Le Souffle Du Temps II - Reflexion
Through preparations, computers, contact microphones, gongs, feedback and other tools, Swiss pianist, composer & improviser Judith Wegmann's work transform the sound of the piano into an otherworldly instrument, set against more traditional acoustic pieces of a reflective nature, together creating a conceptual set of ten pieces in a uniquely flexible approach.
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Label: ezz-thetics by Hat Hut Records Ltd
Catalog ID: ezz-thetics 1013
Squidco Product Code: 28647
Packaging: Cardboard Gatefold
Recorded at the Farelhaus, in Biel, Switzerland, on June 8th to 11th, 2019, by Simon Fankhauser.
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• Show Bio for Judith Wegmann
"Swiss pianist Judith Wegmann started to play the piano at the age of six. Shereceived her education at the famous Jazz School of Lucerne and the Swiss Jazz School of Bern with Roberto Domeniconi, Olivier Truan and ChristyDoran, focusing on Modern Jazz and Free Improvisation. Subsequently she earned a Bachelor and a Master's degree with highest distinctions in Classical Studies(Pedagogy and Piano) from the Music Universities in Neuchâtel and Lucerne. She continued studying with renowned musicians including Sebastian Risler, Karl-Andreas Kolly, Tobias Schabenberger, and Gerardo Vila, and attended Master Classes in Switzerland, France and Austria. Recently,she completed a second Master's degree at the Conservatory of Basel (with Fred Frith and Alfred Zimmerlin), concentrating on free improvisation and Contemporary Music.
As a classical pianist Judith performs on stage on a regular basis and in different chamber music formations. Her ability to switch between different genres allows her to engage in classical, contemporary as well as improvisation-based projects. Judith frequently conceptualizes concert programs, taking management responsibilities from the early stages of planning to the public performance. Her concerts have been performed in Switzerland as well as abroad - for example "Bach, Schumann et l'ombre de Nico" with Alexandre Caldara (F/CH, 2006) or the performance series "Outdoor-Dialoge" with Claudia Bucher (2009/10). Cross-disciplinary projects are an important aspect of her work. Collaborations with composers, visual artists and writers foster new approaches and paths, as in"Schwarzberg" with Swiss composer Werner Bärtschi and Arno Camenisch (2011). She was hired bythe "Kunsthalle Basel" for the widely celebrated Swiss premiere of afro-american composer Julius Eastman's "Songs for a mad King"in 2013. In thesame year she participated in the production "Manon -Soundtrack des Lebens" for the "young stage" of the theater Biel-Solothurn. Further projects are planned for the near future.
In 2011 and 2015 she was awarded a distinguished grant "Förderpreis" by the canton of Zug, Switzerland, which supported some of her most innovative projects. In 2013 she founded the New4Art Ensemble. Her work with this ensemble was awarded a prize by the city of Biel "Werkbeitrag". This award she also received in the years 2014 and 2015. Judith has been a member of the board of the Society of Free Improvisation ("Werkstatt für die freie Improvisierte Musik") in Bern since 2015 and is head of their"open workshop-". In 2017 her first Solo CD was released by HatHut records,which received a positive international reiew."-Judith Wegmann Website (https://www.judithwegmann.ch/biografie)
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1. Reflexion 5:09
2. Souvenirs d'un instant I 2:48
3. Souvenirs d'un instant II 2:34
4. Souvenirs d'un instant III 1:17
5. Souvenirs d'un instant IV 2:37
6. Souvenirs d'un instant V 2:11
7. Reflexion II 8:40
8. Weben 3:27
9. Reflexion III 6:20
10. Manga 10:50
11. Reflexion IV 4:46
12. L'ombre du Jour 5:07
sample the album:
"As with Le Souffle Du Temps, the haunting, evocative soundworld of the "Reflections" reminds me a little of George Crumb's Makrokosmos. Wegmann's gentle, understated art nudges her sounds into patterns that compel attention. She described Le Souffle Du Temps II as ten "conceptual" pieces, but not in the sense of "conceptual art": "I mean having a structure or outline in your head," she explains. "As I layer the different sounds, I contemplate the whole, hearing how it will sound. It is a free approach, but when I step on stage, I feel the space, the audience, the atmosphere and then I hear the entire piece when I sit down at the piano - just as I do with improvisations".-Andy Hamilton, liner notes
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