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Karl Höller - chamber music 1

Sikorski-Quartett; Maria Stange, Harfe
Georg Schmid, Viola; Karl Höller Klavier


amb 96893
EAN 4011392968935

Karl Höller (1907-1987) 4. Streichquartett C-Dur op. 43
Trio für Harfe, Violine und Violoncello c-Moll op. 34a
Sonate in E für Viola und Klavier op. 62

"I still consider music to be one of the most human of all arts. It should be created by the feeling person, should be artistically imparted by the aesthetically sensitive person, and should address receptive people." Such statements had been out of fashion for some time. It was vogue to provoke the public instead.
Another characteristic that struck many people as conventional and antiquated was Höller’s persistence in writing tonal music. After Nazi cultural policy ended, Höller experienced the pendulum’s swing to the other extreme, with atonality, serialism, and electronic music promising a departure “to new shores.” Those failing to go along exposed themselves to severe criticism. Formerly suspected of being a modernist, he came to be ridiculed as a reactionary. Just how bitter the same turn must have been for Paul Hindemith is documented by a handwritten note in the piano score of his opera Harmony of the World.
The link between Karl Höller and Paul Hindemith extends to the ethos of their craftsmanship as well. For both of them, mastery of counterpoint and the traditional canon was a matter of course. During the creative process, the two composers also always kept in mind the practicalities of performance by the artist. Höller associated with the artists who performed his works, seeking their opinions and letting their virtuosity stimulate him. “I compose frequently and willingly for a particular artist. I imagine him; he is intended to feel comfortable, as [though he is] in a well-fitting suit.”