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"Verborgene Schönheit" | Das Klang-Idyll Schweiz .jpg)
This country, after nature and history, has an unmistakable interior sound, which is only heard by those who want to hear it; it has something of a spherical sound, which is only open to the ear if one looks for it. The proximity to the primal situation of the human existence is what one may call idyllically: Man in his very own one – the ground on which he stands, which he cultivates, which he maintains; the home, which he builds on it; the trinity of father, mother and child, which he lives; his field and animals. Idyll always sounds on the inside. He is never under threat from himself – only always from the outside. The art deliberated itself again and again upon it, and particularly the music. In the large world we know how Mahler, Liszt, Mendelssohn, Schumann have applied the musical Topos of the idyll be. Many a composer directly identifies itself with Switzerland as a country, not least, if they were Switzerland travelers; because the romance is particularly partial to this memory music – it strengthens the faith in a sound world and makes possible for the music to be transcendent and offers enormous opportunities to the musician. Despite the world being in development the idyll still remains a possible truth of life as a deeply written faith in the Heaven on Earth. If one regards original Swiss music under this aspect, one finds far more than one thinks, and for a reason: one must look for it, she hides herself from civilization like an intimacy. And thus it is valid to reveal sound secrets. There is no deeper sense to the project ‚sound Idyll'. Swiss music of all times is to be heard by its individual ‚Ur-Klang' and on it’s handling the idyll, which might represent the epitome to their homeland consciousness. |
INFORMATION Samstag ...wie die vier Musiker die Kantabilität der finalen Adagio-Einleitung auskosten und dabei eine betörende Klangsüsse erzeugen, lässt aufhorchen. "Wandlungsfähig" Suter war nicht nur der jüngere (in der Hans Huber Nachfolge), sondern auch der modernere der beiden in Basel wirkenden Komponisten. Zu seinem ersten Quartettfinale von 1901 merkt der Komponist einmal an: "Sehr aufgeregt, mit wildem Humor" - und so spielen es die vier Musiker vom BeethovenQuartett. ….das 2006 in Beethovens Geburtsstadt Bonn gegründete BeethovenQuartett, das neuerdings seinen Sitz in Basel hat, nahm sich jetzt dieser lange vergessenen Kostbarkeiten an. Alle drei Quartette liegen, mustergültig interpretiert und von Georg-Albrecht Eckle detailreich kommentiert in Ersteinspielungen in der Reihe «Musiques Suisses» des Migros-Genossenschafts-Bundes vor. … Musik von unerwarteter Ausdruckskraft gibt es überall zu erleben, besonders in den Variationen (2. Satz) des 1910 entstandenen 2. Quartetts und in der Adagio-Einleitung zum Presto-Finale des mit «Amselrufe» betitelten 3. Quartetts G-Dur op.20 von 1918. Mit seiner leidenschaftlichen, oft verstörend unruhigen Klangsprache rückte Suter in die Nähe des Expressionismus. Das BeethovenQuartett lotet die Tiefen der harmonisch kühnen Musik mit derselben Intensität aus, wie es andererseits den heiteren Ton des Volkstümlichen trifft, um auch der überraschenden Klangsüsse gerecht zu werden. Byzantion, Art Music Reviews.co.uk, February 2014 A generously timed CD featuring little-known Swiss composer Hermann Suter's three string quartets. The G major work aside, Suter's music feels somewhat old-fashionedly lyrical for its time, but it is thoroughly entertaining and emotive nonetheless. Sound quality is very good… Happily, the superb final quartet - nearly half the disc, All things considered… |
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