For the Romantics, music was the most powerful of all the arts, a
language beyond language, unapproachable by words. This is an
experience shared, albeit in different ways, by all those writing
about music: however well one may describe and analyse music, the
sheer presence of every note, its power over the moment, cannot be
conveyed by words. In 1938, the American William Gottlieb found he
could compensate for the limitations of his jazz reviews with
photography. "Pictures went beyond what I could say with words", he
remembers. "Today my writing is all but forgotten, but the
photographs live on." The picture as a manifestation of the
invisible, carrying an echo of vanished music. Karl-Heinz Schmitt
is an improvising photographer. He sets up nothing, stages no poses
or situations, and works with available light. He photographs what
he finds. He goes to see concerts in Den Haag, Duisburg, Bochum and
Bonn, and he takes his camera. He goes to concerts because he is
interested in music. Taking pictures, he says, is just a
by-product, a hobby that puts him under no pressure to succeed.
Neither does he seek attention, to push towards the front rows or
mingle with the musicians. Schmitt, the photographer, remains in
his seat, hopes for sufficient light and waits politely for those
moments when a click won't disturb. He uses no more than three
rolls of film per night from which he selects the best pictures,
the lucky strikes. The pictures in this book have never been
published before; some he may have put up in his photo shop in
Andernach for a while but he did not sell them to the papers. A
by-product, after all. -- taken from the Introduction.
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