Albrecht Maurer Notre Dame, Audio File
The beginning of the Trouvère movement with secular poetry in Northern French is dated to about 1170. Besides the Chansons de geste with instrumental accompaniment, the instrumental dances Estampie and Ductia were created. The fiddle was the most important instrument of the trouvère movement.
The Notre Dame epoch is dated from 1180 onwards. Initially, two-part organas were written, which were later extended to 4-part organas. Here, too, the fiddle plays an important role and experiences a heyday. To trace this time is my wish, which became possible with this scholarship. By singing an additional voice, whether a simple drone or supporting melodic lines, Maurer has the opportunity to have more variety in a solo performance and, at the same time, to depict the two- and three-part nature of an organ. This was a personal experiment and since he does not see himself as a singer, he did without lyrics. It was an experience in any case, with corresponding highs and lows. By "tuning" the fiddle with a shoulder rest and a chin rest, he can expand the range and also play modern colors.
Through my long experience in the field of improvisation, I have carefully read a source by Johannes de Grocheo, newly translated and published by the musicologist Dr. Ernst Rohloff already in 1943: "Sometimes a neupma is added to the estampie. A neupma is, as it were, a tail or exit which follows the antiphon, as on the viella (the fiddle) the exit after the cantus coronatus or the stantipes which the viella players call modus...Although these are usually the neupmata, perhaps finer and more beautiful ones can be created, also with regard to the range of each tonus."
Albrecht Maurer - fiddle, voice
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Albrecht Maurer - violin, voice
A solo concert, first with the violin, which has been around for about 300 years, then in a juxtaposition with the Gothic fiddle, whose construction is another 300 years older. At stake is Maurer's playing, sometimes fragile, sometimes poetic, sometimes wild, sometimes fragile. "Redesigned Improv" and an acoustic remix.
"Far from any tortured mishmash or multiculturalism, he shapes moving moods of warm melancholy, sensual power to ecstatic release, often on the edge of pure abstraction. Maurer's technically outstanding playing contains an energetic power and dynamism that produces tension from meditative concentration, devotion and boundless musical curiosity."
Neue Musik Zeitung Michael Scheiner
Maurer works on a communicative musical language that combines the worlds of notated music with improvised music. This requires not only constant communication with other musicians, but also an introspection, an examination of his own statement. The basic prerequisite for the synthesis of notated and improvised music is many years of work in both fields, in order to be at home in both worlds.
To the extent that he seems to open himself up to all inner and outer sources of inspiration when making music through a fascinating physicality, his music also has a completely unique tonal language. Often not notable, it combines polyphony, overtone playing and the classical cantabile with transcultural phrasing and moves in the free space between impression and expression, meditation and ecstasy.
From his idiosyncrasy in dealing with his musical roots, a personal style emerges that makes him one of the most interesting violin voices on the contemporary music scene.
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