Swiss Ethnophony: Folk meets Classic. Works of Huber, Liebermann, Daetwyler. Ulrich.

Swiss Chamber Philharmonic. An orchestra with young and highly motivated musicians. swissmusic

Swiss folk music and in particular folk songs have often served as a source of inspiration for classical music.

Paul Huber (1918-2001): Concerto for Hammered Dulcimer and String Orchestra (1994).

The Concerto takes up the old tradition of virtuoso hammered dulcimer playing wich was fashionable during the 18th century. The composer notes:

“The hammered dulcimer is employed in Switzerland exclusively as a folk music instrument, either solistically or as an accompaniment instrument.

Folk music from the canton of Appenzell in particular is characterised by its sound.

I have tried to free the hammered dulcimer from the constraints of folk music in my concerto, employing it as a genuine solo instrument”.

Rolf Liebermann (1910-1999): Suite on Six Swiss Folk Songs (1944).

“The Suite on Six Swiss Folk Songs” was written during a period of growing awareness caused by the political instability in war-torn Europe. This led Rolf Liebermann to an increased interest in Swiss culture and traditions.

Swiss folk songs were frequently employed in orchestral works, particularly by Paul Burkhard, to whom this suite is dedicated.

Jean Daetwyler (1907 – 1994): Concerto no. 1 for Alphorn and Orchestra (1970).

The Concerto No.1 for Alphorn and Orchestra describes the simple life in the Valais Alps through the example of a shepherd.

The first movement “Prayer call” refers to the traditional prayer under the open sky.

The ensuing Scherzo “Shepherd’s dance” represents the shepherd’s untroubled daily routine.

The third movement is a solemn “Pastorale” which depicts the majestic expanses of the Alps and their mysterious sounds and reverberations.

The closing fourth movement “Totentanz” is a reference to the traditional masked dances in various areas of Valais.

Melchior Ulrich (born 1945): Ethnophonie for Ländler Ensemble and Orchestra (1997).

The musical connection of two stylistical independent ensembles was the creative challenge behind this composition. Taking an old Swiss folk dance suite the “Chuchi Rast” as a starting point, Melchior Ulrich created a formal structure within which the symphony orchestra and the ländler ensemble could move freely.

The Alpine custom of the “Rästli”-Dance, popular throughout the Alps until the middle of the 20th century, had a number of rules. Every dancer had to pay 20 to 50 Rappen (cents) per “Rast” (3 dance pieces). The cooking staff was allowed to dance along during the last round (“Chuchi Rästli”), which lasted longer than the others (4-6 dances). Usually the audience could request an encore, the so called “Stümpeli”. Because the next dance happening would take place after months.

The Swiss Chamber Philharmonic (Schweizer Kammerphilharmonie) – Patrice Ulrich, conductor.

The Swiss Chamber Philharmonic founded in 1994, is made up of professional musicians from all parts of Switzerland. The orchestra’s programmes are chosen with a view to presenting new works in a way that will make them attractive and palatable for a wide audience.

The orchestra also performs works from the standard concert repertoire, but always in the sense of avoiding well-trodden paths. This is often achieved through first performances of unknown works or of compositions that have fallen into neglect.

Conductor/pianist Patrice Ulrich studied at the Lucerne Conservatory, the Zurich Conservatory (piano) and the Academy for Church and School Music in Lucerne. Patrice Ulrich has been the artistic director of the Swiss Chamber Philharmonic since 1994.

The soloists:

Benno Bernet, hammered dulcimer (Appenzeller Hackbrett).

Martin Roos, alphorn (Alphorn)

Production information

Swiss Chamber Philharmonic. Patrice Ulrich, conductor. Swiss Ethnophony (1998). Musica Helvetica MH CD 103.2. Produced for SRI by Patrick Linder. Musical direction by Patrice Ulrich.