As “recordings one could only dream of” and “pure joy”, renowned media such as “fono forum” welcomed the complete recording of the violin sonatas by Charles Ives played by Martin Mumelter and the pianist Herbert Henck: pieces in which the most important trends of new music are bundled and carried out. Already as a teenager, Mumelter was interested in new music and modern classical music; his early recordings include world premiere recordings as well as the violin concertos of Alban Berg, Arnold Schönberg, Bernd-Alois Zimmermann (all live) with the Bavarian Radio Symphony Orchestra, the Wiener Symphoniker, the Vienna Radio Symphony Orchestral, often with distinguished composers such as Peter Eötvös, Erich Urbanner, or Hans Zender conductng the performances.
Born and raised in Innsbruck, Mumelter was able to benefit from the initiatives that made the region a Mecca for both early and new music: at the annual, often very controversial festival “Jugendkulturwochen”—whose list of participants today looks like a Who is Who of 20th century art and offered Mumelter the opportunity to take part in numerous world premieres even as a teenager—there were personal appearances on the one hand of Gyorgy Ligeti, Steve Reich, or Pierre Boulez and the last public appearance of John Cage, on the other hand there were regular concerts and workshops by pioneers of early music such as Nikolaus Harnoncourt or Jordi Savall. Amidst this all, the appearances of legendary literary figures such as Elfriede Jelinek, Thomas Bernhard, or Gerhard Rühm. Immersed in such an experience was Mumelter’s study of the violin in Innsbruck, which he later rounded off in Philadelphia. Already in 1971 he was the best participating violinist and string laureate of the Gaudeamus Competition for the Interpretation of New Music in Rotterdam. Soon afterwards he was awarded the Critics’ Prize of the Musik-Biennale Berlin (today MaerzMusic) for his performance of Erich Urbanner’s Violin Concerto dedicated to him. It was no coincidence that the first literary texts arose from this environment, above all audio dramas, which were produced in Austria and Switzerland and later led to major works such as the autobiographically coloured novel “Spiegelfuge”. Just as rooted in his youth, is Mumelter’s intensive interest in baroque music and his representative recordings of it, such as solo works by Bach.
Mumelter enjoyed a long career as professor for violin at the Mozarteum University Salzburg, where he conceptualized, founded, and headed the Institute for New Music. Today he lives in Bavaria.
For details see website: https://www.mumelter.de/en