Grammont Sélection 7

Schweizer Uraufführungen aus dem Jahr 2013


CD 1: Dieter Ammann: unbalanced instability; Beat Furrer: strane costellazioni; Roland Moser: Perrot Soldat; Alfred Zimmerlin: tiw; Rudolf Kelterborn: Sinfonie Nr. 5 La Notte. CD 2: Jannik Giger: Contaminare; Benoît Moreau: Encre et Trompette; Denis Schuler: Ek Balam; Caroline Charrière: Envol; Edu Haubensak: PUR; Katharina Rosenberger: Erzählung; Stefan Wirth: This glacial shore.


The train comes to a halt near the winemaking village of Épesses by the banks of Lake Geneva, roughly halfway between Lausanne and Montreux. A path leads up to a wine tavern. From the terrace you have a view all the way across the lake to the Alps and the cultivated vineyards of Lavaux, of which Stravinsky once said they reminded him of Cézanne. This is how the Vaudois writer Charles Ferdinand Ramuz recalled it, who got to know the house composer of the Ballets russes here, one afternoon in autumn 1915. Over bread and wine, these two kindred spirits created the basis for their future joint works, first and foremost A soldier’s tale. Outside the Swiss borders the war was raging, and inside the country, ration cards were being issued. Cut off from the rest of the world, the composer – unfit for military service – delved into his Russian folk texts, while the poet, who was barely able to sell his books, succeeded in escaping from provincialism through their joint artistic undertakings. Today, a century later, the Soldier’s tale is regarded as a key work in Swiss music history, for even though it is not by a Swiss composer, it offers an early example of a multifaceted, highly vital music culture that knows no borders.The works on this Grammont Sélection, twelve world premières from 2013, offer contemporary examples of these open boundaries. This openness is reflected not least in the diversity of styles to be heard here. The selection itself, however, encounters boundaries that are determined by the very medium of the CD. We cannot make any claim to completeness here, for our selection lacks electronic, improvised and vocal music, to give three examples. This seventh edition of the Grammont Sélection has been curated once again by the Consortium for the Promotion of Swiss Music to which the Swiss Musicians’ Association, the Swiss Arts Council Pro Helvetia, SUISA, the SUISA Foundation, Swiss radio and TV and the Migros Culture Percentage belong. The determining criterion, ultimately, is the musical quality that is revealed in the moment of listening. Listening is here like a journey into the unknown that always begins anew. Every description of it, including this text, is only a prologue to this journey – one that is dispensable, because the works really do not need any theoretical underpinning. They are in the best possible sense “anti-universal, anti-intellectual, in a word: alive” (Ramuz).


CD 1: Dieter Ammann (*1962); Beat Furrer (*1954); Roland Moser (*1943); Alfred Zimmerlin (*1955); Rudolf Kelterborn (*1931); CD 2: Jannik Giger (*1985); Benoît Moreau (*1979); Denis Schuler (*1970); Caroline Charrière (*1960); Edu Haubensak (*1954); Katharina Rosenberger (*1971); Stefan Wirth (*1975).


CD 1: Carolin Widmann, Violine; WDR Sinfonieorchester Köln; Junge Deutsche Philharmonie; Moscow Contemporary Music Ensemble; Duo Causa; Trio Nota Bene; Orchester der Musikhochschule Basel. CD 2: Nexus reedquintet; Nouvel Ensemble Contemporain; Ensemble Phoenix Basel; Korean Music Project; Isabelle Schnöller, Flöte; Simone Keller, Klavier; Moscow Contemporary Ensemble; Camerata Variabile.

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