“sounds brushed into existence as in oriental calligraphy" (Cage)
the sounds in one9 are single tones and chords, up to six part harmonies.
how do sounds come into existence, how do they gain focus, how do they resolve, how do they merge into one another, how can one quietly and attentively, in all modesty, follow their unfolding?
these are the questions that guided edwin alexander buchholz in his interpretation of the piece.
over the years he played one9 time and again - for himself and in concerts. gradually solutions manifested themselves which he never, at first, would have considered.
it is not simply the case, that this music, which was originally written for shô, the japanese mouth organ from gagaku music, may also be played on accordion.
much as the immemorial shô, originated about 4000 years ago, and the modern accordion are related, they are not interchangeable. one9 has been written specifically for shô and first has to find its way to the accordion, in order to become real accordion music.
the accordion is a wind instrument, but also a keyboard instrument, it has stops, its colours are eminently rich and its two sound sources, as long as they are sounding, are always moving: away from each other, towards each other.
for edwin alexander buchholz one9, in the course of time, grew into a music, that integrated all of this, a music entirely for his instrument: the accordion.
traditionally the sound of the shô is connected to the heavens' gleam. I have no trouble hearing this quality here, in the sound of the accordion. (Antoine Beuger)
