|
|
|
|
Born 24th January, 1950. Has studied viola at the Royal Danish Music Conservatory 1970-74. In the same period he played in the Group for Alternative Music, where the members performed each other’s compositions. Thus he got experience in playing new and experimental music of very different kinds, and at the same time a long row of his own compositions were performed. Violin teacher education in the Suzuki method at the Danish Suzuki Institute in 1977 and in 1986-89. Studied composing at the Royal Danish Music Conservatory in 1979-80. Has furthermore during the years received private education from different teachers probably suggested by - as he says himself - one or more guardian angels. Has supplemented the classical education and the experience in the new music (or avant-garde music) with self study in rhytmic music, especially rock.
In 1987 he won, together with the composer Søren Hyldgård, the Danish Radio prize "The Composers’ Entertainment Prize" with their orchestra piece "Stemninger omkring Kludeegen" ("Moods around the Rag Oak").
Lars Peter Schultz’s music often cuts across styles and genres. He has got to know the music "from inside", i. e. by playing it himself. He has many times participated as a viola player in UNM (Young Nordic Music Festival), where he became acquainted with new Nordic music. Has played a lot of chamber music, especially string quartets. Has familiarized himself with rhytmic music by playing rock music on violin and viola (and on piano, which he also plays). Has furthermore learned to compose music by composing music, that is, learned by experience. Member of the Danish Composers’ Society.
Lars Peter Schultz teaches violin and viola at the music school of Bornholm. Because of his connection with the music school he has written a great deal of music for music school use.
An exceptional thing about Lars Peter Schultz is that he drills "playing" feelings and moods. He does that both by improvising and by taking a piece of music and expressing different moods with the same piece of music, for example, "deep sorrow" or "strong joy", regardless of whether the music piece is suited for it or not, because he found that it works incredibly well as a drill. Then when he plays for others, he disconnects from rational consciousness, and instead - in deep concentration - gives over to intuition, which, with the help of all his experience, has numberless channels, through which it can frisk about. As he says: "Maybe it is the intuition that made me study and play all that music and try out all the mad drills that I can think of."