Esther Flückiger - LUMINESCENCE

Esther Flückiger & Friends

Esther Flückiger - piano, Hang; Jiří Němeček - violin, Ludovic Van Hellemont - piano; Massimo Mazzoni - saxophone, Rose-Marie Soncini, flute; Tomas Dratva - piano; Trio Flair: Stefan Läderach - violin, Emanuel Rütsche - violoncello, Esther Flückiger - piano


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LUMINESCENCE

As a pianist, composer, improviser and passionate hang player, I am always looking for new paths and exciting musical adventures in my compositions. To me, every new composition is a musical trip of discovery. I am always concerned with the tension between tradition and avant-garde – dealing with the past without sacrificing it – and integrating elements of oriental music and jazz. It is important for me to explore new ways of playing instruments and of creating sound in order to enter new spheres. An examination of time and space, of the past and the present on the axis of time.In the compositions of “Luminescence” much is related to the desert and the four elements in a literal and figurative sense: on the one hand my experiences in Arab countries and the Sahara, which have strongly influenced me, and on the other hand the inner “desert”. My compositions are a mirror of personal, emotional life circumstances and situations, which I cannot articulate in any other form. They have a transformative character and point to an inner meaning.
 
Esther Flückiger

 

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Vita A (2017)
hang & piano

Piano and hang meet each other. This results in a continuous search for and the connection of overlapping moments in a polyphonic way, resulting in new melodies, melodic fragments and overlays of rhythmic structures. This is like a love story that seeks vitamin A and does not evade impulsive moments.

Guarda i lumi (2017)
5 migrating sound images
violin & piano

The starting point for this composition is the examination of the theme of migration. The composition’s musical structure contains five parts. Each of the five parts is intended as a sound picture. The entire composition, however, is conceived as a unit, i.e. without pauses. The title refers to the lights in daily life, an allusion to the search for beauty, warmth and peace in the tragedy of the lives of migrating people. The titles of the 5 sound pictures are:

Profondo oscuro (scorrevole)
Luminoso cantando (grave con tenerezza)
Fusion sfuggendo (ritmico leggero e funky)
Sofferenza incerta (canto recitativo)
Tra lirico e fuocoso (presto)

In the desert it doesn't rain (2018)
saxophone & piano

The composition for tenor saxophone and prepared piano was inspired by the story “The Fountain” by Somaya Ramadan. The whole musical structure moves like a mysterious being and forms a growing sound space. In one section the prepared piano is mixed with an electronic audio
file that has been delayed in time, causing an extremely subtle shift in sound and time. The work is similar to a suite and is based on a multi-
layered tonal language that represents the human sensitivity of a woman collecting dewdrops in the desert. A simple story that turns into an extraordinary richness.



Lume universale nell'aria cadente (2015)
violin, violoncello, piano & hang

“Universal Lumen in the Falling Air” is inspired by the scriptures of Leonardo da Vinci. I have researched his studies of the four elements related to the human body and machines in the Codice Atlantico (Biblioteca Ambrosiana Milano).Sounds of nature, in which we play such a small role, were the inspiration for the initial motifs in the cello and hang, imitating the subtle sounds of wind and sand. The cello inaudibly enters into a smooth sound surface of the piano and unites with it imperceptibly. All the musical texture of the piece is shaped by the intervals of the motifs and the sound and rhythm materials of the different parts. The composition thematizes different forms of natural episodes which stand in contrast to each other and densify into a whole during the entire process.


With Bow and Swarm (2017)
prepared piano

A discrepancy between homogeneous and heterogeneous soundscapes is created in this music for prepared piano. It is a great stimulus for me to elicit sounds from the piano which seem to be produced electronically. The slowly evolving sounds get surprised by the unexpected use of new sound insertions. They face each other like contrasting images, are able to connect or dive back into a utopian sea of fog. Sound episodes that do not belong together, but which unconsciously seek each other and merge … a (love) dialogue between two people in space on an unreal quest for the possible

Drops I–III (2018) flute & piano
Klangsymbole I–V (2018)
piano

I like to write cycles that consist of short pieces. Any life is a rotation through cycles. The “Drops” and “Sound-Symbols” belong to this genre of my compositions. The “Drops” are like short prose, the narration is determined by the listener. I have always loved the short form of musical ideas. It
began through improvising with other musicians. In the “Sound-Symbols”, on the other hand, in each piece a certain musical timbre shapes the symbolic form, like a kind of gesture and “identity”. The well-known piano sound appears in new contexts and irritating sonorities are often created through the sparse use of preparations.


Desert in mood (2009)
piano

The title of this composition refers to an experience that strongly affected me. A dark story accompanies me in a hot but inwardly frosty summer. At the beginning, harp-like motifs sound like tender female singing, to be heard as distant and uncertain sound signs from which a habitat of various episodes develops. In this piece, sounds are a fundamental characteristic of inner moods and move between keys, strings and wood using the three pedals. The apparent brightness at the beginning is like a symbol of hope and ends as a dark epilogue at the end of the piece with an open ending, which might also be a new beginning.

Esther Flückiger

© PIANOVERSAL

 

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Esther Flückiger

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