribal percussions alongside, again, deep droning bass tones at the very end of the audible spectrum and looped, yearning background harmonies whereas the concluding, 16+ minutes long "Novi Sad" finally provides the nightliest, most Ambient-leaning intro sequence on this album, later on introducing busy, somewhat swampy and bubbling electronic background movements and elements of intense disharmonic off- kilter Avantgarde Jazz over the course of its playtime before turning into a highly intimate variation on Experimental Singer/Songwriter x PostFolk music. We're in for this. 
Vital Weekly 1257
One of the first things you notice about ‘Smaller Sad’, the new album by Susanna Gartmayer and Christof Kurzmann is how roomy it feels. I’m not saying there is enough space to house a 10ft sofa, couple of armchairs, a pool table that doesn’t encroach on a Persian rug, but there is definitely more space than your first room at uni. With this space, Gartmayer and Kurzmann can give their compositions room to move and grow. If the songs were tightly packed, claustrophobic things a lot of the enjoyment from them would be lost.
The standout tracks are ‘Little Rage’. Despite its name there is nothing little about this one. Opening with Gartmayer played a fantastically distressed bass clarinet while Kurzmann just builds the tension in the background is a masterstroke. As the tension swells, so does the bass clarinet. The phrases get longer and raspier Kurzmann’s vocals start. They sound like an incantation from Indiana Jones and the Temple of Doom, but more glitchy. As they progress, they start to take on the inflexions of the bass clarinet until its hard to tell the two apart. This is one of the most enjoyable portions of the albums, and one I didn’t want to end. As it gradually mutates before our ears the sound of a needle stuck in a records runout starts to kick in. This rhythmic loop adds another level of texture. All the while Gartmeyer has been playing a slightly gentler phrase that gets more abrasive as we reach the song's conclusion. The end of ‘Little Rage’ sounds like an emergency vehicle siren. But this leads to a question. Is the siren to warn us that it is approaching or that the song is coming to an end?
‘Smaller Sad’ is an enchanting album full of twists and turns. Each track offers up a kaleidoscope of sound and texture. Due to the improvisational nature of the recordings sometimes Gartmayer and Kurzmann get stuck in a corner and it takes a while before they figure a way out and back to more interesting avenues. A third of the way through ‘Smaller Forms’ it all feels a tad stagnant. The same clarinet motif is repeated too many times with either little variation from Kurzmann. These moments aren’t unenjoyable but to do throw you off a bit. Saying that, once they get back to the good stuff all is forgiven as the music is glorious. (NR)

Music Map 2020
L`album si compone di quattro brani, per una durata complessiva di poco inferiore ai quaranta minuti, nel corso dei quali perfettamente riconoscibile il desiderio di sperimentare, ma sempre tenendo a mente l`urgenza di costruire soluzioni discretamente melodiche. Lo si percepisce in diversi momenti nel corso dei primi minuti di „Smaller Forms“, prima di una coda ipnotica e ambiziosa, e in alcuni passaggi di „Little Rage“ nonostante Kurzmann immerga il pezzo in uno scenario 
fantascientifico. La seconda met“Smaller Sad“segnata da maggiore introspezione e da un sound decisamente spoglio, in „Dip“come in „Novi Sad“ ma album non perde affatto fascino e continua a rappresentare perfettamente un certo gusto per l`improvvisazione, confermando anche la solidi di una collaborazione artistica ormai matura. (Piergiuseppe Lippolis) 

soundcontest 2020
La quadripartita registrazione trova il suo epilogo negli estesi spazi di Novi Sad, d`espressione piu rarefatta e criptica rispetto ai rimanenti materiali, conformata quale livido e spoglio paesaggismo, con notevole potenziale per l`autoesplorazione introspettiva dell‚Äôascoltatore, riconducendoci non poco a certe visionarieta duali alla Teitelbaum-Braxton (nel miliare „Time Zones“) ed epigoni, fatte salve le differenze storiche ma senza reali soggezioni negli esiti qualitativi, rilevando il convincente carattere del materiale elettro(nico)-acustico qui esposto in virt√π di uno spirito virulento, ondivago e pettillant.


On „Green Album“, released 2018 on transacoustic records

african paper 2018
So oder so √§hnlich k√∂nne man beim unbedarften H√∂ren die Musik auf dem ‚ÄúGreen Album‚Äù beschreiben, aberman muss schon fest auf beiden Ohren sitzen, um nicht zu bemerken, dass hier noch etwas ganz anderes imGange ist. Bei genauerem Hinh√∂ren entsteht schnell der Eindruck, dass beinahe alles nach unbekannten, f√ºrden Instrumentenbau nur selten verwendeten Materialien klingt, die der Musik einen leicht provisorischen,dabei aber ausgesprochen originellen Sound geben.
Man k√∂nnte das ganze nun als interessant einstufen undden selbstironischen Humor anerkennen ‚Äì w√§re da nicht die Qualit√§t der Musik und der warme, ungewohnteSound des Ganzen, die auch unabh√§ngig vom Material einen h√∂chst kurzweiligen H√∂rgenuss garantieren.
http://africanpaper.com/2018/12/01/the-vegetable-orchestra-green-album/

ACL 2018 ~ The Happiest Music of the Year
Even the thought of The Vegetable Orchestra makes me happy ~ grown-ups carving instruments out of vegetables, performing together and later smashing and/or eating the sources of their sound. Sure, we could do this at home, but would we be any good at it? Probably not. The band has founded a new form of culinary art, and they are worth every vegetable pun thrown their way. Lettuce surprise you.
https://acloserlisten.com/2018/12/06/acl-2018-the-happiest-music-of-the-year/

Bad Alchemy 2018
... Während dabei 'Fasern', 'Beet-L', 'Hyperroots', 'Carot Pano Drama' und 'Bumpkin' mit dem extraordinären Instrumentarium wortspielen, öffnen 'Szemenye' und 'Bamako' den Horizont nach Ungarn und Mali, und ähnlich Gewitzte wie die Österreicher selber können 'In V' als Wink zu Terry Riley deuten. Im Minimal-Duktus gereihte Flötentöne zu knarzig-kratziger Percussion, pochendes und klöppeliges Rhim-plöm-plöm-plöm, komisch matschendes, animalisch erregtes Wahwah, in strammem Tempo automatenartig tockende Rhythmik mit Subwoofer-Wumme und Quietsche, stompendes und tockeliges Powwow mit Flötenalarm und Gefauche, nebulöser Trötengroove, knistriges Plonkplink in glissandierenden Harry-Partch-Farben, tröt-fiep-tutende Birdcall-Komik der Entenhausen-Philharmoniker, munterer Trollstomp mit Grunz- und Klappergroove und Gurkophon, Afroshake mit Rassel und Blockflötschockolade, Tamtam mit Gelaber und wimmerndem Theremin mit hohem Vitamin-C-Gehalt, kreischendes Gefiepe und eine Steppenbrandstampede,eine marimbaphone Klickklackklockmühle, abstüzender Fauchlauch und impulsiver Flötenbeschuss zu Ploptropfrhythmik mit viel Carotin, bis zur finalen Windmaschinen-Zwiebelreiberei mit cholerischem Wasserradi und querulanter Fiepe. Was für ein spektakulärer Trip in die Krauthecken, Kohlwälder und Rübendickichte. 
https://www.chaindlk.com 2018
The novelty value on this release is clearly strong on this one, and despite being established for almost twenty years and this being their fourth album, the ensemble will still command plenty of online column inches for the sheer quirkiness of „vegetable sound“ and the ten-piece‚ ability to perform complex instrumental works solely out of instruments made out of vegetables.
But beyond that, is this a release that you willingly listen to for more than just novelty value? Yes, it is.
Playful at times, and not shying away from the sheer silliness of what they are doing, nevertheless underneath the novelty the Vegetable Orchestra is a musically valid and interesting listen.

On „AOUIE - bass clarinet solos“, released 2015 on GOD&chmafu nocords

Bass clarinettist Susanna Gartmayer is a mainstay of the Viennese improvised music scene and Aquie, her debut solo release, is long overdue.(....)This piece opens with cascading note patterns - a springboard for Gartmayer to indulge in her wonderland harmonies and her palette of flinty percussive clicks and spits.
Guardian - UK

...Dass man es bei AOUIE - Bass Clarinet Solos mit einer Soloplatte zu tun hat, vergisst man schnell: Abwechslung, Kontraste, Drastik, luftige Soundsüprünge sorgen dafür, dass kein Solpsismus -Elend auftaucht. Auch Gartmayer ist davon beeinflusst, dass Instrumente heute normalerweise mit Maschinen verschaltet werden, sie setzt diesen länglichen Prügel (und einmal sogar die noch längere Kontrabassklarinette) gern als Darsteller tiefer Space-alien-Charakteristika ein.....
Diedrich Diedrichsen - Spex - D

...Gartmayer explores every nuance of her pipe, focusing as much on the pitter-pattering muddy ducks and pinball paddling of gasping valves and cored granadilla as the warbling tones exuded by the circular puff of her peers.
metropolis - single cream - UK

...Augenzwinkernder Quantensprung des Glücks zwischen den Stühlen. 
Danach sind alle Türen offen.
hhv_mag - D

...Ein Meisterinnenstück im wahrsten Sinne des Wortes.
Skug - A

... while the more vibrant movements of "O" is the icing on the cake 
of this multidimensional journey into bass clarinet sound.
chain dlk - US

Was die Wienerin in einer knappen halbe Stunde Spielzeit aus ihrer Bassklarinette 
an Geräuschen holt, ist einfach nur zauberhaft. (...)
... wie etwas beinahe Unvergleichliches. Tolle Platte!
Westzeit - D

... Gartmayer shows an interesting variety of possibilities and techniques, 
culminating into an excellent release. (FdW)
vitalweekly - US

Gartmayer hat ein kleinen aber universalen Kosmos zusammengespielt, 
der in seiner schlichten Vielschichtigkeit etwas Grundwesentliches zu entfachen 
versteht: Magie. Oder die Dinge singen hört man so gern. 
freiStil - AT

...Gebrochene Herzen kann man offenbar so oder so sammeln.
Bad Alchemy - D

Zo komt de texturale uitputting van de klankrijkdom van de basklarinet steeds dichterbij; van bijna ronkend rockend tot kwetterend als vogelgezang; nu gelukkig ook voor thuis.
kindamuzik.net - NL

Här bjuder hon på sju solostycken med mäktigt magstöd och en helt uppenbar virtuos läggning. Det är en mycket tilltalande platta, som ger ett spektrum av klangliga möjligheter. Hon har en fin känsla för själva resonansen.
sound of music - SWE

I’ve do doubt she’s an extremely talented and technically accomplished musician, and that to some ears this will be an exquisite work of musical genius, but for the rest, and me, it’s simply painful.
wisperin and hollerin - IRL


https://www.freejazzblog.org/2021/01/viennese-electronic-dreams.htmlhttps://www.musikansich.de/review.php?id=21750http://africanpaper.com/2018/12/01/the-vegetable-orchestra-green-album/https://acloserlisten.com/2018/12/06/acl-2018-the-happiest-music-of-the-year/https://www.chaindlk.comshapeimage_10_link_0shapeimage_10_link_1shapeimage_10_link_2shapeimage_10_link_3shapeimage_10_link_4
 
Foto: Lisbeth Kovacic                   Drawing: emil                            Foto: Lisbeth Kovacic
 
 
 
 
 
 
 
 
Foto: Peter Gannushkin                  Foto: Elvira Faltermeier                   Foto: David Murobi
     Fotos: Peter Gannushkin
Foto: Paul Zauner