Daniel Studer



Daniel Studer Solo:
Fetzen Fliegen

Daniel Studer: double bass
Lisa Böffgen: video

Recorded March 9 and 10, 2021 by Ron Kurz.
Stereo and binaural mix and master by Ron Kurz.
Cover photo Dominic Büttner.
Liner notes by Ilaria Schiaffini and Giancarlo Schiaffini.
Graphic design by Anne Hoffmann.
Produced for Wide Ear Records by Daniel Studer.
Translations by Bill Gilonis and Judith Blumenthal.
Financial support by Stadt Zürich Kultur and Fachstelle Kultur Kanton Zürich

label: Wide Ear Records, WER064, 2022

music stereo mix:
Teil 1, 8:45
Teil 2, 8:43
Teil 4, 8:51

music binaural mix for headphones:
Teil 1, 8:45

Teil 1

order: Wide Ear Records
25.- CHF & shipping (CD incl. video & binaural audio download) / 20.- CHF (stereo & binaural audio & video download) / 15.- CHF (stereo version download)

liner notes:

A journey to the heart of sound
…It is a study of the nascent state of sound, an impression enhanced by binaural listening, which almost creates the sensation of being inside the instrument itself. The techniques used to produce the sounds are many and varied. The double bass is played con arco, col legno, pizzicato, rubbed, struck and caressed. The dynamics – except for a brief moment – oscillate between piano and the limit of audibility. Many silent spaces alternate with perceptible sounds to create organic situations. The silence is not Cagean, but rather full of sonic tension. Although the sequence of sound events is neither programmed nor attempted, the work comes across as being globally coherent.…

Giancarlo Schiaffini

…the camera floats over the instrument at very close range: the soundbox is reduced to an artefact so imprecisely defined that it becomes merely a piece of wood. Narrowing the frame and reducing the distance to the subject to a minimum, the lens restricts information about the instrument and focuses progressively on small details that remain blurred at the edges. Moving slowly in all directions, the video follows the tiniest indentations, nicks, scratches and other traces that have accumulated over time on the body of the instrument, exploring its nature in an almost tactile way. By reducing the information they impart, the images produce a discrepancy that leads them to an evocative level where the tonal relationships between the full, the empty and the shadows create new visons..…
Ilaria Schiaffini

cd reviews:

Studer ist ein Suchender, allerdings nicht angetrieben von Unbehagen, sondern von einem unstillbaren Spieltrieb … Durch die aufwendige Mikrophonierung wird der Klang zur Skulptur, was durch die Video-Arbeit – einfühlsame Schwenks über die anatomischen Details des Instruments – Lisa Böffgens unterstützt wird. … Der Effekt ist offenbarend. Durch die Vergrösserung der Topographie des Instruments wird das Monolithische des Klangs aufgefächert. Zu hören ist nicht mehr ein Bass, sondern sind dessen vielgestaltigen Klangmöglichkeiten – und das Publikum ist eingeladen, das Gelände selbst zu erkunden und an der Gestaltung der Wahrnehmung mitzuwirken.
Christof Thurnherr, Jazz'n'More, 2022 (download)

Swiss bassist takes his bass to a different level of music. Call it avant-garde or experimental, he is exploring the sonic space of his instrument as integrated in the surrounding environment, recorded and mixed to put listener and instrument in the centre of this enlargened space. The result is a truly physical experience of micro-sounds, barely audible caressses of the strings that stir the silence, almost like quantum particles bouncing in total emptiness. The result is both intimate and magical.
Stef Gijssels, freejazzblog, 2022

Feelings of a tactile sensation call out to me from your album... but of course I cannot really feel the vibrations against my body that way. It makes me wonder what is the next step for presenting something like that technically, but you are triggering various synesthesia. And then an affective sense of stillness & intimacy.
Todd McComb, 2022

…(Daniel Studer) vermittelt seine Kunst als das Zeugnis auf dem Feld des Praktikers-Philosophen, der eine Kunst der gestischen Skulptur von Klängen in einer Zeit hervorhebt, deren kleinster Augenblick mit Bedeutung aufgeladen ist…
…Es geht hier nicht nur darum, ein Werk oder einen ästhetischen Weg zu betrachten, sondern vielmehr darum, sich einem Akt anzuschließen, der dem erlebten Augenblick seine ganze kreative Dimension zurückgibt, in die sich die Erfahrung, die Erinnerung und die zutiefst intimen Absichten des Künstlers und sein inneres Hören auf natürliche Weise einfügen. Der Naturzustand der Musik.… Meisterhaft!

Jean Michel van Schouwburg, (orynx-improvandsounds.blogspot.com)

…Fetzen Fliegen dimostra che un contesto ad hoc per il contrabbasso si può costruire in ogni momento, ma è indispensabile la creatività del suo utilizzatore. E Studer ne ha in abbondanza.
Ettore Garzia, 2022 (Percorsi Musicali)

Chiariamo che “Fetzen Fliegen” non è un disco privo di materia sonora, ma Studer ha fatto in modo che il silenzio si amalgami alla perfezione, intervallandosi con le improvvisazioni che crea con il solo contrabbasso. Altro fattore è lo spazio dove le tracce sono registrate, posizionando vari microfoni in diverse punti dell’ improv-set; determinando quindi, nella fase di editing finale, una gamma di effetti sonori piuttosto eterogenei, che, a seconda della postazione in cui il suono è imprigionato, andranno gradatamente a mutare sia nello spessore che nel volume. Terzo tassello è il rapporto para-carnale che il musicista elvetico instaura con il suo strumento, confermando una decisa indole multiforme, dove non è ammessa staticità, suonando il contrabbasso in diversi modi, sia con l’archetto, sia pizzicando le corde ad altezze non convenzionali, inserendo e togliendo all’istante bacchette di legno sulla tastiera, manipolandolo come tradizione contemporanea insegna. Quarto elemento rilevante la fusione del suono improvvisato con la video-art: Studer alla bisogna abbina al formato audio un video (il codice per il download lo troverete all’interno del digipak) dove Fetzen Fliegen 1 è arricchita dalle immagini in bianco e nero di Lisa Böffgen che inquadra lentamente il corpo del contrabbasso, esaminandolo in tutti i suoi rivoli, sviscerando così la sua anima e la sua magnetica essenza. Dai tempi di Taku Sugimoto con il mitico “Opposite” che non udivo una prova di estemporaneità solitaria così incisiva.
Sergio Eletto, 2022 (Kathodik)

© Daniel Studer 2013. All rights reserved.