Daniel Studer

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Extended

for strings & piano
compositions by Daniel Studer

Harald Kimmig vl
Frantz Loriot va
Alfred Zimmerlin vc
Daniel Studer b, comp
Philip Zoubek p

Extended (2019) wins the German Record Critics' Award: Longlist der deutschen Schallplattenkritik, Sparte Zeitgenössische Musik, 3/2020

Extended II, 2021:

Im zweiten Stück für dieses Quintett werden unkonventionelle Klänge und Geräusche und räumliche Wahrnehmung vertieft. Die Instrumente werden um das Publikum herum angeordnet, das sich so in der Mitte des Klangraumes befindet. Die Klänge werden aus einer Art "Ursuppe" herausdestilliert und von chaotisch bis äusserst streng organsiert.

In the second piece for this quintet, unconventional sounds and noises and spatial perception are deepened. The instruments are arranged around the audience, which thus finds itself in the middle of the sound space. The sounds are distilled out of a kind of "primordial soup" and organized from chaotic to extremely strict.

music (excerpts):
Raster
Raum
Coda

score:
download

cd:
release fall 2022 (HatHut Records)

concerts:
14.11.2021, 20:00, UA, Musikpodium der Stadt Zürich, Kunstraum Walchetrum, Kanonengasse 20, Zürich

Fotos von Lorenzo Pusterla (Walcheturm):



Extended I, 2018:

In diesem Musikstück wird die formale, visuelle und zeitliche Organisation von Bewegungsabläufen der Klangerzeugung vertieft. Texte, Worksongs, manuelle wie maschinelle Arbeitsprozesse sind Inspirationsquellen.
Improvisation und Komposition werden miteinander verknüpft, sodass die Qualitäten der Improvisatoren gestützt und die Musik in vorgesehene Bahnen projiziert werden kann. So wenig wie möglich und so viel wie notwendig wird festgelegt und ausnotiert.
Das Trio Kimmig-Studer-Zimmerlin ist Kern des Ensembles. Es arbeitet seit 10 Jahren erfolgreich als improvisierendes Trio.

In this piece the formal, visual and temporal organization of movement sequences of sound production is deepened. Texts, worksongs, manual as well as machine working processes are sources of inspiration.
Improvisation and composition are linked so that the qualities of the improvisers can be supported and the music can be projected into intended paths. As little as possible and as much as necessary is determined and notated out.
Trio Kimmig-Studer-Zimmerlin is the core of the ensemble. It has been working successfully as an improvising trio for 10 years.


Extended I, music examples (excerpts):
motus
comprimere
verba 2

infos:
download deutsch (pdf)

cd (HatHut, ezz-thetics):
see

concerts:
07.02.2018, 20:00, UA, Kunstraum Walcheturm, Zürich
08.02.2018, 20:00, Galerie Schneider, Freiburg i. Br.

reviews:

“…The quintet navigates the pieces in this live recording with an astute ear for the fractured counterpoint and timbral contrasts of the pieces. Spikey angularities, sputtering stopped strings, and strummed resonance fly by with precision and clarity of trajectory. Studer collaborates regularly with the other string players and the synergy of their approach to collective improvisation within the context of compositional forms is what makes this project work so well.
Michael Rosenstein, point of departure, 2019

“…Their music is an authentic fusion of various jazz styles and contemporary academical music. Free improvisation, special effects, sound experiments, contemporary and modern jazz, mainstream and some various jazz styles are combined together to experimental music, academic avant-garde and contemporary academical music. The music is bright and expressive. It’s always balancing somewhere between free improvisation and composing. Musicians have a new conception of jazz – it’s full of innovative ways of playing, crazy ideas, frantic and spontaneous solos, wild and dynamic turns, furiously fast passages and all kinds of modern, evocative and impressive expressions.…
Avant Scena, 2019

…Nevertheless, Studer and co. take their amelodic, frequently minimalist tendencies in a somewhat different direction. Dynamics play a major role in this music, as scrapes, saws, and strikes arise almost organically out of silence, only to fade just as abruptly. The tracks cohere, but focus is placed on each piece as an atemporal, non-progressive whole, sans the slow welling and layering of sound… There is a fragility, subtlety, and deep pensiveness to the performances on this album.
This is not traditional jazz in any sense of the term. Yet, it harkens back to the curiosity that inspired those early experiments into the turn of the 19th century’s “new music,” the quest for novel sounds, timbres, and musical space. This string sextet is far from alone in this pursuit. That fact, however, makes the peculiarities of this album all the more important.

Nick Ostrum, free jazz blog, 2019

…De la démarche de Daniel Studer aidé par ses quatre camarades, on retiendra une remarquable extension des possibilités sonores, des formes musicales, de la mise en abîme des timbres, de l’intégration de chaque voix instrumentale dans l’ensemble, … Les neuf pièces enregistrées évitent radicalement ce qu’on appelle « le noodling » (péché mignon de la musique improvisée) par la précision du jeu, la clarté des intentions, et la variété des formes qui se dessinent dans chaque composition. On ne va pas se casser la tête pour ranger Extended dans tel ou tel type de démarches de compositeurs en se référant à X, Y ou Z. La musique d’Extended vit et existe par elle-même et son déroulement se révèle complexe, peu prévisible, et complète par la richesse de son imaginaire et des perspectives nombreuses dans sa géométrie spatiale, intégrant une foule de traitements sonores et de modes de jeux acquis par des décennies de travail ardu dans l’acte d’improviser librement.
Jean-Michel Schouwbourg, 2019

In his sleeve notes for Daniel Studer’s “Extended”, Brian Morton draws quite an eyebrow-raising comparison between ‘professional’ versus ‘improvisational’ musical methods and the industrial methodologies of old East Germany and Nigeria, praising the virtues and effectiveness of the latter and stating that Studer’s work is effective in the same manner. It’s an ambitious comparison, but in “Extended” you can see what Morton is getting at- that both organisation and beauty lie underneath the apparent chaos.
Playing the double bass himself and working with four other performers with whom he is already very familiar, Studer offers up a series of works that are extremely spacious, sometimes minimalist, impulsive and unpredictable.
…It’s a bold, accomplished and confident 54-minute CD that’s moderately purist in its approach, the sound of assured high quality improvisation and musical virtuosity that defies traditionalism and manages to forge the template for a new form of traditional in the process.

Stuart Bruce, Chain D.L.K. 2019

© Daniel Studer 2013. All rights reserved.