Wolfgang Muthspiel

Ein Sound wie Seelenbalsam
Acht Jahre nach dem Live-Debüt veröffentlicht das Wolfgang Muthspiel Chamber Trio nun sein erstes Album. Die insgesamt zehn Stücke stehen für ein ebenso einfallsreiches wie sinnliches Musikerlebnis.

Weiter zum Artikel von
Michael Gasser

Erst vor einem halben Jahr begeisterten Gitarrist Wolfgang Muthspiel, Kontrabassist Scott Colley und Drummer Brian Blade mit „Tokyo“, dem bereits dritten ECM-Album des kongenialen österreichisch-amerikanischen Trios, und schon steht der umtriebige Saitenzauberer wieder mit einem Trio und einer ebenso phantastischen Produktion am Start. Live konnte man das Wolfgang Muthspiel Chamber Trio mit dem Schweizer Pianisten Colin Vallon und dem Wiener Trompeter Mario Rom hierzulande schon vor zwei Jahren erleben.

Weiter zum Artikel von Peter Füssl,
Zeitschrift für Kultur und Gesellschaft

There is a special kind of intimacy that can arise when a trio dispenses with the obvious rhythmic anchor of drums. In the right hands, that absence makes every gesture structurally important. On Atlas, guitarist Wolfgang Muthspiel, trumpeter Mario Rom, and pianist Colin Vallon make precisely that kind of space. Their music is chamber-like in its balance and jazz-rooted in its freedom, with several traditions moving easily through the frame. The album’s title is apt not because these pieces try to conquer territory, but because they map the relationships between three musicians who understand that restraint can be as expressive as release.

Click to read the full article By Tyran Grillo / ALL ABOUT JAZZ

Im Labor und wei­ten Land einer fein zise­lier­ten Sound-Ästhe­tik: Gitar­rist Wolf­gang Muth­spiel mit Cham­ber Trio im Porgy & Bess.

von W. Rosenberger

Das Publikum war durch diese Sensibilisierung für Stimmungen und Zwischentöne bestens präpariert für ein kammermusikalisches Erlebnis der Extraklasse: Wolfgang Muthspiel, einer der überragenden Gitarrenmeister seiner Generation, präsentierte sich mit dem Trompeter von Shake Stew, Mario Rom, und dem versierten ECM-Pianisten Colin Vallon. Ein herrliches Chamber Trio, das das Publikum schwelgen ließ: Muthspiels präzises und pointiertes Spiel in „Vevey“, „Atlas“ oder „Guacho Schubert“, einer delikaten Mischung aus argentinischer Rhythmik und Harmonien aus Schuberts „Winterreise“, wurde betörend schön von Rom und Vallon kommentiert und veredelt. „Father & Sun“ geriet sonnig und heiter, die Hommage an Muthspiels Kollegen Lionel Loueke sehr innig. Das wunderbar entrückte „Might This Be The End“ als Zugabe setzte schließlich einen finalen Kaufanreiz für das gerade erst erschienene, meisterliche Album „Atlas“. Das Publikum war hingerissen.

Thomas Kliemann

The New Album by Wolfgang Muthspiel´s trio has received a beautifully written review among the “editor´s picks” in DownBeat magazine. Click to read the full article by Frank Alkyer / Downbeat

Read into a collection of quotes about Wolfgang’s latest album on ECM: Tokyo

Read into a collection of quotes about Wolfgang’s latest album on ECM: Tokyo

Read into a collection of quotes about Wolfgang’s latest album on ECM: Tokyo

Muthspiel is one of ECM’s signature artists of the past decade-plus. The dozen pieces he performed were revelatory, both for his astonishing facility on nylon-string acoustic and the variety of moods and soundscapes he generated, all seemingly from memory (he occasionally looked down to a single sheet of paper that had a few introductory bars for each composition). The performance was only 33 minutes but felt like a lifetime of musical narrative.

The etudes incorporated explosive flourishes or the juxtaposition of speedy fingerstyle figures and slower single-note melody lines. One exuded ECM-like clarity while another detoured into gruff, rhythmic chord progressions. Muthspiel explored both acoustic harmonics and electronic effects, using the latter to reverse a loop while adding a counterline — the most surreal and compelling moment of the evening. The density moved from whisper to whirlwind but never at the expense of absolutely perfect articulation. That, in combination with the church’s hushed sonic profile, made it feel like Manfred Eicher was hovering overhead

Andrey Henkin, Jazztimes

Zwischen Etüde und Ekstase:
Bonn · Jazzfest Bonn in der Kapelle des Leoninums mit einem Abend voller musikalischer Kontraste – von meditativen Etüden über barocke Improvisationen bis hin zu eruptivem Avantgarde-Jazz.
Von Thomas Kliemann

A typically serious and highly detailed new work from Austrian guitarist Wolfgang Muthspiel.

Marlbank

Austrian guitarist Wolfgang Muthspiel returns to his classical roots with Etudes/Multitudes – well, sort of. While he composed the eleven etudes that form the heart of this program, Muthspiel didn’t set aside the improvisation in which he’s been soaked in his jazz world. Not only that, but some of the etudes – written as practice exercises, until it became clear they were actually pieces – are named after functions not usually associated with classical guitar performance: “Pedal,” “Tremelo,” the aptly titled “Vamp.” Combined with other etudes like “Schildehen” and the gorgeous “Melting Notes,” it makes for a beautiful series of interconnected musical moments.
His jazz elements really come to the fore on the additional works. He takes a sarabande (music written for a dance in triple meter) by Johann Sebastian Bach and adds a wistful improvisational section entitled “Between Two Sarabandes.” The contemplative “Abacus” comes from the pen of maverick jazz drummer Paul Motian, its stately improv sounding as elegiac as it does joyful. Muthspiel ends the program with “For Bill Evans,” a romantically melodic piece that pays tribute to the genius pianist who’s long had an outsized influences on master guitarists (cf. John McLaughlin and Ralph Towner). These pieces compliment the etudes perfectly, making Etudes/Multitudes a nice encapsulation of the way Muthspiel – a man steeped in both classical and jazz visions – practices his art.

by Michael Toland , The Big Takeover

Etude Nr. 6 (Triplets) is the fifth of some 16 new solo tracks from Wolfgang Muthspiel, the great Austrian guitarist and our track of the week.

The full Etudes/Quietudes from which the highly disciplined, absorbing track is drawn is out on Friday on the Clap Your Hands label.

A live affair recorded in Vienna at the national radio network ORF Österreichischer Rundfunk’s RadioKulturhaus, the mix is by La Buissonne genius engineer Gérard de Haro.

Bach and Motian

A J. S. Bach sarabande partly improvised in the interpretation and ‘Abacus’ by the legendary Bill Evans drummer Paul Motian – the second track in on the 1979 recorded ECM studio album Le Voyage – (Motian on that recording made in Germany with J. F. Jenny-Clark and Charles Brackeen) are also included.

‘Etudes celebrate craft’ – Wolfgang Muthspiel

Marlbank, Track Of The Week

One of my favorite contemporary artists on guitar is the overlooked Austrian Wolfgang Muthspiel. Usually associated with ECM, this time around he’s on a different label, but the style is similar in that he’s playing acoustic guitar in a gorgeously classical fashion. He mixes originals with some classical themes, all ranging between 1-4 minutes, and feeling like a Baroque festival. He shows rich ideas on Bach’s “Saraband” as well as taking some ideas from Brahms on “Etude NR 7”,  Paul Motian on  “Abacus” and a dedication to Bill Evans. His fingerwork is well tempered, with most of the pieces even describing what to expect, with “Etude NR 6” spotlighting triples, “NR 13” arpeggios and so on. The music itself becomes a rich Raphael tapestry of strings, woven together richly. Look for this one!

Jazz Weekly, by George W. Harris

Austrian guitarist Wolfgang Muthspiel’s two previous recordings were from his successful trio with bassist Scott Colley and drummer Brian Blade: Angular Blues (ECM, 2020) and Dance Of The Elders (ECM, 2023). The guitarist opts for a new label and format on the solo exposition Etudes / Quietudes. Etudes are functional compositions intended as exercises for students, typically concentrating on a single musical element to develop skill in performance. In classical music, pianists Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were best known for composing etudes for student instruction. Frédéric Chopin recast the etude as an artistic statement.

Muthspiel takes both to heart. The guitarist states, “I wrote my own etudes to practise certain technical aspects. Then I fell in love with the compositional process they inspired.” Muthspiel says, “Etudes celebrate craft!” Craft is a central point for me – all the musicians I admire have spent a lifetime working on their personal sound.” Etudes / Quietudes comprises eleven etudes, each bearing a descriptive subtitle. Enigmatically, Etudes NRs 2 and 3 are missing.

“Chords” is the subtitle of Etude NR. 5; the piece made up of all chords similar to what Keith Jarrett accomplished on his recording Creation (ECM, 2015). The guitarist modulates through a series of chords, making up the composition. On Etude NR. 8 “Melting Chords,” Muthspiel plays chord groups interlaced with one another so to sound like a slow cascade. Interspersed among the Etudes is the brief piece “Triplet Droplet” which sounds exactly as titled. Following Etude NR. 13 “Arpeggio,” Muthspiel presents several short pieces.

There is the triptych made up of Bach’s “Sarabande” from his Lute Suite BWV 995) which is followed up with the guitarist’s improvisation of the Bach piece, ending with a reprise of the original composition. Thoughtful and provocative, Muthspiel ends the recital with his angular improvisation on a theme by Paul Motian entitled “Abacus.” The guitarist closes the disc with an original composition, “For Bill Evans.” This is the most melodic and dramatically dynamic of all the performances making up this fine recording.

Wild Mercury Rhythm

On his first solo acoustic guitar album, Wolfgang Muthspiel couples eleven self-penned concert etudes with others of diverse character, including a tribute to jazz legend Bill Evans, a partly improvised elaboration on material by drummer and one-time Evans associate Paul Motian, and a treatment of a sarabande by Johann Sebastian Bach. In keeping with the basic idea of the etude, Muthspiel’s eleven were conceived as exercises designed to help the developing student refine specific skills. Their focal points are identified in titles that variously reference tremolo, triplets, chords, arpeggio, and the like; they’re never one-note exercises, however, when the Austrian guitarist smartly builds them into full-fledged compositions, despite being only two to three minutes at a time. “Etude Nr. 10 Sixths” illustrates the idea when it builds on the technical foundation to become a pretty, folk-styled expression.

It’s an interesting album for its trajectory too, as Muthspiel sequenced it to reflect his own path from violinist to classical guitarist to jazz musician, and it therefore makes sense that it culminates in the Motian and Evans settings. Muthspiel was first trained to play classical music on violin before switching to guitar at the age of thirteen and in the years that followed developed the ability to improvise in addition to read from a score. While elements of both classical and jazz surface during the album, it never organizes itself into clear-cut divisions between the styles; instead, the dimensions blur together in the performances such that drawing lines of demarcation becomes impossible. Recorded with care at the Vienna Radiokulturhaus, the material sparkles with pristine clarity.

Being a solo guitar recording, Etudes / Quietudes is naturally intimate, but it’s not always quiet and neither is it restful. The opening “Etude Nr. 1 Tremolo” moves at light-speed as Muthspiel drapes slow melodic lines across a torrential base that morphs into an even more dazzling picking episode. “Triplet Droplet,” “Etude Nr. 6 Triplets,” and “Etude Nr. 11 Vamp” similarly awe for the precision with which he executes challenging exercises with such seeming ease. Flowing gracefully, the lilting tapestries crafted for “Etude Nr. 8 Melting Chords” and “Etude Nr. 13 Arpeggio” are wondrous to behold.

Styles regularly change, with the lovely “Etude Nr. 4 Pedal” exuding a soothing folk-meditation character and Motian’s “Abacus Theme” receiving a deep bluesy reading. Muthspiel’s classical side moves to the fore for the gentle “Etude Nr. 7 Brahms Minor” and Bach’s stately “Sarabande” (the adjoining “Between Two Sarabandes” retains that classical quality whilst extending it into improvisational territory). In being titled after a scenic place in Austria, “Etude Nr. 9 Schildlehen” is one that less references a technique and more focuses on nostalgically evoking a scenic locale. Speaking of affection, Muthspiel’s admiration for Evans comes through loud and clear in the heartwarming tribute that ends the release, “For Bill Evans.”

Throughout the recording, the guitarist’s virtuosity is called upon but necessarily so in order to realize and demonstrate the skill in question. One comes away from the recording as impressed by Muthspiel’s versatility and the ease with which he performs in different stylistic contexts and articulates a range of moods. Adding to the project’s appeal for developing guitarists, Etudes / Quietudes is available in CD and LP formats, but the score for the eleven etudes can also be purchased as a download or in the form of a printed music book that includes the CD.

Textura

As one would also expect given Muthspiel’s reputation, all of these pieces are also highly musical and sometimes pretty unusual. Any library supporting any kind of guitar curriculum would be wise to pick this one up.

CD HOTLIST

“There is much to say about this record of lyrical solo compositions. But for now I’ll simply suggest that no one else could’ve made this beautiful recording. It demonstrates depth of soul, compositional maturity, extraordinary technique that somehow always feels modest. It calms the mind, stirs the heart, and excites the imagination.”

Alternative Guitar Summit

Jazz CD der Woche, ****
Das zweiteilige, meditative Eingangsstück «Invocation» zählt mit dem «Folksong», der die unwiderstehliche Eingängigkeit mancher Keith-Jarrett-Kompositionen hat, zu den Glanzlichtern des Albums. Neben Muthspiels eigenen Stücken überzeugen auch eine nachdenkliche Improvisation, die in Bachs Choral «Oh Haupt voll Blut und Wunden» mündet, eine Variation über das «Liebeslied» von Weill/Brecht und eine weitere über Joni Mitchells «Amelia». Muthspiel, ein Mann von vielen Talenten, zeigt sich auf diesem Album vor allem als versonnener Klangpoet.
NZZ, Manfred Pabst