Walther Aeschbacher

The archaic cut of the piano pieces testifies to a preference for strict, often linear forms, which are also supported by great melodic power and beauty. Eternally 'contemporary'!

I. Invention, II. arietta, III. jump dance.

Praeludium (in canon), barcarole, sarabande and double fugue in this work reflect Aeschbacher's preference for the strict forms, the Inventiones and the fugue. Comfortable to master.

Aeschbacher's works testify to a consistent rejection of avant-garde experimentation and reveal his penchant for linear forms with rich melodic invention.

The Concertino, which can also be played with 2 violins and cello, lives from the graceful noblesse with which the author knows how to ennoble all movements contrapuntally and melodically; extremely g...

Conceived in a slightly linear style, the trio is ideal for practicing rhythmic interplay, with melodic invention dominating. The finale is a double fugue.

Conceived largely in the tonal realm, the work is able to enhance the sparse 'Romantic' string repertoire through its highly condensed harmonic-linear layout.

The quintet in one movement, presented as a 'nocturne', evokes in its late-Romantic diction its creator's credo of consistent penetration of the thematic material.

The launch disc of the Edition Peters Sounds label features pianist Daniel Grimwood's interpretation of Gabriel Fauré's Nocturnes. Daniel Grimwood is one of the most original musicians of his generati...

First Edition

The five movements of the duo bear witness to the composer's preference for pure contrapuntal movement, without renouncing melodic song, as in the Andante.

A string trio that bears strong Romantic traits while paying tribute to the linear movement always desired by the author. The melodically simple pastourelle contrasts consciously.

Conceived largely in the tonal realm, the work is able to enhance the sparse 'Romantic' string repertoire through its highly condensed harmonic-linear layout.

The forms of the linear Inventiones are heightened to the monumental via cadential overtones in the double fugue, whose head theme captures the author's name 'A-es-c-h-b-a-c-h-e-(t)r.'.

A string trio that bears strong Romantic traits while paying tribute to the linear movement always desired by the author. The melodically simple pastourelle contrasts consciously.