Fold in; fold out: the breathing of the accordion. On this CD the accordion unfolds in a very special way, unusually close to the instrument. Four works, four worlds that seem to know each other; refer to each other like a greeting from far away.
Hearing John Cage's ,,Cheap Imitation" played on accordion gives you the impression of folk music from an unknown, probably non-existent country. This music comes from nowhere, goes nowhere, is forever on its way.....Like ,,Sam Lazaro Bros". The Swiss composer Jürg Frey wrote this piece in 1984 in an old music notebook produced by the eponymous company. An infinitely inflecting line, that has no intention of connecting two points. No phrases, no rhetoric. No inside, just outside; no depth, just width. Here.
Michael Pisaro's ,,here (2)", too, is concerned with this intensity of perception - constant and yet, simultaneously, always moving, but never to a point. In ,,here (2)" you hear Edwin Alexander Buchholz together wfth the flutist Normisa Pereira da Silva. Two instruments are playing, but there is only one sound. One instrument sets something in motion in the sound of the other. When exactly this happens, cannot be perceived: the moment you perceive it, the movement is already there.
Antoine Beuger wrote ,,die geschichte des sandkorns" (the story of the sand grain) in 1992 for Edwin Alexander Buchholz.This is a quiet piece with events taking place only once in awhile. No connections are intended between the events. Listening to this music does not in the first place address memory. lt rather involves freeing the mind from ideas, anticipations and remembrances. A music of forgetting: a music affirming life.