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<label id="editionwandelweiser" href="http://www.actuellecd.com/en/boutique/editionwandelweiser/">
  <name>Edition Wandelweiser Records</name>
  <shortname>Edition Wandelweiser</shortname>
  <recording id="ewr_0410" href="http://www.actuellecd.com/en/cat/ewr_0410/">
    <artist>J&#252;rg Frey, Quatuor Bozzini</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/0410_EWR.gif" />
    <title>J&#252;rg Frey: String Quartets</title>
    <catno>EWR 0410</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>&#8220;Material can be anonymous. Consider, for example, the middle voices in
    medieval hymn books: unadorned, not artful, a simple handiwork, a leisurely alternation of
    single notes. It might be a scale, or, beyond music, the stones of a wall, not artfully
    stacked, but simply and properly, the formal idea being nothing other than that of a wall. When
    I was working on the String Quartet (1988), I encountered the painting of Agnes Martin. I saw
    clear-cut forms, not overgrown with rhetoric and figuration. Instead, sensuality, radiance and
    intensity gripped the entire space. There was a kind of visibility to her art, which I felt
    corresponded to the audibility in my music. Audibility: the moment when sound waves move in
    space and the air touches the body. The eardrum is the sensory connection between the outside
    and the inside world: we hear the sound and the composition. Over the years it became more and
    more clear to me, that there is no anonymous material - each material has its shape, and as
    soon as it exists in space and time, it carries a distinct handwriting. Anonymous material is
    rather an idea that brings the work to a point where concentration on what is essential becomes
    possible, and allows one to feel that he is starting from zero.&#8221; &#8212;J&#252;rg Frey
    (English Translation: Michael Pisaro)</description>
  </recording>
</label>
