Four compositions for solo piano from Swiss composer Urs Peter Schneider, founder of Ensemble Neue Horizonte Bern, with four accompanying prose pieces with text in German from Schneider himself, Martin Luther, and Ita Wegman; unusual words to accompany Schneider's minimalist works of clear progressions, thoughtful direction and interesting concepts.
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Label: Edition Wandelweiser Records
Catalog ID: EWR 1921/22
Squidco Product Code: 28588
Format: 2 CDs
Packaging: Cardboard Gatefold 3 Panels
Recorded in Berlin, Germany, from 1980 to 2019.
Urs Peter Schneider-piano, composer
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• Show Bio for Urs Peter Schneider
"Urs Peter Schneider was born in Berne. He is a composer, interpreter andeducationalist.
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1. Clavierubung (1971-79) 63:32
2. So Beseelte (2008-14) 05:06
1. Ein Jahreslauf (1976-80) 34:06
2. Aus der Tiefe (2013-15) 14:59
sample the album:
"A two-CD set of four solo piano works by Schneider, recorded between 1980 and 2019, played by the composer.
'Clavierübung' (1971 - 79), for mildly prepared piano, bears a striking resemblance to some of Tom Johnson's pieces or, rather, given its compositional dates, one might say the reverse. There's an accretive kind of effect, as if the modules of the basic form are being slightly altered with each iteration (dynamics, stress, gradually augmented pitch, etc.) according to some hidden system. The theme itself has a wonderful, surreptitious, kind of creeping aspect, as of some slightly disreputable character skulking around the perimeter. Lasting over an hour, the permutations it goes through are many, if subtly deployed. The material is just a pair of nine note sequences but they're manipulated in a manner that makes it (for this listener) surprisingly difficult to count and seemingly possessing a greater variety of arrangements than I would have thought possible. Or maybe it just appears that way.
'So Beseelte' (2008 - 14), dedicated to Martin Luther, indeed has a kind of staggered processional feel, something of Satie's 'Ogives'.
'Ein Jahreslauf' is a more disparate work, difficult to describe. Sort of like a prelude that, over its 34 minutes, keeps building then gently fragmenting, spaces between "clumps" lengthening as the piece develops. It's oddly entrancing. The final selection,
'Aus der Tiefe' (2013 - 15) returns a little bit to the general structure used in the first, here sequences of light, almost playful, three and four chord segments, rearranged, re-accented, and otherwise shuffled, strung in a kind of bracelet.
Entirely engrossing music, start to finish."-Brian Olewnick
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