{"id":8142,"date":"2018-01-24T00:00:00","date_gmt":"2018-01-23T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/schwingende-saiten\/"},"modified":"2024-10-04T11:26:19","modified_gmt":"2024-10-04T09:26:19","slug":"schwingende-saiten","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2018\/01\/schwingende-saiten","title":{"rendered":"Vibrating strings"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/PRESS-PAPITO_CR_Francesca-Pfeffer.jpeg\" alt=\"\" width=\"554\" height=\"435\" \/><figcaption class=\"wp-caption-text\">Erika Stucky and the members of the baroque orchestra La Cetra. Photo: Francesca Pfeffer<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>\u00a0Instead of uniformity, Erika Stucky prefers to devote herself to the astonishing. The music of the artist, who was born in San Francisco in 1962 and has so far mainly moved between pop, avant-garde jazz and entertainment, strikes a chord on her album <em>Papito <\/em>new paths: Inspired by her late father, a butcher, she wanted to fuel her sound this time not with brass or woodwinds, but with strings: \"I wanted to feel the vibrations of intestines, to hear the animals cry, so to speak,\" remarked Stucky, who is known for her idiosyncrasy.<\/p>\n<p>She has recorded her new dozen songs with members of the baroque orchestra La Cetra Basel. An unexpected combination, but one that works. In parts, the album is reminiscent of last year's <em>Take All My Loves: 9 Shakespeare Sonnets<\/em> by Rufus Wainwright, on which the US American crossed opera music with chamber pop and recitations. Stucky takes the game even further by not only acting more hot-headed, but also bringing jazz and electronics into play.<\/p>\n<p>The record begins with <em>Ev'ry Time We Say Goodbye <\/em>by George Gershwin, which Stucky enriches with birdsong, harpsichord and languorous violin sounds, with her voice becoming increasingly grandiose. Other cover versions such as the string-driven <em>I Want You <\/em>by the Beatles or the one characterized by jealousy <em>Don't Explain<\/em> by Billie Holiday prove to be both an homage and a suitable vehicle for Stucky to give free rein to her emotions.<\/p>\n<p>Her own pieces are more experimental: while the spooky <em>Kindly Do <\/em>to the dissonant, tends to <em>Barbed wire,<\/em> which tells of a woman's encounter with the wrong man, to the threatening. The concluding <em>Aftermath<\/em> may seem tender, but it can and will never completely shed its unsettling mood. It all comes together to create a work that is both unconventional and bold, but also turns out to be a listening pleasure that never ceases to surprise.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/1_crit_CD_Stucky.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Papito. Erika Stucky, vocals; Andreas Scholl, countertenor; FM Einheit, soundscapes, electronics, percussions; La Cetra Barockorchester. Traumton Records 4656<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>On her new album \"Papito\", Erika Stucky gives preference to the strings rather than the wind instruments for once. Together with seven baroque musicians, the singer has recorded twelve pieces that are as unconventional as they are convincing.    <\/strong><\/p>","protected":false},"author":1,"featured_media":8143,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[29,1420],"tags":[],"class_list":["post-8142","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Schwingende Saiten - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2018\/01\/schwingende-saiten\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Schwingende Saiten - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Auf ihrer neuen Platte \u00abPapito\u00bb gibt Erika Stucky f\u00fcr einmal nicht den Bl\u00e4sern, sondern den Streichern den Vorzug. 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