Heinz Holliger: Machaut-Transkriptionen Geneviève Strosser, Jürg Dähler, Muriel Cantoreggi & The Hilliard Ensemble

• Guillaume de Machaut (ca. 1300 – 1377): Ballade IV -Biaute qui toutes autre pere-
• 1Ballade IV -Biaute qui toutes autre pere-03:58
• Heinz Holliger (1939-) nach Guillaume de Machaut: Ballade IV
• 2Ballade IV04:26
• de Machaut: Ballade XXVI -Donnez, Seigneur-
• 3Ballade XXVI Donnez, Seigneur03:52
• Holliger nach de Machaut: Ballade XXVI
• 4Ballade XXVI05:24
• de Machaut: Double Hoquet -Hoquetus David-
• 5Double Hoquet -Hoquetus David-03:46
• Holliger nach de Machaut: Triple Hoquet -Nach Hoquetus David-
• 6Triple Hoquet -Nach Hoquetus David-06:22
• Holliger nach de Machaut: Lay VII
• 7Lay VII13:02
• Holliger nach de Machaut: In-Ter-Ventio a 3 und Plor- Prol- Oratio
• 8In-Ter-Ventio a 3 und Plor- Prol- Oratio10:10
• Holliger nach de Machaut: Complainte -Aus: Remede de Fortune- und Epilog-
• 9Complainte -Aus: Remede de Fortune- und Epilog-14:25
• Total Runtime01:05:25

Info zu Heinz Holliger: Machaut-Transkriptionen

Die Machaut-Transkriptionen des Schweizer Komponisten Heinz Holliger sind ein ausgreifender Zyklus von Werken, die, begonnen im Jahr 2001, innerhalb eines Zeitraumes von zehn Jahren komponiert wurden. Angelegt als reflektierte Auseinandersetzung mit dem Werk des großen französischen Komponisten Guillaume de Machaut aus dem 14. Jahrhundert, wurde der Zyklus für vier Stimmen und drei Bratschen geschrieben. Haargenaue Transkriptionen von Machauts Musik ebnen dabei den Weg für Holligers kreative Zerlegung seiner Musik. Wie Holliger anmerkt, eröffneten ihm seine detaillierten Machaut-Studien neue Perspektiven für seine kompositorische Tätigkeit, seine Bewunderung für das musikalische Material spiegelt sich auch in den herausragenden Darbietungen von Sängern und Bratschern wider. Mit den Machaut- Transkriptionen stellt das Hilliard Ensemble einmal mehr sein Können in der Interpretation sowohl Neuer als auch Alter Musik unter Beweis, wobei diese Aufnahme – entstanden 2010 in Zürich – das Vokalensemble auf dem Höhepunkt seines Schaffens abbildet. (Das Album Motets, ECM New Series 1823 dokumentiert ebenfalls die generelle Affinität des Hilliard Ensembles zu Guillaume de Machaut)

Muriel Cantoreggi, viola
Geneviève Strosser, viola
Jürg Dähler, viola
The Hilliard Ensemble:
David James, countertenor
Rogers Covey-Crump, tenor
Steven Harrold, tenor
Gordon Jones, baritone

Geneviève Strosser
After studying viola in Strasbourg in Claude Ducrocq´s class, Geneviève Strosser was taught by Serge Collot and Jean Sulem at the Paris Conservatoire (unanimous premier prix and advanced classes) then with Nobuko Imai, Bruno Giuranna, Yuri Bashmet, Franco Donatoni and György Kurtág in the framework of master classes.

She performs regularly with various contemporary music ensembles (Ensemble Intercontemporain, London Sinfonietta, Klangforum Wien or Contrechamps) under the direction of Pierre Boulez, Peter Eötvös and Heinz Holliger amongst others, and was a member of the Ensemble Modern Frankfurt until 2000. In addition to playing in the Chamber Orchestra of Europe under the direction of Claudio Abbado, Nikolaus Harnoncourt, Carlo Maria Giulini, Sir Georg Solti, she was a member of the Vellinger String Quartet in London.

She performs the classic chamber music repertoire with partners such as Gordan Nikolitch, Jean-Guihen Queyras, Muriel Cantoreggi, Antje Weithaas and Felix Renggli. She is regularly invited as solo viola with the Auvergne Chamber Orchestra, BBC National Orchestra of Wales, Orchestra of Cadaquès (Spain) and Orchestra of La Monnaie in Brussels.

Geneviève Strosser appears in numerous festivals including Musica, Berliner Festwochen, Salzburg, Ars Musica, Agora, Wien Modern, Davos and Witten, as well as at the Concertgebouw in Amsterdam, Kammermusiksaal of the Berlin Philharmonic Hall, Queen Elizabeth Hall and Wigmore Hall in London, Megaron Athens, WDR in Cologne, Carnegie Hall, and as soloist with the Orchestra of the Gewandhaus Leipzig, Hilversum Radio Orchestra, Stuttgart SWR Orchestra, Freiburg SWR Orchestra, Strasbourg Philharmonic Orchestra, Bavarian Radio Symphony Orchestra in Munich and Frankfurt Radio Orchestra.

With a repertoire of solo pieces including the major 20th-century works written for viola, Geneviève Strosser works closely with living composers: Stefano Gervasoni and Hugues Dufourt have thus each dedicated viola concertos to her, and she has premiered several works by Georges Aperghis and played in his musical theatre works (Commentaires, Machinations).

She recorded George Benjamin´s Viola-Viola along with works for solo viola by Georges Aperghis(Kairos). In January 2011 came out a cd (Aeon) with solo pieces by Holliger, Ligeti, Donatoni, Lachenmann, Scelsi.

Alongside her performing activities, Geneviève Strosser has a teaching certificate and taught string quartet at Trinity College of Music in London. In 2004, she was appointed professor of viola at the Musikhochschule in Basel.

Jürg Dähl
Born in Zurich, completed his studies on the violin and the viola at the Music Academy in Zurich with the highest honours. Various prizes and scholarships enabled further studies with Sándor Vegh, Pinchas Zukerman, Kim Kashkashian and Fjodor Druzhinin. That was followed by influential encounters with artists such as Brenton Langbein, Heinz Holliger, Nikolaus Harnancourt, and György Lígeti. He gave his debut in the Tonhalle Zurich with Paul Sacher’s Collegium Musicum under the direction of Brenton Langbein in the creation of the Violaconcerto by Daniel Schnyder.

His multi-faceted artistic activities from the classical repertory to contemporary music and jazz include first performances of solo pieces – many of them are written for and dedicated to him – by György Lígeti, Elliott Carter, Heinz Holliger, Hans Werner Henze, Arvo Pärt, Friedrich Cerha, Fjodor Drushinin, Daniel Schnyder, Mischa Käser, John Polglase, Christian Jost, Charles Bodman-Rae, Hermann Haller, Hans Ulrich Lehmann, Nadir Vassena and Alexander Brincken. As a soloist as well as a member of the Swiss Chamber Soloists (the former Kammermusiker Zürich) he regularly performs at important concerthalls and Music-Festivals such as the Salzburger Festspiele, Konzerthaus Wien, City of London Festival, Accademia Nazionale di Santa Cecilia di Roma, Biennale di Venezia, Lucerne Festival and the Montreux Jazz Festival and tours throughout Europe, the USA, South America, and Australia. He received international acclaim for his CD-productions with labels such as ECM, Neos, Accord, Jecklin, Claves and Cantando.

Jürg Dähler is a founder-member of the Collegium Novum Zürich and since 1993 principal violist of the Orchestra Musikkollegium Winterthur and a member of the Winterthurer Streichquartett. In 1997 he was appointed Artistic Director of the Festival Kultur Herbst Bündner Herrschaft Bad Ragaz and since 1999 he is a founder-member and Artistic Director of the Swiss Chamber Concerts. In 2007 he was the first Swiss to receive the academic title “Executive Master in Arts Administration” (EMAA) in the philosophy and business department of the University Zurich. In 2008 he received the Zolliker Kunstpreis for his artistic activities and his services to the cultural life in Switzerland. He plays a violin by Antonio Stradivarius, Cremona 1714, and a viola by Raffaele Fiorini, Bologna 1893.er

Muriel Cantoreggi
was born in France, and spent her childhood in Luxemburg. Her violin studies brought her to Paris, in the class of Régis Pasquier, then to Utrecht, where she studied with Wiktor Liberman, and finally to Berlin, finalizing her studies at the Hanns Eisler Hochschule with Christoph Poppen.

She was a prizewinner of the Marguerite Long-Jacques Thibaud international competition in 1993.

At an early stage, still during her studies, she was given the chance to play as a concertmaster of the EUYO, and so performed under great conductors such as Carlo Maria Giulini, Vladimir Ashkenazy, Bernard Haitink.

She then took up the concertmaster position in the Munich Chamber Orchestra, which she led from 1995 till 2007.

Muriel Cantoreggi is, since april 2009, professor at the Hochschule für Musik Freiburg.

Her repertoire extends from baroque to contemporary and chamber music has a leading role in her musical life.

She can be heard on CD with two recordings by ECM, Barry Guy’s FOLIO, as well as a recording of the Deutsche Radio Philharmonie under Christoph Poppen, with Juliane Banse, soprano, and the violinist Muriel Cantoreggi in Frank Martin’s Maria Tryptichon and Polyptyque.

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