Ekkehard Götz

(* 1967)

Ekkehard Götz was born in 1967. He first performed as a singer at the age of five; received piano lessons from the age of 12. First attempts at composition occurred at this time, which unfortunately haven’t survived. The first surviving composition is a prelude for harpsichord from 1983. Since age 18 singing lessons, has been autodidactic concerning the trombone, ukulele and organ as well as compositional theory.

Following an exploration of new music (Schönberg, Orff, Cage, Glass, Ligeti), basso continuo theory (Schütz, Bach, Grabner) and the Palestrina-style (Jeppesen) compositions started to emerge for a capella choir as well as chamber music for various scorings – mostly flute, violin and basso continuo. Influences of pop, jazz and barbershop are unmistakable as well as the presence of protestant church music from Schütz and Bach to Mendelssohn, Pepping and David. Techniques from the 20th century (cluster harmonies, serial structures and aleatoric procedures) exist along side classical harmonies within his oeuvre in scandalous unity – for example such works as “Sommerabend” for eight-part male choir, “l`harmonique du vent” for harmonica and head wind and in the 12-tone Intermezzo for recorder, viola and cello. Changes in style can occur within the same piece, brought to head in “Fünf Psalmen” for mixed a capella choir where, according to the demands of the text, Schütz, Mendelssohn, Ligeti and Lennon/McCartney play the role of mentor simultaneously. Alongside such experimental pieces there is ‘utility music’ for Christian church services, based solely on traditional functional harmony, as well as arrangements of various genres and scorings. Mr Götz lives and works near Lübeck.