In his guitar-based chamber music the way in which Alois Bröder handles musical material, sensually and yet objectively, intuitively and yet methodically, can be viewed as if under a magnifying glass. The clear structures in the formal layout of the pieces as well as the reduction in length and instrumentation, offer a clear view of the immense scope of this instrument, which is generally regarded as being limited to a lyrical gentleness – a scope which is, above all, revealed in the wonderful wealth of the details, and which the composer uses with experimentally playful delight. Symptomatic for Bröder is that the guitar in no way whatsoever tends towards self-portrayal with typical gestures, like a sort of introspective virtuoso solo instrument. It has also shrugged off the role of the supportive accompanist. It is rather more on the search for ‘alien’ instrumental sounds, and, transcending the dialogue, it takes up a intimate communication, almost fuses with them. Even in the combination of guitar and piano, which has always been held to be difficult, it is striking that the musical phrases, gestures and colours of one part are often prepared or continued by the ‘counter-part’, without this ever appearing fragmented or in any way constructed. The counter-part is therefore a real enhancement, effectively an extension of the arm, or at the very least, a worthy dialogue partner. Although the composer does not explicitly verbalise it, this principle of merged summation to a meta-instrument is realized in every one of his non-solo pieces. Bröder’s string ‘escapades’ for the guitar have borne rich fruit and has resulted in an exciting multiplicity of musical consequences, which, because of their inner logic, do not seem for one moment to have been done merely for effect.
Veronika Jezovšek
(Translation: David Boyd)