Hector Docx is a pianist and composer, currently based in Hamburg, Germany. Born in Manchester, he attended Chetham’s School of Music before moving to Hamburg in 2010 to begin his undergraduate studies. After completing his masters degree in piano he is now completing a second masters in composition. At the centre of his work is a drive to reinvent the role of Pianist/Composer in the modern world and to actively bring an appreciation of classical music to a wider audience.
In 2019 a number of newly commissioned pieces were premiered. Among them a chamber work "Für diese Schweine keine Träne" which was part of a large-scale project "Klänge hinter Mauern" commissioned by the Kammerakademie Potsdam and the Foundation Lindenstraße Memorial Site. The project was based around a set of meetings with previous Stasi-prison inmates, with an aim to raise awareness about their experiences and about the psychological terror of the Stasi regime in east Berlin. Also premiered in 2019 was his orchestral work "The Muses of Mnemosyne" and "The day the Earth smiled" which was commissioned by the Non-Piano Toy Piano Festival.
He is currently initiating projects and collaborations with artists in Venezuela. He has created an art installation featuring, among other things, photography from artists trapped within the country. The project "The Nobodies of Venezuela" combines new music compositions with the photography exhibition. It was first exhibited in Hamburg 2018 and has since seen a second exhibition in November 2019. A third performance is planned for 2020.
In 2018 he began a long term collaboration both as composer and pianist with the Brazilian artist and painter Delmar Mavignier and his father Almir Mavignier. The result of the first year was a new work for piano, clarinet and cello based on a set of 16 new oil paintings. Future commissions aim to further combine new music with the extensive catalogue of paintings and prints by Almir Mavignier.
He was invited in July of 2017 to take part in a field research trip to the south Chinese province of Guangxi. There he researched and recorded the folk melodies of the ethnic minority groups indigenous to the area. The resulting commission was inspired by his findings and research and the piece „As a Cave Cries“ was premiered in November 2017 in Shanghai.
As a pianist he gives regular concerts both as a soloist and chamber musician. In his solo recitals he aims to create a bridge between new music and old music. His most recent program of Bagatelles incorporates the works of Beethoven and Bartok with newly commissioned Bagatelles, which had been composed for his concert tour. In 2017 he appeared with both the Hamburg Symphony Orchestra and the Shanghai Symphony Orchestra in performing two world premieres.
He dedicated much of 2016 to rediscovering and performing the forgotten piano works of the ‘Russian Avantgarde’. His work culminated in April 2016, when he directed and founded his own music festival, “Klang der Unruhe” (‘Sound of Unease”), which had the piano works of the composer Alexey Stanchinsky (1888-1914) at its center. Among his own solo performances he also moderated throughout the Festival, aiming to give the public a more active role in their own discovery of the music. In December 2016, as a result of the Festivals success, he was awarded the DAAD prize and gave a solo recital featuring works from the festival.
Apart from his musical activities, he feels at home writing about music and writes a blog on his website which addresses many musical themes and tries to throw a realistic light on the struggles and successes in the life of a pianist and composer. He has also been interviewed twice for the German Radio on his thoughts about the future of classical music and his identity as a European artist. He believes the removing of romantic clichés and pretexts about Art and Artists to be a vital step in reconnecting a wider public with classical music.