account
basket
Challenge Records Int. logo
Throws

Scott Fields String Feartet

Throws

Price: € 14.95
Format: CD
Label: Between The Lines
UPC: 0608917125320
Catnr: BTLCHR 71253
Release date: 20 September 2024
Buy
1 CD
✓ in stock
€ 14.95
Buy
 
Label
Between The Lines
UPC
0608917125320
Catalogue number
BTLCHR 71253
Release date
20 September 2024

"... Listening to this album is an extraordinary aesthetic experience that anyone hungry for new artistic experiences should experience.  "

jazz-fun, 01-10-2024
Album
Artist(s)
Composer(s)
Press
EN
DE

About the album

One thing is certain: this complex work is also based on deep respect and unrestricted veneration for the original works. Fields: “They're perfect! That's why I try to distance myself as much as possible from the source in all projects of this kind. If I didn't do that, I would ruin it." And again to the titles of his pieces: “They don't reflect the music in any way. They only really matter to me.” Sumo is the only sport that interests him. He has been following the sport for 25 years. Many of his favorite wrestlers come from Mongolia. "Japanese often push and shove themselves out of the ring. The tradition of the Mongols is that they often try throws. I particularly like that."

Scott Fields, born in 1952 (an incorrect year is cited in various sources), has lived in Cologne for more than 20 years. A city where he knows many musicians who can play everything he composed and who can improvise equally well. It is usually different in the USA, where he occasionally spends time. The lineup of Feartet changes from project to project. Incidentally, the name of the group is easier to explain than you might think: Fields unceremoniously derived it from the German word "vier", i.e., reinterpreted it on the basis of phonetics.

The American had composed the two earlier pieces for the Feartet for electric guitar and string trio. The declared goal was a consistent quartet sound in which the sound possibilities of the electric guitar are combined with the string sound. This time Fields opted for a Western guitar with steel strings. "The tones are integrated, but it sounds more like guitar plus string trio in the sense of classical piano trios." The process of "re-imagination" is complex. Scott Fields chose fragments of the original composition such as certain phrases that are also oriented toward individual harmonic developments, but he also took the liberty of modifying the material in different ways and structuring it according to his own ideas. “There are little jokes in some of the adaptations, but only I know where they are.” He is convinced that a deeper knowledge of the original scores is needed to find out where each element of the compositions comes from. At the same time, Fields emphasized: "Every single movement of the quartets is represented in one way or another." Some are completely composed, while others have different improvisational parts. There are guidelines for the improvisations. At no point do all those involved improvise, but there are flexible handovers from musician to musician, inspired by "Game pieces" of the New York avant-garde jack-of-all-trades John Zorn.

"Throws" documents Fields' third work of the re-imagination of classical masterpieces. The starting point for this approach was a processing of Johann Sebastian Bach's "Suites for Violoncello". The equally unconventional approach to the scores of Haydn's "Sonnenquartette" was based on a composition commission from the renowned Haydn Festival. The pieces of "Throws" were also composed as a result of a composition commission, directly from the Beethoven city of Bonn on the occasion of his 250th birthday in 2020. The late string quartets were among three different projects that Fields had proposed on request.

How did he decide on this? Connoisseurs of the extensive work of Scott Fields, the American from Cologne, will not really be surprised. Although the rather bold decision to move so radically away from the musical source in the title might be a bit surprising, it is a good, consistent decision that should prevent false expectations and classifications. When the recording of corresponding re-imaginations of Joseph Haydn's six "Sonnenquartette" appeared on Between The Lines 10 years ago, the album title "Haydn" had generally caused confusion to say the least, as Fields remembered with a smile. "Not too much of the originals remained” at the end of the composing process this time, he conceded frankly. "So I decided to drop the Beethoven reference completely."

Beethoven and Sumo rings – how can they fit together? No problem for Scott Fields. The energetic guitarist and composer, who cavorts carefree between jazz, classical, rock, improvised and contemporary music, has recently processed the five late string quartets of Ludwig van Beethoven for his string Feartet—"re-imagined" as he describes the process of highly creative transformation he has developed. He named the results, the recording of which now appears on "Throws", after terms from traditional Japanese sumo ring art: the titles of the pieces are names of certain throws with which sumo fighters throw their opponents onto the mat. Scott Fields chose five of his personal favorite throws.

Beethoven und Sumō-Ringen – wie kann das zusammen gehen? Für Scott Fields kein Problem. Der rührige Gitarrist und Komponist, der sich unbekümmert zwischen, Jazz, Klassik, Rock, Improvisierter und Zeitgenössischer Musik tummelt, hat für sein String Feartet jüngst die fünf späten Streichquartette von Ludwig van Beethoven verarbeitet - „re-imaginiert“, wie er den von ihm entwickelten Prozess einer höchst kreativen Transformation bezeichnet. Benannt hat er die Ergebnisse, deren Aufnahme nun auf „Throws“ erscheint, nach Begriffen aus der traditionsreichen japanischen Sumō-Ringkunst: die Werktitel sind Namen bestimmter Würfe („throws“), mit denen Sumō-Kämpfer ihre Gegner auf die Matte befördern. Scott Fields wählte dafür fünf seiner persönlichen Lieblingswürfe aus.
Wie kommt er dazu? Kenner des umfangreichen Werkes von Scott Fields, des Amerikaners aus Köln, wird das nicht wirklich wundern. Wobei die recht kühn anmutende Entscheidung, sich in der Betitelung derart radikal von der musikalischen Quelle zu entfernen, selbst sie ein wenig überraschen dürfte. Eine gute, konsequente Entscheidung, die falschen Erwartungen und Einordnungen vorbeugen soll. Als vor 10 Jahren auf Between The Lines die Aufnahme entsprechender Re-imaginationen der sechs „Sonnenquartette“ Joseph Haydns erschien, hatte der pauschale Albumtitel „Haydn“ allgemein für - gelinde gesagt - Verwirrung gesorgt, wie sich Fields lächelnd erinnert. Diesmal war am Ende des Kompositionsprozesses „von den Vorlagen nicht mehr allzu viel übriggeblieben“, räumt er freimütig ein. „Da habe ich beschlossen, den Beethoven-Bezug komplett fallen zu lassen“.
„Throws“ dokumentiert Fields‘ dritte Arbeit der Re-imagination klassischer Meisterwerke. Ausgangspunkt dieses Ansatzes war eine Verarbeitung von Johann Sebastian Bachs „Suiten für Violoncello“. Die ebenso unkonventionelle Herangehensweise an die Partituren von Haydns „Sonnenquartette“ ging auf einen Kompositionsauftrag der renommierten Haydn Festspiele zurück. Auch die Stücke von „Throws“ entstanden als Resultat eines Kompositionsauftrages, und zwar direkt aus der Beethoven-Stadt Bonn anlässlich von dessen 250. Geburtstag im Jahr 2020. Die späten Streichquartette zählten zu drei verschiedenen Projekten, die Fields auf Anfrage vorgeschlagen hatte.
Die beiden früheren Kompositionen für das Feartet hatte der Amerikaner für elektrische Gitarre und Streichtrio geschrieben. Erklärtes Ziel war ein geschlossener Quartett-Sound, in dem sich die Klangmöglichkeiten der E-Gitarre mit dem Streicherklang verbinden. Dieses Mal entschied sich Fields für eine Western-Gitarre mit Stahlsaiten. „Die Stimmen sind zwar integriert, aber es klingt eher nach Gitarre plus Streichtrio im Sinne klassischer Piano-Trios.“ Der Prozess der „Re-imagination“ ist komplex. Scott Fields wählt Fragmente der Originalkomposition wie bestimmte Phrasen, orientiert sich auch an einzelnen harmonischen Entwicklungen, nimmt sich aber die Freiheit, das Material auf verschiedene Weise zu modifizieren und nach eigenen Ideen zu strukturieren. „In einigen Bearbeitungen stecken kleine Scherze, von denen nur ich weiß, wo sie sind“. Überhaupt bedarf es, da ist er überzeugt, schon einer tieferen Kenntnis der Originalpartituren, um herauszufinden, woher welches Element der Kompositionen stammt. Zugleich betont Fields: „Jeder einzelne Satz der Quartette ist auf die ein oder andere Weise repräsentiert.“ Manches ist vollständig komponiert, Anderes wiederum hat unterschiedliche improvisatorische Anteile. Für die Improvisationen gibt es Orientierungslinien. An keiner Stelle improvisieren alle Beteiligten, aber es gibt flexible Übergaben von Akteur zu Akteur, inspiriert von den „Game pieces“ des New Yorker Avantgarde-Tausendsassas John Zorn.
Scott Fields, Jahrgang 1952 (in verschiedenen Quellen wird eine falsche Jahreszahl angegeben), lebt seit gut 20 Jahren in Köln. Eine Stadt, in der er viele Musiker und Musikerinnen kennt, die Alles zu spielen vermögen, was er schreibt, und die gleichermaßen improvisieren können. In den USA, wo er immer mal wieder Zeit verbringt, sei das meist anders. Die Besetzung des Feartet wechselt von Projekt zu Projekt. Der Name der Gruppe ist übrigens leichter erklärt als man denken sollte: Fields hat ihn kurzerhand von dem deutschen Wort „vier“ abgeleitet, also anhand der Phonetik umgedeutet.
Eines steht fest: auch dieser komplexen Arbeit liegt ein tiefer Respekt, eine uneingeschränkte Verehrung für die Originalwerke zugrunde. Fields: „Sie sind perfekt! Deshalb versuche ich bei allen Projekten dieser Art, mich so weit wie möglich von der Quelle zu entfernen. Täte ich das nicht, würde ich es ruinieren.“ Und noch einmal zu den Titeln seiner Stücke: „Sie reflektieren in keinster Weise die Musik. Sie haben eigentlich nur für mich Bedeutung.“ Sumō ist die einzige Sportart, die ihn interessiert. Seit 25 Jahren verfolgt er das Geschehen. Viele seiner Lieblingsringer kommen aus der Mongolei. „Japaner schieben und drängen sich oft aus dem Ring. Zur Tradition der Mongolen gehört, dass sie häufig Würfe versuchen. Das mag ich besonders.“

Artist(s)

Scott Fields (guitar)

Scott Fields lives in Cologne today and is considered one of the most the distinguished crossover artists between improvised and composed contemporary music worldwide. As child in Chicago, a city characterized by its music, he has dedicated himself very productively to music for the past 20 years, despite university studies in the meantime and a Master's degree in journalism. He has developed his very own language with his guitar playing in the meantime, which never loses sight of melodic elements despite his stupendous virtuosity. Fields has also composed numerous works, which have been widely acclaimed and appreciated.
more
Scott Fields lives in Cologne today and is considered one of the most the distinguished crossover artists between improvised and composed contemporary music worldwide. As child in Chicago, a city characterized by its music, he has dedicated himself very productively to music for the past 20 years, despite university studies in the meantime and a Master's degree in journalism. He has developed his very own language with his guitar playing in the meantime, which never loses sight of melodic elements despite his stupendous virtuosity. Fields has also composed numerous works, which have been widely acclaimed and appreciated.

less

Carolin Pook (violin)

Axel Porath (viola)

Composer(s)

Scott Fields (guitar)

Scott Fields lives in Cologne today and is considered one of the most the distinguished crossover artists between improvised and composed contemporary music worldwide. As child in Chicago, a city characterized by its music, he has dedicated himself very productively to music for the past 20 years, despite university studies in the meantime and a Master's degree in journalism. He has developed his very own language with his guitar playing in the meantime, which never loses sight of melodic elements despite his stupendous virtuosity. Fields has also composed numerous works, which have been widely acclaimed and appreciated.
more
Scott Fields lives in Cologne today and is considered one of the most the distinguished crossover artists between improvised and composed contemporary music worldwide. As child in Chicago, a city characterized by its music, he has dedicated himself very productively to music for the past 20 years, despite university studies in the meantime and a Master's degree in journalism. He has developed his very own language with his guitar playing in the meantime, which never loses sight of melodic elements despite his stupendous virtuosity. Fields has also composed numerous works, which have been widely acclaimed and appreciated.

less

Press

... Listening to this album is an extraordinary aesthetic experience that anyone hungry for new artistic experiences should experience.  
jazz-fun, 01-10-2024

... they seem like musical states with references to New Music, like sounding tensions and solutions...
Jazzthing, 01-9-2024

... The overall picture that emerged was one of impressions being impressively and expressively realized in a sometimes abstract performance with a great deal of avant-garde...
Musikansich, 04-10-2024

Play album Play album

You might also like..

The Magic of Consistency
Maik Krahl
The Magic of Consistency (vinyl)
Maik Krahl
Ludwig van Beethoven
Middle String Quartets
Narratio Quartet
Various composers
Italophilia - Discovering the Italian Style in Handel's London
The Counterpoints
Butter Bei Die Fische | JazzThing Next Generation Vol. 105
Red Hering
Underground Roller Coaster
Diego Pinera | Odd Wisdom
Francesco Geminiani
Sonatas for violoncello
Octavie Dostaler-Lalonde
As if it were tomorrow
Pentadox
Brasis · Sonho de Lá
Henrique Gomide | Daphne Oltheten
Waiting for a Summer Storm
Ramon van Merkenstein Trio
Waiting for a Summer Storm (vinyl)
Ramon van Merkenstein Trio
Wolfgang Amadeus Mozart
Piano Concertos Nos. 21 & 9 | Rondo for Piano and Orchestra
Bergen Philharmonic Orchestra | Dejan Lazić | Jan Willem de Vriend