Zentralnerv.de 1998

Hubert von Goisern returns after four years with a picture of sound

Photo: Bernd Schweinar

Illegally travelling to Tibet outweighed the feeling in Africa. In Tibet it was more the emotions. Tibet "happened" to Hubert, "because there was an enquiry and a political problem". Nevertheless he he also "came to this subject via music". Music, which for him "only palpable - was not comprehensible!" An exiled Tibetan woman living in Austria had asked him to support a tour of Tibetan musicians and dancers. In order to bring to the attention of the Austrian population the fact that Tibet exists and that it is an occupied country, he committed to the tour and was "quite fascinated by this culture".

"Afterwards I needed another two weeks and said to the exiled Tibetan: "Come, now we'll go to Tibet". The journey took place "in very adventurous ways", channels, about which he could not say anything "out of reasons of safety for the other exiled Tibetans". Hubert had agreed with friends that he would telephone them once a week. If he should miss a call, his friends would have alerted the public. The decision to travel was very difficult for the exiled Tibetan, who had not been in her homeland since she was two because of her Swiss passport, but then all doubts were stripped away.

Hubert von Goisern: "I was convinced that the stories I had heard beforehand had a large amount of propaganda in them." He found that "not just every negative confirmed", it had been much worse. "For the first time in my life, I experienced what liberty means, because up until then I had not experienced a lack of freedom," he says. In Tibet there is "a network of informers and an arbitrariness of power", to which one is "always and at any time exposed". Nothing has to happen, but something can happen at any time: "this awareness wears you out". A still agitated Hubert von Goisern: "you never know whether you are opposite a friend or an enemy. This uncertainty and this distrust shapes everything there! - it is dreadful".

He returned from Tibet charged and "with great need to talk to others". He wrote reports about the journey, gave press conferences and noticed: "I'm threatening to become a journalist, reporting on political conditions". However, he is still at his "most understandable and honest", if he shows what he feels with music. He then took up contact with the Tibetan Institute of Performing Arts in the north Indian Dharamsala and the artists, whom he knew from their Austrian tour, and invited them to record in Austria.

He saw himself more in the producer role for the CD Inexil/ Tibet. "I said to the Tibetans: Let us express what moves you, your current dreams and suffering with your musical traditions - but also with what has basically become a part of your tradition". But with that he was in the middle of an elementary conflict situation. Only two of the musicians had ever even been in Tibet, the remainder of them were born in exile. In India, they were shaped daily by Hindi Pop and western music. What these young musicians present on the stage in the evening, is in their eyes a "preservation of tradition, comparable with a showcase in a museum". But this generational conflict does not differ in any culture around the world: "It reminded me greatly of how it was 15 years ago with our folk music - a pure maintenance of tradition which had nothing to do with here and now."

The work with the Tibetans required patience. "I said, when you sing a song, with lyrics and a melody too, which carries something particular, then I want you to live it!" That was "something very new" for them. Sherap said: "I sing the words, but I do not feel anything, it is no different from when I eat." Hubert von Goisern contradicted: "But that's impossible! You must become this figure! Actors do it no differently and slip inside a role. A musician must have this courage too".

So, as Pasang presented with the joint song Kham Lu during a recording for the Bavarian television (Songs an einem Sommerabend, transmission date: 4th September 1998, 7.45pm) at Kloster Banz in Upper Franconia and penetrated the emotional life of the 4,000 people in the audience, Hubert's work nevertheless bore fruit. "Pasang has a magic, that gets under your skin" and Hubert's own enthusiasm is noticeable in his words. His contribution for Tibet can be altogether only a showing of pure solidarity. With the release of this CD, this phase has ended for him for the moment. He has visions and ideas, as to how it could continue, but whether the Tibetans would come again on a tour to Europe or possibly be a part with his tour, he could not influence. Hubert: "It must be of interest to the Tibetans for this collaboration to continue".

Goal: own album with tour in 1999

He still doesn't have new songs in his head, but he feels "an immense music making feeling". There is a lot that wants to come out of him. "I have an almost physically palpable feeling of what I would like to translate into music", Hubert von Goisern gesticulates with his hands. Starting from September he must "identify and make it audible", so that concrete numbers come from it. In the winter he would like to record the new CD so that he could end the time of his absence from the stage with a tour in spring 1999.

His contributions to Gombe and Inexil show that the tendency level could turn out onomatopoeic. Hubert von Goisern: "in me is a certain need to make the music more international. When I sing dialect, it is very regional. If I use yodelling against it, using the voice as an instrument, then I can do that exactly the same in Africa or Tibet, as in America." But that would not strictly mean that he departs from lyrics. That is rather a dimension, which he has sometimes put aside because he primarily wants to make music: "music is the coolest language for me - the moment where words come in, you restrict the room for interpretation a great deal because you're dictating to people that there is something quite special to feel because it's the story of whatever". Music as such he sees more freely and wants to dive more deeply into it too.

He also wants to let his "alpine musical tradition" flow further into the music, saying that he "will never sing Tibetan songs" himself. On the other hand he regards arriving in Africa and Tibet as luck rather than by coincidence. Thus for him "everything is now opened again": "I had to completely forget my traditional ways of acting and thinking, had to smash them in order to be able to penetrate other traditions", he reflects and continues with internal satisfaction: "I feel that I have completely picked my terrain to pieces again, everything was smashed to pieces and I can begin again with zero. I will cultivate new things and see what comes from them."

For three years he did,'t pick up his accordion: "I didn't want to mechanically tip into what had worked so well for me". He has become rather awkward on the accordion, but "that's unbelievably good for me". Now he must provide a completely new approach to these sounds again. Apart from his earlier keyboarder there will be nobody else from the Alpinkatzen with him: "I must get myself those people, who in basic type suit my new music and do not have to go through a reincarnation". Reinhard Stranzinger is an excellent blues and rock musician, but he could not have forced him into his new music, "just as little, as the Austrian national coach Prohaska could not urge the ingenious midfield player, Andreas Herzog, into the lonely spearhead of the attack at the World Cup".

He hopes to experience that a part of his earlier audience is curious enough to see what occupies him at the moment, and then "to listen impartially with open ears". A great deal has become exotic and he feels the danger that the fans could think: "Yes! Interesting! But what about the future?". This danger exists, but when he - differently from the 15 minute BR recording, which he regards as rather a doubtful clip - can play his full program, he also has the chance again to communicate his music to the public.

Bernd Schweinar

2nd October 2002

These photos were taken in 1998, when Hubert von Goisern performed some songs from Inexil live with a new band - including Pasang Lhamo from the TIPA, Stefan Engel from the Alpinkatzen and Burkhard Frauenlob, who played in Hubert's band from 2000 - 2003.

Photos © Bernd Schweinar | Click to enlarge | More photos at www.allmusic.de

Salzburger Nachrichten 8th November 1997

Hubert von Goisern produces something Tibetan

"I would like to give folk music back to young people. Those who want to listen to it are becoming ever fewer. And we, we just protect our tradition - instead of following the young generations." When Sonam Phuntsok said that, he and his friends stood at the beginning of a bold project.

Sonam is an opera singer, one of the best in his ensemble. He was trained in a strict tradition, in one which has remained unchanged for centuries. In the meantime, Sonam has become a teacher himself. And passes on what his teacher had passed on to him: the art of Tibetan opera.

This art is well looked after in one place in the world. In Dharamsala, north India, exiled Tibetans congregated in the face of Chinese occupying forces in order to protect their culture.

In Salzburg, four of them ventured to do what nobody before them had dared to: he lead the old music into the twentieth century. Into the alpine twentieth century to be exact. For the producer, leader and ideas supplier is Hubert von Goisern.

For six weeks, Sonam, his colleague Jamjang Chönden, as well as the singers and dancers Sherab Wangmo and Pasang Lhamo lived with the Goiserer under one roof. Place of the events: Hubert's house in the city of Salzburg, fitted out with one of the best equipped recording studios. "What we now have in material is the dream of every musician," Hubert says of the result of a week of work. "It is the first time that something like this has happened. We will see how people react," commented Sonam on the musical summit meeting. A good dozen songs were recorded.

They deal with the Panchen Lama, "Tibet's youngest prisoner", a five year old child who is definitely the next Dalai Lama and who is detained by the Chinese at an unknown location. They deal with Sixth Dalai Lama, who in the seventeenth century preferred to spend the nights down in the city in the shadows and with women, than above in the holy palace. They deal with the eagles which are the jewels of the Himalayas and the clouds which are the pearls. And they sound beautifully foreign - even though at least partly in familiar rhythms. "We have not tried to sing and play as in the West," says Jamjang Chönden of the melodies. "We have harmonised our music with yours." And tried to find a language without betraying the traditional model.

"First half of the work is created," says Sonam. The Goiserer undertakes further processing of the raw material. Everything should be mixed until Christmas, in spring the CD comes onto the market. Producer Hubert von Goisern will be heard as well, with vocals and also with instruments. "The challenge is that it will be world music, but not ordinary music." It should be distinctive and unique. "Only I myself can still stand in the way, but I can't believe that."

And: there were days in which "I was in the depths of despair," says the Goiserer. The convergence between Tibet and Austria lasted two weeks, the unification to mutual mental rules of the game. That was not so difficult in the end, because the musicians from the roof of the world are indeed soft like velvet, but as quiet as a mountain lake. "We tried out many things which we then scrapped again. But then suddenly it ran."

In any case, Hubert von Goisern is convinced and enthusiastic about what has arisen. His hopes for the premiere as producer: "That it goes to the people."

The four Tibetans have arrived back at home again. "Then we will be white crows there," they once said. "Because white crows are different and will not completely belong any more." White Crows - that will be the name of the music group.

Martin Stricker
© Salzburger Nachrichten

Tiroler Tageszeitung 19th September 1997

Hubert von Goisern on his music projects with Tibetans and the folk music oversaturation

Photo: Böhm

St. Anton. "I have a bad time when I hear folk music, " says that Hubert von Goisern today, who was sensationally successful with rocky folk music and his band the Alpinkatzen - until their dissolution.

"A total oversaturation of folk music prevails - I miss depth with regards content," it worries Goisern, that others have jumped onto the alpine rock success train, "even advertising. I have let loose an avalanche..." Goisern considers yodelling hard rock, cow calls, furious accordion shows with snow goggles and Hiatamadl finished.

His new musical ways lead through harsh mountain air too, accompanied by people whose lives and music are shaped by the extremes of the mountains. Expert alpine sounds follow the sound of the Himalayan country of Tibet.

Goisern told TT about this during the mountain film festival in St Anton, where he was guest of honour and stood on stage with the accordion after a long time (Wia die Zeit vergeht is the title of the Alpinkatzen concert film presented there). With the singers Pasang and Sherab as well as Jamjang and Sonam, members of the TIPA (Tibetan Institute of Performing Arts) in Indian exile in Dharamsala.

"I am currently recording with them, above all as producer, but I also sing and play." The basis is the folk music (even forbidden in Tibet) and the 500 year old opera tradition of the Tibetans. "I want to help my friends, to bring the music out of the tradition, to combine it with contemporary sound and content." The bitter oppression of the Tibetan people should also be felt in music, "I have debated that enough. That is a politician's thing, I am a musician!"

The musical taster: Pasang's unbelievably clear head voice sounds to the shy cheeping from Goisern's accordion. Circulation breathing has reached the highest perfection in the Himalayas - barely wanting to end, melodies float at dizzy heights. That sounds very harsh for the western average user. Whether This is my land, this land is your land - famous through Woody Guthrie; four Tibetan voices in St Anton - was above all a "golden bridge" in western ears?

Thomas Böhm

Bad Ischler Rundschau 1997

"His Holiness will feel happy here," thought the representative of the Dalai Lama in Genf, Chungdak Koren.

"Sometime I would like to give a concert in Lhasa and let out a juchitzer there. Only you must acclimatise there enough, otherwise you can't breathe." (Hubert von Goisern)

Chungdak Koren with Hubert von Goisern, Tseten Zöchbauer and Hannes Heide Photo: © Josef H. Handlechner

Bad Ischl (SZ) Currently efforts are running on different levels to make desperate situation of the Tibetan people public in the West too and with it to induce China to begin serious negotiations with representatives of the Dalai Lama under supervision of the UNO.

For example, the Austrian Committee for Tibet (ÖKfT), in which the inner Salzkammergut is prominently represented, are endeavouring to establish the foundation of a non-partisan Tibet friendship group in the National Assembly - and in connection with this, on 15th May there was an information discussion in Parliament, attended by representatives from all parties.

Present, aside from Hubert von Goisern and the Cultural Adviser for the town of Bad Ischl, Hannes Heide, also the representative of the Dalai Lama in Genf, Chungdak Koren - and they looked at least cautiously optimistic. Perhaps with the new Chinese government, the negotiations could get going again, they hoped, but speed is required: because among the Tibetan youth impatience is broad and parallel to it also the readiness to deal with the conflict by force.

The problem would not be solved with it, says ÖKfT spokeswoman Tseten Zöchbauer, but she can understand the reaction because: "again and again our peaceful action is praised, but that support, which we so urgently need, still considerably fails to appear."

The aim of the Dalai Lama, to reach the securing of national and religious rights via autonomy negotiations is right, but also very long-drawn-out. "I have been able to convince myself with my own eyes that these people do not live in freedom because of it. But it would be a shame," fears Hubert von Goisern, "if the non-violent way were to now be changed in terror."

He is certainly optimistic himself "that everything will be ok - I would just like to still experience it." Because life in Tibet is drawn of such extreme circumstances for outside, "that only those who really love this country take it upon themselves."

That the people are principally those who were born and grew up there is just as small a question for the co-initiator of the Tibet Committee as the demand that one should support them where this is only possible. That often demands a lot of courage and engagement, Tseten Zöchbauer emphasises this observation: "That is why it is also so positive that often individual districts or towns - like for example Bad Ischl - always only dare to put off something different from sheer caution or diplomacy." Concretely she means the invitation to the Dalai Lama to a visit in the spa town, which - despite intervention from the Chinese side with mayor Helmut Haas - is maintained.

In June of the coming year, the head of the Tibetans should come into the former imperial summer resort and "he will feel happy in this countryside and with these people," Chungdak Koren is convinced. For the preparations for this visit, she was in Bad Ischl at the end of last week and met together with, among others, with mayor Helmut Haas, 'second-in-command' Andreas Niederauer as well as representatives from the Rotary Club and Lions Club - in the guesthouse house at Siriuskogel, where not only the Tibetan flag greeted the guests, but also specialities from her homeland were also served up and the promise made: "When the Dalai Lama comes to the Salzkammergut, then he will certainly find time - me too - to visit this wonderful view!"

Josef H. Handlechner

Salzburger Nachrichten 30th August 1997

One works hard. Two gentlemen and two ladies from Tibet (all trained singers of their native opera), Hubert von Goisern, Alpinkatzen keyboarder Stefan Engel and sound technician Wolfgang Spannberger work at a single project: Classical Tibetan music receives a new outfit with much feeling. For 14 days in Goisern's studio he is producer of the CD of the four Tibetans who are his guests.

Sonam Phuntsok is one of them. All are members of the Tibetan Institute of Performing Arts in north India. There one carefully retains, that which China suppresses in their homeland - the age-old art of opera. However there is also a well-known problem in this country. "The children hear an ever-decreasing amount of traditional music", says Sonam. The contact with the Goiserer and the knowledge of his success seemed energising: "we also want to make the old music audible for the youth again." P.S.: We briefly listened: The Tibetan-Alpine project is running splendidly.