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Æquatour — Im Zwielicht Caspar Johannes WALTER (b.
1964) Drei Ansichten [13:48] Heinz HOLLIGER (b.
1939) Schwarzgewobene Trauer [6:24] Rico GUBLER (b.
1972) KAL [7:50] Robert SCHUMANN (1810-1856) Zwielicht, from Op. 39 [2:48] Nicolas A. HUBER (b.
1939) Demijour [17:19] Valentin MARTI (b. 1965) Fernruf J12 [14:13] Hans Ulrich LEHMANN (b. 1937) Canticum II [10:14] Ensemble Æquatour
(Sylvia Nopper (soprano); Ingrid Karlen (piano); Matthias
Arter (oboe/English horn); Tobias Moster
(cello)
rec. 18-20 June 2006, Zurich Radio Studio MUSIQUES SUISSES
MGB CTS-M 102 [72:41]
For some
time now, there has been talk in the artistic community that
there is little new under the sun. Shakespeare mentions it
too. Writing classes discuss in depth the premise that there
aren’t new situations, but only new ways to describe them, new
outfits to hang on the same old set of bones. What we have
here is an interesting disc of attempts to find ways to sharpen
the saw in the hope it will find purchase in new wood.
This release
is part of a series of “portrait” discs from Musiques-Suisses,
a series that Ensemble Æquatour are no strangers to, appearing
also as performers for a recently-reviewed disc surveying the
works of Mela
Meierhans. In this release, the ensemble themselves are
the subject of this audible portrait. Æquatour - the group’s
name is a multilingual pun, meaning both “equator” and “a quartet” -
focus primarily on contemporary composers here, with a titular
nod to Schumann, whose short song from Op. 39 forms the centrepiece. The
modern pieces are challenging and uncompromising, and those
who have low tolerance for atonal music with soprano might find
this a tough listen, but one has to give Musiques Suisses credit
for once again looking for music that pushes the envelope.
Regarding the standouts, the
disc starts with Drei Ansichten, or “Three Views,” by
Cologne-based Caspar Johannes Walter, is based on the poem “Scherzo” by
Giacomo Leopardi; the Italian text appears with a German translation
in the booklet. The future of Music and Art themselves are
the focus of the piece, and here, the text and music work toward
the centre of the issue from different angles. The text, sung
sensitively by Sylvia Nopper, seems to cover possibilities that
all end up being tried-and-true tropes — imitation, talk of
falling leaves, even the main conversation in the poem, that
of a poet in discussion with a muse. The music, wedded to such
conventionalities, is challenging and quietly disturbing. It
may be its intent to portray the frustration of the Artist to
find something new to say. The accompaniment is sparse, filled
with bent pitches and glissandi, much like the following piece
by Heinz Hollinger, a student of Veress and Boulez, with text
by Heinz Weder.
Weder’s much more darkly-shaded
text more forthrightly fits the “twilight” theme of the disc,
the piece opening with “Night, the borderless continent,” and
ending with the words that form the title: Mourning Woven
in Black. Given such a text, the vocal line is more laden
with emotion, with very expansive leaps in terms of range and
tone, all of which are handled admirably by Nopper. Aside from
this, the work bears definite similarities to the Walter piece,
with stark instrumental arrangements. Overall the piece reminds
one of Webern or, to some extent, Boulez, and it turns out that
this piece was composed based on the tone row of Boulez’s Third
Piano Sonata.
KAL, written by the young Rico Gubler, who has
studied with Balz Trümpy - who also has had pieces represented
on a recently-reviewed Musique Suisses release - has no text
in the usual sense of the word, though it is scored for soprano;
the vocal line is a collection of wordless syllables and vowels. The
booklet mentions a line (I don’t know who I am/ I don’t know
what I can--/ I don’t know any more/ I can’t leave you) that
appears in the piece. It could almost be a continuation of the
conversation that the poet has with his muse in the Walter piece
that opens the disc. It is this sort of eye to detail in sequencing
a disc programme that I find greatly enjoyable in the Musiques
Suisses releases I’ve heard thus far, challenging though some
of the listening has been.
Following this third in a
row of difficult, uncompromising pieces, we have the Schumann,
serviceably performed by Nopper with Ingrid Karlen on piano.
It almost seems as a brief reward of tonality and solace for
listeners who have stuck with the programme this far, but in
actuality it forms the springboard for the following piece by
Nono and Stockhausen student Nicolas A. Huber. This piece,
like that the many metal roosters that appear on church roofs
in much of the Western world, gives repeated, pointed reminders
to be wakeful. The instrumentation is far less sparse — here
we have far more interaction between the members of the ensemble
than heard previously — ranging from quiet intimate moments
that invite closer listening, to tense and loud discourses between
Matthias Arter and Tobias Moster, on oboe and cello respectively. All
this said, regarding listening, it is up for debate how enjoyable
such an aim of wakefulness is, which could be a question that
some might ask in reference to all of the contemporary works
on this release. For those who find that some contemporary
music has gotten a bit unchallenging and staid of late, look
no further than this disc; there are works that strive to find
new things under this old sun.
Musiques Suisses has kept
its interest in presenting Swiss artists in a high-quality format. As
with the recently-reviewed companion disc of works by Mela Meierhans,
this music isn’t for everybody, and even for those who have
interest in avant-garde music, this might not be everyday listening. This
disc, as well as other discs in this series, certainly will
be worth looking into for those who are interested in new music
compellingly performed.
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