Otmar Desch

Dear Mr. Ellenberger!
Thank you for your activity to bring together the right people. TO support your work and simplify it herewith you get my permission to use any material from my homepage
( www.desch-musicproduction.de ). I feel you have the right touch to present colleagues at www.DoctorsTalents.com .

There is little to say about my professional career. Music, piano and composition studies were runing parallel with the medical studies…..
[remark from Wolfgang Ellenberger: Right, Otmar, nothing easier than that!]
After my medical exam I was working at the theatre in Münster/Germany for 15 years (my parents were frightened), then I went to Berlin to have an own office as a general practitioner
(and NOT give up to compose and give recitals in the Berlin area). As I had planned I sold the office at age 60 and from end of 2001 I am musical director, pianist and composer at the theatre in Stendal/Germany.

Focus of my composition style (just besides the oratorium and many many stage music pieces exposed n my homepage) is concert music between twelve tone music and jazz,
as it can be found in my two concerts for piano and orchestra (a sample will be sent…).
Since 2007 I finally have the time to concentrate on marketing of these products since I make only contracts with the theatre about single productions.
By the way I am looking for prominent editors … see what happens…. this much for today!
Desch

Musicals:

web

Profil ausführlicher Lebenslauf | c.v. perfect!

youtube – vimeo

facebook – twitter – instagram

work

https://DoctorsTalents.com/en/cd00105en

Born in 1942
Composer, pianist, specialist in general medicine
(Focus: psychosomatics)
Pianistic training: most recently with Prof. Klaus Hellwig (Münster / Berlin, University of the Arts)
Composition studies with Prof. Harry Höfer (Münster)
Composition courses with Mauricio Kagel (Cologne / WDR)

In 1960, at the age of 18, he began coaching ballet at the Münster Municipal Theater and, after completing his studies, was permanently employed as a solo accompanist (opera, operetta, and musical).
In parallel with his coaching, he composed numerous stage scores and, after two more years, took over as director of incidental music at the municipal theaters and at the Münster Zimmertheater (Wolfgang Borchert Theater).

This was followed by guest engagements at various German stages (including the Landesbühne Niedersachsen / Wilhelmshaven) with commissions for further stage music, arrangements and musical direction of musicals, stage music and revues (including Hallo Dolly, Kiss Me Kate, Irma-La-Douce, Happy End, Threepenny Opera, Dance on the Volcano, Black Fair, The Romantics, Charly’s Aunt, Wirtshaus im Spessart, Puntila and his servant Matti, The Caucasian Chalk Circle, At the White Horse Inn, Secretaries, Men).

With the “Otmar Desch Jazz Trio” (now “1-stein Jazz Trio”), he performed nationwide, composed and accompanied (at concerts in Hamburg, Munich, Bremen, Detmold, Münster, and Marburg) chanson programs by singer and actor Thomas Kylau (with live performances on WDR/NDR and participation in the North German Chanson Festival in Hamburg), and produced the chanson record “Lieder statt Kakteen” (German Progressive / (Kraut-) Rock – Record Price Guide).

As a pianist with the North German rock-jazz group “Humus,” he also performed nationwide and recorded his first record, “Offshore,” with the Planungs-Verlag Dortmund publishing house in 1976 (The JAZZ Discography – by Tom Lord).

He can be counted among the first German composers to combine “serious” music with “pop” music and to introduce it into symphony concert programs (composition and spectacular premiere of his “Requiem For Elvis Presley” with the rock jazz group “Humus” and members of the Münster Municipal Symphony Orchestra, among others).

He taught as a pianist at the Westphalia-Lippe University of Education for several semesters.

At the Westphalian School of Music (Münster, under the direction of Prof. Vetter), he led the jazz department of what is now the University of Music. He also served for several years as the responsible director of national jazz and pop music courses within the Westphalia-Lippe State Association for Music.

He directed several regional choirs (mixed choirs, men’s choirs, and women’s choirs) and successfully performed the first “choir shows” in the Westphalia region.

He composed numerous “ecumenical songs” for Protestant and Catholic congregations in the Westphalia region and played various jazz masses of his own in the ecumenical arena (performing with “Pit” Janssens, among others).

His artistic collaborators include well-known artists such as actor Mario Adorf and mime artist Prof. Sammy Molcho (Vienna), as well as actresses Anja Kruse, Ute Lemper, and Marie-Luise Marjan, as well as Udo Lindenberg (drums / “modern jazz”) and TV presenter Götz Alsmann.
He has also performed as a pianist on talk shows with Alfred Biolek, among others.

In 1980, parallel to his artistic activities, he opened a general practice in Berlin-Lichtenrade and continued his studies as a hypnotherapist at the I.H. Schultz Institute in Berlin (directed by Dr. Dr. med. Thomas).

He caused a sensation in 1976 with the premiere of his orchestral suite (“Pick-Up Suite”): “Such a powerhouse! Otmar Desch blasts his self-composed musical into the keys, tearing the audience from their seats…” – Berliner Zeitung

As a result of his medical and hypnotherapeutic experiences, he composed the full-length oratorio “Fried’, üßer Vogel” (Fried, sweet bird) for organ, soloists, and small orchestra (premiered in 1999 in Berlin-Britz).

With his wife Ines Desch (née Irmer) – formerly principal oboist of the Berlin Radio Symphony Orchestra – he began establishing “INESSA Music Production” in 2001 and now primarily produces various CDs, in addition to music for therapeutic use.

Current Position:
Since 2001, he has been employed as Musical Director of the Dramatic Music Department at the Theater der Altmark (TdA), Stendal.