Mela Meierhans - phase1_soloduotrio | Neos Music NEOS11402

Mela Meierhans - phase1_soloduotrio

£12.30

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Label: Neos Music

Cat No: NEOS11402

Format: CD

Number of Discs: 1

Release Date: 10th November 2014

Contents

Artists

Leslie Leon (voice)
Laura Gallati (piano)
Fritz Hauser (percussion)
Lenka Zupkova (violin)
Tomek Kolczynski (electronics)

Works

Meierhans, Mela

A-a
Cordes Ouvertes II
Enigma
Orpheus
Triton

Artists

Leslie Leon (voice)
Laura Gallati (piano)
Fritz Hauser (percussion)
Lenka Zupkova (violin)
Tomek Kolczynski (electronics)

About

'phase1_soloduotrio' juxtaposes five works of the first creative phases of the Swiss composer Mela Meierhans – 1989 to 2000.

- Enigma for voice, percussion and prepared piano (1999)
Enigma is an important example of the use of melody and line – parameters that the composer has been using on a very reduced basis since 1999. The composition of Enigma took place during a time in which Mela Meierhans was intensively occupied with the oeuvre of the Austrian author Ingeborg Bachmann.

- Triton for piano solo (1989/90)
This six-movement work is dedicated to the pianist Laura Gallati, who performed the world premiere in 1990. Triton is the first contemporary work by Mela Meierhans.

- A-a for voice and percussion (2000)
The five-movement work refers to a poem by Ingeborg Bachmann that is, however, never enunciated. With A-a, Mela Meierhans entered a new creative phase. In the composer’s oeuvre, it marks the transition from melody and development to the fragment and to network structure, from vocal sound to noise.

- Orpheus for solo voice (1999)
Orpheus, based on the poem 'Dunkles zu sagen' (To Say Something Dark) by Ingeborg Bachmann, is a piece for medium voice and opened grand piano. The work was, before the chamber ensemble / electronics version of Enigma, the first in a series of 'songs of mourning'.

- Cordes Ouvertes II for violin solo (1995/96). Electronically adapted version 1999.
This work is an homage to the composer’s childhood. It lends compositional expression, on the one hand, to the memory of her first, still awkward violin-playing at the age of three and, on the other hand, to the wide world of – especially contemporary – music of her father, the violinist, violist and performer Kurt Meyerhans. The rehearsals at home of the Amos Trio, founded by her father, as well as tape collages, have left their imprint on all of Mela Meierhans’ oeuvre. This work is a very personal homage to her father.

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