Kammermusik und Orchesterwerke 1960-69
Stück für grosses Orchester; Stück für Klavier, elektrische Orgel und Cembalo; Stück für Klavier vierhändig; Stück für Orchester mit zwei Klavieren
Romanticism all around; in the 1950s, things changed for me: no melodies any more, only layers of sound, like reinforced concrete. I have to go to Solothurn again and learn to curse; they curse there for several minutes at a time, whole symphonies of curses, it's wonderful...' (Hermann Meier). This position quite off the beaten track, without an audience - and with no desire to serve its expectations - allowed Hermann Meier from then on to develop a radicalism such as was rare in Switzerland, even seemingly impossible, for music life was there becoming increasingly shallow. He created his own world for himself, unadjusted to the outside, but real, with autonomous, unadorned objects. He was gruffly opposed to any endeavour to get his works known or to market them, and all the pieces that he finished interested him afterwards only in passing. And when Urs Peter Schneider performed a whole series of his works in 1984 and 1985 and had others performed, he at first reacted with fear, like someone who had been 'caught in the act'.
Hermann Meier (1906-2002)
basel sinfonietta, Dominik Blum und Tamriko Kordzaia, Klavier, Jürg Henneberger, Leitung, Ensemble Neue Horizonte Bern, Erika Radermacher, Klavier, Katharina Weber, Klavier und Cembalo, Urs Peter Schneider, Klavier und elektrische Orgel.
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