{"id":4570,"date":"2025-06-24T15:42:54","date_gmt":"2025-06-24T13:42:54","guid":{"rendered":"https:\/\/08.icodesign.info\/?page_id=4570"},"modified":"2026-02-07T14:06:21","modified_gmt":"2026-02-07T13:06:21","slug":"margrit-schenker","status":"publish","type":"page","link":"https:\/\/margritschenker.ch\/en\/margrit-schenker\/","title":{"rendered":"Margrit Schenker"},"content":{"rendered":"

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About<\/h1><\/div>
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Margrit Schenker<\/strong>
\nComposing \u2013 piano, organ, accordion, performance<\/p><\/h2><\/div><\/div><\/div><\/div><\/div>

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Born in 1954.
\nPiano<\/a><\/b> teacher at the Kantonsschule (academic high school) in K\u00fcsnacht near Zurich, 1996\u20132019.
\nOrganist<\/a><\/b> at St.Martin\u2019s in Effretikon (Zurich), 2003\u20132024
\nMember of the improvisation<\/b> duo KRAK (voice & accordion<\/strong><\/a>) with the Zurich clarinetist Valentin Vecellio.
\nArtist in residence at the Pauline Oliveros Foundation Kingston N.Y., 1993\u20131994.
\n
\n<\/b><\/a>Composer of various instrumental and choral works<\/b><\/a> and for small groups.
\nPerformer of these works in Switzerland and abroad.
\nHer works have been published by the Furore-Verlag, Kassel, Germany since 1998.<\/p>\n<\/div><\/div><\/div>

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Download Biography<\/span>Download Biography<\/span><\/div><\/a><\/div>
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<\/i><\/i><\/span>Media Review<\/span><\/a><\/h4><\/div>
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Danielle Vorburger on occasion of a report on Sat3\u00a0(February\u00a02015):\u00a0<\/em>
\nonline (in German)<\/em>\u00a0until 2\/2016
\n(Interview in German\u00a0<\/a><\/em>\u00a9Danielle Vorburger)<\/p>\n

Radio DRS2<\/a>\u00a0in the program CH-Musik
\n<\/em>on \u201cThat gave birth to the sky\u201d, 2012 (in German).<\/p>\n

Thomas Meyer in the Tages Anzeiger newspaper on the piece titled \u201cPlay heaven-and-earth\u201d:<\/em>
\n\u201cThis is neither early music nor deliberately styled new music. It is rather a small mystery play with a non-intrusive, meditative touch, almost timeless, bright, unbelabored and agreeable.\u201d ( TA 20 June 2003)<\/p>\n

Stefi Spinas, after a concert at the Rigiblick (2013):<\/em>
\n\u201cMargrit Schenker and her accordion are completely \u2018one.\u2019 They breath together, and are probably fused together. It has to be like that. How else could it be that these archaic, melancholic or joyous sounds, harmonies and melodies can speak so directly and immediately to the public. Whether loud or extremely soft, they come to us like a mirror image of the soul, from the inside to the outside. To be sure, Margrit\u2019s voice joins in\u2014a further component of the whole\u2014telling stories, sometimes in a fantasy language that only uses consonants, but which is readily understood; this language is situated on a different level from that of normal speech. A more intimate level?
\nMargrit also has a pronounced sense of humor and comedy, which finds its way into the music; sometimes the listener has to laugh out loud. Isn\u2019t it great when music also has this element in it?\u201d<\/p>\n

Wieland Ulrichs in the February 2013 issue of \u201cAkustik Gitarre\u201d on \u201cthat gave birth to the sky\u201d in the version for solo guitar:
\n<\/em>\u201cThese nine, mostly short, pieces are made up of sounds and sound states with very little melody. Sometimes the effect is minimalistic, then a diminutive, abstract blues pops up, and some jazz. Or maybe not? A little harp. The closing six-minute elegy is a hit.\u201d\u00a0\u00a0The entire review of \u201cTentativ\u201d in PDF format<\/a><\/em><\/p>\n

\u2026 in \u201cThe New Yorker\u201d<\/em>
\n\u201cSurprise! Margrit Schenker and Pauline Oliveros \u2013 accordionists both \u2013 will be joined by performance artist Julie Lyon Balliett and percussionist Jason Finkelman in a series of pieces that re-create Ms. Oliveros\u2019s teaching methods, which Ms. Schenker describes thus: \u2018Oliveros sits in the center of the circle letting things happen around her.\u2019 \u201c (May 16 1994)<\/p>\n

Martina Freitag in \u00abRezensionen\u00bb 4 \/ 2001 on \u201cStories\u201d for Choir:<\/em>
\n\u201cWhoever expects to find fully arranged choral pieces here will be quite surprised. In the whole score there is not a single note. Nevertheless, when the work is performed, a lot of spontaneous singing, speaking, sound-making is heard., all of which is based on what the performers have learned here. The work is annotated like a screen-play: its directions are \u2018what to feel,\u2019 \u2018what to sing,\u2019 and \u2018what to do.\u2019 The singers in the choir have to utilize all their senses to make the composition audible, visible, and palpable.\u201d<\/p>\n

The Macedonian journalist Zoran Andonov on the premiere of \u00abBazaar\u00bb in\u00a0Ljubljana\u00a0Ljubljana\u00a0Newspaper article in Macedonian, in PDF format<\/a>\u00a0.<\/em>\u00a0Unlike Slovenian, Macedonian is written in the Cyrillic alphabet.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

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