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FRI 18/09


Kirche St. Martin, Christoph-Anton- Mayr-Weg 7, Schwaz


6.15 pm Uhr

Introduction: Matthias Osterwold, artistic director of KLANGSPUREN SCHWAZ, in discussion
with Clemens Merkel and Alexander Moosbrugger

7 pm
Walter Zimmermann From the cycle Lokale Musik:
Zehn fränkische Tänze
for string quartet
Chiyoko Szlavnics Gradients of Detail
for string quartet
Alexander Moosbrugger Skalen, Texte, Maß
Version for for violin I and viola in scordatura, violin II and violoncello
James Tenney Arbor Vitae
Ben Johnston String Quartet Nr. 7 UA


Quatuor Bozzini

Clemens Merkel (violin)
Alissa Cheung (violin)
Stéphanie Bozzini (viola)
Isabelle Bozzini (violoncello)

Despite many different artistic approaches, composing with pure intonation, micro-intervals, beats and differential tones forms the element connecting all the works performed by the Quatuor Bozzini from Montreal, Canada. Two works dated 1977 are from the cycle Lokale Musik by Walter Zimmermann, who adapted the American heritage to his European thinking in a highly original manner: Zehn Fränkische Tänze and Keuper are arrangements of dance types and characteristic stone formations from the composer’s Franconian homeland, adapted to pure intonation and partially featuring flageolets and instruments tuned in scordatura. Gradients of Detail by the Canadian Chiyoko Szlavnics is dedicated to the Bozzini Quartet. It derives its mysterious, fascinating tension from the slowness of glissandi in progress, set against held notes. This results in a pure network of pulsating beats and differential tones. The basis of Chiyoko Szlavnics’ compositions are extremely precise, delicately lined, strictly geometrical ink drawings which should not be understood as graphic notation, but as detailed descriptions of structural and formal progressions. The short work Skalen, Texte, Maß by Alexander Moosbrugger from Vorarlberg indicates the composer’s profound exploration of the interdependence of tonal system, texture, proportion and rhythm even in its title (“Scales, Texts, Measures”). Completed shortly before his death in 2006, Arbor Vitae (“Tree of Life”) is the last composition completed by James Tenney, one of the leading proponents of the American avant-garde. Arbor Vitae is the culmination and concentrate of essential elements of his oeuvre. The piece employs dynamic contrasts and an extended vocabulary of pitches derived from distant prime steps of the overtone series. The programme’s final element is the world premiere of Ben Johnston’s 7th String Quartet. It makes extreme demands of the Quartet’s art of playing and intonation. Ben Johnston, born in 1926, is an American master of just intonation who has been ignored without reason. He was an occasional close collaborator of Harry Partch and was influenced by the latter, but writes for conventional instruments, using his own notation. With support of: Conseil des arts et des lettres du Québec, The Canada Council, Conseil des arts de Montréal, SOCAN Foundation and Concordia University