CD1 50 Sächelchen

  • 1-1 Abendlied
  • 1-2 Abendrot I, II & III
  • 1-3 A.C.U.D.
  • 1-4 Ageteador
  • 1-5 An Die Stadvögel
  • 1-6 Bogen Und Coda (Turn And Coda)
  • 1-7 Brachland
  • 1-8 Cadillac
  • 1-9 Château Des Vincennes
  • 1-10 Cheap Imitation
  • 1-11 Dazwischen
  • 1-12 Der Photograph
  • 1-13 Der Andere Photograph
  • 1-14 Der Melodienerfinder
  • 1-15 Dornenrosen
  • 1-16 1 Fehler
  • 1-17 Fahrplan
  • 1-18 Fast Nichts I
  • 1-19 Fast Nichts II
  • 1-20 Flugobjekt
  • 1-21 Flushing Local
  • 1-22 Galimathias
  • 1-23 Graffito
  • 1-24 Hélas! Monica
  • 1-25 Herbtesnebel
  • 1-26 Herbstgefühl Und Graue Wolken
  • 1-27 Im Bus
  • 1-28 In Szolnok
  • 1-29 Landscape
  • 1-30 Macht
  • 1-31 Melodie Aus Wien
  • 1-32 No. 32
  • 1-33 Osorno
  • 1-34 Pennsylvania Station
  • 1-35 Pierrot
  • 1-36 Präludium
  • 1-37 Privatbesitz Des Komponisten
  • 1-38 Recht
  • 1-39 Rue Du Petit Music
  • 1-40 Schimmer
  • 1-41 Slow Flea
  • 1-42 Trauerlied
  • 1-43 Trauermarsch
  • 1-44 Träumerei
  • 1-45 Van Nuys
  • 1-46 Walter Rober's Nachtstück Mit Hochgebirgstal
  • 1-47 William Street
  • 1-48 Wohin?
  • 1-49 Zauberspruch
  • 1-50 Zieh! Elgnamia


  • 2-1 Relikt
  • 2-2 Wen 23
  • 2-3 Guitarist, Alone

Grabado en estudios Madreselva por Alfonso Pérez, en Santiago de Chile.

Kate Molleson para The Guardian (UK)
“His attention to detail pays off, and he really sinks into the hypnotic pacing. There’s a sense of thoughts being worked out in real time, of musical statements being made, pondered and responded to without an iota of hurry.”

“Jürg Frey, au-delà de son intérêt pour le silence, au-delà de ses recherches sur de nouvelles formes de compositions, continue de rechercher la beauté dans sa musique. Réalisées par Alvear, ces pièces, de par leur beauté, de par leur mélodie et leur sensibilité, ont quelque chose de très humain, auquel n'importe qui peut prendre part. Car Jürg Frey ne se contente pas d'explorer le silence comme matériau de composition, il explore le silence comme un matière que l'on peut rendre belle, et il y parvient toujours avec succès.”

“A run of notes can sound like a melodic figure or abstract, isolated tones, depending on how you hear it; repeated listens trample down the grass into a path, or wear away the surface of a certainty until it vanishes. Alvear’s disciplined and focused playing allows this change to occur, allowing neither figure nor abstraction, nor a polarisation of the two, to become set in stone.”

“This is, to be honest, a bit of a dream ticket. In Alvear, Frey has found the perfect channel for his gorgeous, meditative pieces that seem to mix lyricism with a hidden toughness, like icicles formed from honey. The absolute focus of Alvear’s concentration backed up the rigour of his technique, honed from nearly a decade studying the classical repertoire in the National Conservatory of the Universidad de Chile, as well as in collaborations with contemporary Wandelweiser-associated composers such as Antoine Beuger and Radu Malfatti. Alvear’s performance of Malfatti’s shizuka ni furu ame is perhaps the starkest illustration of that strand of his approach, the plucked dyads of Malfatti’s score emerging out of the surrounding silence like huge rocks materialising on tundra. It’s monkishly austere and, in its restraint and self-containedness, transformative.”

“Cristián Alvear’s playing is a beautiful study in concentration throughout the collection. There are no extended techniques called for here, and so he produces each sound cleanly and clearly, with extraneous noise on the strings, neck or body of the instrument (that “authentic” grit of folk music) almost entirely eliminated even when the music is near silent. At the same time, the playing and recording never sounds so polished as to be sterile.”