He is an Oboist, composer, conductor; a literature connoisseur also, a voice artist who can speak so pointedly about his music, even Complicated acts are suddenly easy. A genuine Swiss also interested in dying dialects, lively folk culture, and all sorts of forgotten and marginalized figures of this country. A multiple prize-winner, finally, of all the prize money the same again. In short: Heinz Holliger is one of the most colorful personalities in the Swiss culture.

And: one of those special cases, the estimated as well as be liked – you will notice, when talking with musicians about Holliger. In the run-up to the Zurich concerts, the filed this weekend, under the Label of “Focus Contemporary” as an updated homage to his 80. Birthday take place, we have interviewed some of them.

What makes Heinz Holliger’s music?

Matthias Arter, oboe at the Collegium Novum: “is Often his music is of a complexity and density that makes it difficult, on first Hearing, the individual levels of exercise. A quasi non-analytical “enjoyment listening” may be interesting to help way to capture his music better. The amount of detailed information belies the fact that he gives the performers great freedom, you must definitely take advantage of. He is aware that he can compose his pieces differently, or to record; he had to choose, for pragmatic reasons, A possibility.”

Vanessa Szigeti, violinist in the Tonhalle orchestra: “Holliger’s music is complex, interesting and demanding. But it is not just complicated, it is well thought out. He conveys a lot during the trial work, creates the context and Background that makes his music come alive.”

Martina Schucan, cellist at the Collegium Novum: “Holliger’s compositions, an immense Knowledge of music and a specific interest in language and literature is based on. He combined these experiences with a subjective, inspired expressiveness, which is closely connected with the Breathing and the human voice. Whether in an individual drum part, or in his wonderful Opera “Lunea”, he creates an inexhaustible wealth of color.”

What are the difficulties are his works?

Vanessa Szigeti: “is The Study to be very demanding. You need an idea of this complex Sound, and must be rhythmically Hyper-stable. There are so many Details, so many images, you can situate. The arrangement of the musicians on the stage, your Position is also completely unfamiliar.”

Matthias Arter: “Technically, it requires mostly the instrumental the most difficult things and not “what is good for the Instrument”. This System has, and is, no intention, true to his Conviction that art can not arise in the Mainstream middle, but only at the edges of what is Possible or almost not Possible.”

Florian Walser, clarinettist of the Tonhalle-orchestra: “I am fascinated by Heinz Holliger’s idea of modern composition. His gaze is accurate, it will be rehearsed in any Detail. This is an opportunity; the challenge is for us musicians in the orchestra, that we also keep the big bow in the views.”

How is the collaboration with Heinz Holliger?

Vanessa Szigeti: “My first musical encounter with Heinz Holliger was also my very first orchestra concert in the study. This was at the Conservatoire de Paris, and I was conducted by 17, he. This is a nice reminder, even then, the cooperation with him was very pleasant. He is precise and knows what he wants. Heinz Holliger is a wonderful person.”

Matthias Arter: “one Of his main Credos is that art must arise in the Moment. A Reproduce as something always the same not interested in him. You can feel both the samples as well as in the concerts with him. He always tries to the idea behind a piece of work out, regardless of whether he is working on his own music or music by other composers.”

Christopher Whiting, Violinist in the Tonhalle orchestra: “, Heinz Holliger’s thoughts are fast, it is a great deal of concentration it takes to follow him. He is an Idealist who goes with a magnifying glass on the score. It is important for him to win, the orchestra and the orchestra, the audience for his music. New music needs more Persuasion.”

Patricia Kopatchinskaja, violinist: “If I play Heinz Holliger’s violin Concerto with him, then this is an absolute life event for me. You can’t immerse themselves differently than perfect in this music. I’m this crazy, brilliant painter Louis Soutter, the work is, I am the shadows and the cracks in these paintings, the brush strokes, the light, the energy, the breath, the action. Heinz carries around an infinite number of stories with him, and is one of the painful a few musicians who are real. The Interaction with him, Talking, listening, or simply In-his-vicinity-be – because one is always aware of what a singular personality, one has to do it.”

Benjamin Glorieux and Sara Picavet play Heinz Holliger’s “Roman cendres”; the Tonhalle-concert of the work of Anita Leuzinger and Anton Kernjak is played.

Created: 28.11.2019, 12:23 PM