Weites Land für Violoncello und Zuspiel-CD; Weisse Bewegung für Violoncello, Klavier und Schlagzeug
The wideness, the whiteness - this allows us a means of getting close to Alfred Zimmerlin's music, a music of openness and variety, a music that grants itself time, and us too. Perhaps it was particularly important to the composer in these two works with cello that he should open things up, that he should enlarge his vision and purify his hearing of much that had accumulated, for the cello is his instrument and thus weighed down by personal experience and his own music-making. He has played it since childhood, he improvises on it in his concerts, and yet, he has never placed this instrument at the centre of a work. The percussion part, like the one in Weisse Bewegung and the tape in Weites Land, brings the environment, nature and culture into the world of the music. It is by means of such strategies - by means of foreign bodies, landscape pictures, whatever, that the composer takes himself out of the centre. He does not 'dissolve' himself as it were, but brings into an ambience in which he appears only as a part of the whole picture.
Alfred Zimmerlin (*1955)
Martina Schucan, Violoncello, Petra Ronner, Klavier, Martin Lorenz, Schlagzeug.
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