Teaching is one of the most common means of passing on knowledge and experience. First of all, there is nothing extraordinary about it. Exactly how this passing on works is a somewhat more complex story and requires a lot of insider knowledge. But in retrospect, wanting to analyze these events, which are difficult to see through from the outside: This probably borders on the impossible and is nevertheless attempted here.
This edition deals with teacher-pupil relationships: Willy Burkhard was not only Klaus Huber's godfather, but also taught him composition in the early 1950s. Wladimir Vogel had political views similar to Jacques Wildberger at a young age and was later his teacher between 1948 and 1952. And when asked what he owes to Sándor Veress, with whom he studied from 1956 to 1959, Heinz Holliger does not find a short answer: »What I certainly learned from Veress … I can't play chess, but it got me reminds me of how we tried things there. Some of it was crazy stuff, harmonic and contrapuntal, and he was interested in everything, like a game. That's when I learned, for example, that in music there are never such things as filler voices and that each voice could be a solo voice. In addition, his personality was formative for me: he was absolutely unpretentious and revealed little about himself and his own compositions in the lessons.«
Program
pass on
An anthology of Swiss music
CD 1
Total playing time: 74:29
Sandor Veress (1907-1992)
Orbis tonorum for chamber orchestra (1986) 28:29
[01] I. Tempi passati
[02] II. Siciliano nostalgic
[03] III. Capriccio amaro
[04] IV. Intermezzo silenzioso
[05] V. Verticale and orizzontale
[06] VI. Capriccio delizioso: Piccolo concerto per xylorimba, arpa e percussione
[07] VII. Interlude turbolento
[08] VIII. Tempi da venire…?
Jacques Wildberger (1922-2006)
time planes for flute, clarinet, two percussionists, harp, piano, violin and cello (1958) 22:26
[09] 1. Interpolation
[10] 2nd reduction
[11] 3. Concentration
[12] 4. Dispersion
Klaus Huber (1924-2017)
[13] Remember Calvary for double bass, 18 instruments and live electronics (2010) 23:26
For Johannes Nied and the Collegium Novum Zurich
CD 2
Total playing time: 58:53
Willy Burkhard (1900-1955)
Serenade op. 77 for flute, clarinet, bassoon, horn, harp, violin, viola and double bass (1945) 23:10
[01] 1. Prelude (Lento – poco più andante – Allegretto – poco lento)
[02] 2nd Carillon (Allegretto)
[03] 3. Elegy (Lento)
[04] 4. Intermezzo (Andante – Allegro) for harp solo
[05] 5. Nocturne (Poco allegro, rubato – Allegretto – Lento assai – Allegretto – Tempo I)
[06] 6. Quodlibet (Allegro - Presto - Allegretto)
Vladimir Vogel (1896-1984)
Inspired by Jean Arp for flute, clarinet, violin and cello (1965) 12:40
[07] I. "I find myself alone with a chair..."
[08] II. “It always happens…” (Energico)
[09] III. “The black in front of me is getting deeper and deeper …”
[10] IV. “Text silence …” (dolce, cantabile ed espressivo)”
[11] V. Arp designs forms and releases them … – Patterns emerge like in play …
[12] VI. “The Infinite…” – “Tender Eternities…” (in modo corale)
[13] VII. “I was born in nature…”
Luisa Famos (1930-1974)
[14] 6 Rhaeto-Romanic Poems read by Annina Pinggera 03:38
Heinz Holliger (* 1939)
Incredible Poems by Luisa Famos for soprano and string quartet (2014) 19:14
In memory of Ursula Holliger
[15] L'accord
[16] Lügl and Ramosch
[17] Gonda
[18] D'ingionder ch'eu vegn
[19] Stailas read
[20] L'ala da la mort
Collegium Novum Zurich
Heinz Holliger Dirigent
Sarah Wegener Soprano [CD 2: 15–20]
John Nied Double Bass [CD 1: 13]
SWR experimental studio Electronic realization
(André Richard & Joachim Haas, sound directors) [CD 1: 13]
Info
Catalog number: NEOS 12213-14
EAN: 4260063122132
