Liner notes by Lê Quan Ninh:
Free improvisation is defined, among other things, by its practioners' refusal to rely on a form composed by others. Partially, perhaps, from pride, but above all from playfulness: what is left when we eschew this support? What detour will lead us onto the path of creativity? And in the context of instrumental practice, for example, we may wonder if creativity encompasses the development of a singular virtuosity, if it is appropriate to forgot any concern with form or to acknowledge the presence of a flux from which any form may arise unbidden.
There are multiple questions and practices in this field, but the fundamental question remains the same: what is improvisation free from? From pre-established forms? From conventions? From prerequisites? [...]
"Once established that variants of the thematical material will be heard repeatedly, significance lies in how unexpected percussion explosions, singular violin plucks, accordion tremolos, plunger brass lines and truculent piano chording will alter the sequences before the theme is again heard. A coda of harp glissandi, sampled vocal yells and piano chording moves the exposition downwards to a satisfying conclusion."
(Ken Waxman, Jazz Word)
"In Ferrari's piece, there is quite some room for radio sounds, and each player repeats his part at whatever chosen time frame so that it never overlaps in the same way because the player doesn't know about the other players. It also means that there is quite a bit of room for silence, which adds to the intensity of the music. The ensemble adds a recording of Ferrari's taped version of 1969, with its voice material, adding an interesting additional layer to the music. Altogether this is some intense sparkling music, with some excellent interaction between the individual players."
(Frans De Waard, Vital Weekly)
"The electroacoustic ensemble play thick sounds distributed thin and I can’t hear it as much more than a listless group improv. More distressingly, the piece is accompanied by a performance of Luc Ferrari’s Tautologos III tackled with the same languor, so that the consequences of interactions fail to accumulate and events fail to gather significance or momentum. Perhaps the numbing isolation in this rendition is the suburban riposte to Ferrari’s city analogy."
(Ben Harper, Boring Like A Drill)
released September 14, 2021
-bRt- group for music creation
Gaudenz Badrutt, live electronics
Estelle Beiner, violin
Jacques Demierre, piano
Jonas Kocher, accordion (Tautologos III)
Stephen Menotti, trombone
Manon Pierrehumbert, harp
Christian Wolfarth, percussion
Artistic direction: Gaudenz Badrutt & Jonas Kocher
Recorded on May 7 2021 in Biel/Bienne (CH) at Atelier Pia Maria by Bojan Ugrinovsky
Mixed by Gaudenz Badrutt
Mastered by Giuseppe Ielasi
Liner notes by Lê Quan Ninh
Notes by Gaudenz Badrutt
Graphic design by Jérôme Lanon
Project kindly supported by Pro Helvetia and Oertli Stiftung