Teaching is one of the most common ways of passing on knowledge and experience. At first glance, there is nothing unusual about this. How exactly this transfer of knowledge works is a somewhat more complex story and requires a great deal of insider knowledge. But trying to analyze these difficult-to-understand processes from an outside perspective is virtually impossible, and yet we will attempt to do so here.
This edition deals with teacher-student relationships: Willy Burkhard was not only Klaus Huber's godfather, but also taught him composition in the early 1950s. In his younger years, Wladimir Vogel had similar political views to Jacques Wildberger 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 cannot give a short answer: "What I definitely learned from Veress ... I can't play chess, but it reminded me of how we tried things out there. Some of it was completely crazy stuff, harmonic and contrapuntal, and he was interested in everything, as if it were a game. For example, I learned that there is no such thing as filler voices in music and that every voice could be a solo voice in its own right. In addition, his personality had a formative influence on me: he was completely unpretentious and revealed little about himself and his own compositions in class.”
Programme
weitergeben
An Anthology of Swiss Music
CD 1
total playing time: 74:29
Sándor Veress (1907–1992)
Orbis tonorum for chamber orchestra (1986) 28:29
[01] I. Tempi passati
[02] II. Siciliano nostalgico
[03] III. Capriccio amaro
[04] IV. Intermezzo silenzioso
[05] V. Verticale e orizzontale
[06] VI. Capriccio delizioso: Piccolo concerto per xylorimba, arpa e percussione
[07] VII. Intermezzo turbolento
[08] VIII. Tempi da venire…?
Jacques Wildberger (1922–2006)
Zeitebenen for flute, clarinet, two percussionists, harp, piano, violin and cello 22:26
[09] 1. Interpolation
[10] 2. Reduktion
[11] 3. Conzentration
[12] 4. Dispersion
Klaus Huber (1924–2017)
[13] Erinnere dich an Golgatha 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. Praeludium (Lento – poco più andante – Allegretto – poco lento)
[02] 2. Carillon (Allegretto)
[03] 3. Elegie (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)
Wladimir Vogel (1896–1984)
Inspiré par Jean Arp for flute, clarinet, violin and cello (1965) 12:40
[07] I. “Ich befinde mich allein mit einem Stuhl …”
[08] II. “Es geschieht immer wieder …” (Energico)
[09] III. “Immer tiefer wird das Schwarz vor mir …”
[10] IV. “Textstille …” (dolce, cantabile ed espressivo)”
[11] V. Arp entwirft Formen und gibt sie frei … – Wie im Spiel entstehen Muster …
[12] VI. “Das Unendliche …” – “Zarte Ewigkeiten …” (in modo corale)
[13] VII. “Ich bin in der Natur geboren …”
Luisa Famos (1930–1974)
[14] 6 Rhaeto-Romanic Poems read by Annina Pinggera 03:38
Heinz Holliger (*1939)
Increschantüm Poems by Luisa Famos for soprano and string quartet (2014) 19:14
In memory of Ursula Holliger
[15] L’accord
[16] Lügl a Ramosch
[17] Gonda
[18] D’ingionder ch’eu vegn
[19] Stailas lasü
[20] L’ala da la mort
Collegium Novum Zürich
Heinz Holliger conductor
Sarah Wegener soprano [CD 2: 15–20]
Johannes Nied double bass [CD 1: 13]
SWR Experimentalstudio electronic realisation
(André Richard & Joachim Haas, sound directors) [CD 1: 13]
More information
Catalogue number: NEOS 12213-14
EAN: 4260063122132
