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EDITION WANDELWEISER RECORDS
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John Cage
One9
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EWR
0403/04
CD
John Cage
Edwin Alexander Buchholz, accordion
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> Rezension Stefan Drees (Positionen 63)
(german)
“sounds
brushed into existence as in oriental calligraphy" (Cage)
the sounds in one9
are single tones and chords, up to six part harmonies.
how do sounds come into existence, how do they gain focus, how do they
resolve, how do they merge into one another, how can one quietly and
attentively, in all modesty, follow their unfolding?
these are the questions that guided edwin alexander buchholz in his
interpretation of the piece.
over the years he played one9
time and again - for himself and in concerts. gradually solutions
manifested themselves which he never, at first, would have considered.
it is not simply the case, that this music, which was originally
written for shô, the japanese mouth organ from gagaku music,
may
also be played on accordion.
much as the immemorial shô, originated about 4000 years ago,
and
the modern accordion are related, they are not interchangeable. one9
has been written specifically for shô and first has to find
its
way to the accordion, in order to become real accordion music.
the accordion is a wind instrument, but also a keyboard instrument, it
has stops, its colours are eminently rich and its two sound sources, as
long as they are sounding, are always moving: away from each other,
towards each other.
for edwin alexander buchholz one9,
in the course of time, grew into a music, that integrated all
of
this, a music entirely for his instrument: the accordion.
traditionally the sound of the shô is connected to the
heavens'
gleam. I have no trouble hearing this quality here, in the sound of the
accordion.
antoine beuger
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(...)
Fast wie ein Gegenstück zu dieser Produktion wirkt
eine neue, in Zusammenarbeit mit Radio Bremen entstandene CD der
Edition Wandelweiser, bei der sich der Akkordeonist
Edwin Alexander Buchholz mit großem Engagement der
Komposition one9 (1991) von John Cage angenommen hat. Die
Übertragung des ursprünglich für Sho
konzipierten Werkes auf das Akkordeon besticht durch behutsam
den Möglichkeiten des anderen instrumentalen Mediums
angepasste Schattierungen verschiedener Klangregister, die dem Werk
eine neue, sehr individuelle Farbigkeit verleihen. Buchholz bringt
dabei die Vorzüge und Möglichkeiten des
Akkordeons optimal zur Geltung: Die Klänge atmen
förmlich, sind mit einer enormen Lebendigkeit
gestaltet, die jeweils neu und in zahlreichen dynamischen
Schattierungen aus der Stille aufblühen. Ihr
allmähliches Verlöschen, kurzes Aufleuchten oder
rasches Abbrechen färbt die dazwischen liegenden Pausen
immer anders, macht die Stille unterschiedlich erlebbar.
Buchholz hat damit nicht nur eine überzeugende eigene Version
von Cages Werk vorgelegt, er vermag dem Stück auch viele
Nuancen zu verleihen, die es in seiner ursprünglichen
Version nicht hat.
Stefan Drees (Positionen 63)
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