Cully Jazz festival 2016 – Switzerland gets down to bizniz (day 2)

‘Levitation’ by Tobias Preisig & Stefan Rusconi – Le Temple, Cully, 9/4/16

@J-C Arav

Tobias Preisig and Stefan Rusconi are Swiss pillars of the Cully Jazz musical institution. Their Saturday night performance at Le Temple church marked a return to sacred ground that the duo had already trodden a few years ago. This is the venue that inspired and housed their Levitation project that tonight is played out to an eager audience, most of whom are already familiar with the powerful, intimate exchange between violinist and pianist.

The key feature of the Levitation project is the sensitive, gradually drawn out soundscape created in great part by Rusconi on the church organ which is then supported and teased out by the strings. In practical terms this means having the two musicians play upstairs in the church gallery, heard but not seen from the audience down below. Deciding that this year’s jazz audience needed something to look at, the entire concert was projected on screen at ground level, which, ironically – because of the very bright projector light that was aimed right at the audience – meant that many of us listened with eyes tightly shut, (it was a bit like staring at the solar eclipse without eye protection). Possibly the best way to appreciate the moody, almost Gothic sounds raining down from above.

Some questions and answers with violinist Tobias Preisig:
What’s your relationship to the Cully Jazz festival?

Tobias Preisig: I have a special attachment to Cully Jazz. I’ve been playing here for the last 6 years, I started off in a small caveau as part of the ‘OFF’ programme, then they offered me residency, then larger stages as part of the main programme. There’s a extremely open-minded attitude here and strong commitment to push the next generation. Young and unestablished musicians find a stage here, right next to the superstars. Playing at Cully is definitely the highlight of the year for me. It’s become almost a family gathering with musical professionalism.

Was the material for ‘Levitation’ tailor-made for Cully?

Tobias Preisig: We played as a duo here at Le Temple in Cully a few years ago, performing for the first time with the church organ. Again, it was an opportunity that the festival gave to us. We fell in love with the sound and came back one summer to record at Le Temple for 5 nights. This music is now released as an LP called ‘Levitation’ and yes, it’s definetely tailor-made. So what’s nicer than to celebrate a recording that was actually made in this enviroment?!

Will there be more live gigs with the ‘Levitation’ project?

Tobias Preisig: This is a special side project for both Rusconi and I whose friendship and collaborations go back a long time. So far we’ve only played the material from Levitation live twice! There are a lot of underplayed organs and oversized churches, so we are looking forward to exploring them and awakening them with new music.

Preisig & Rusconi Levitation bandcamp



Cully Jazz festival 2016 – Switzerland gets down to bizniz (day 1)

Kaleidoscope String Quartet – Le Temple, Cully, 8/4/16
@J-C Arav

@J-C Arav

Two violins, one viola and a cello make up the unconventional Kaleidoscope String Quartet who kicked off the first night of Swiss musical contributions at the prestigious Cully Jazz festival. Performing material from their second LP, ‘Curiosity’, their strictly acoustic set up was a perfect fit to the meditative church setting of Le Temple.

I was lucky to bump into violinist Tobias Preisig just before the band came on, he tipped me off with a few insights into the quartet: « I used to play with them in the early days. What they do is technically very hard, you have to be really connected as musicians. Their forte is how they swerve tradition, always looking for new ways to play their instruments ».



These words proved a useful interpretation tool. A string quartet inevitably conjures up very rigid ideas of genre, hence what makes this group interesting is how a variety of styles, rhythms and tones are woven into the classical string infrastructure. There’s a feeling of the experimental and the improvised even though they’re clearly a tightly rehearsed unit. Seamlessly the ball is passed from one member to the other as the violin is bent and shaped in all directions. Closing my eyes I could have sworn someone had sneaked in some Japanese pipes during track 3. Quasi pop refrains and folkloric riffs creep up when least expected to add colour and vibrancy.

@J-C Arav

@J-C Arav

Admittedly, there were moments when some the barren plucking overstayed its welcome, (at a critical point in the musical tension I overheard someone muttering «sounds a bit like a swarm of mosquitoes » ), the bass tones of the cello proving a welcome contrast to the higher pitches of the violins. Possibly too many sparsely clad moments where the rowdy festival crowd outside the venue added more rhythmic movement to the music than the quartet itself.


@J-C Arav

@J-C Arav

The higlights for me were the warm, swirling melodies that sprang suddenly out of the languid tones. Nothing gives the feeling of lift off and transportation quite like a set of strings, so to hear them setting off into fourth gear with dynamic, frenetic synchronisation was a delight – one track culminating with a joyful vocal shout! Amazing that a string didn’t break in the process.

Some questions and answers with KSQ bandleader and composer, Simon Heggendorn:
Is it important for KSQ to be seen as more than just a classical outfit?
@J-C Arav

@J-C Arav

Simon Heggendorn: In many ways, yes. From our point of view, a ‘classical’ string quartet mostly interpretes music, whereas we create the music ourselves – rather like a band – and are completely free in the style of interpretation. This gives us the possibility to have a unique ensemble sound defined by the music we write for it.

Did the fact you were playing in a church impact your choice of what material to play?

Simon Heggendorn: Not primarily, maybe the fact we played in a church had an influence on ‘how’ we played (tempi, improvisations, dynamics). We like to play completely acoustic, so Le Temple was a perfect set-up for us.

What’s your relationship to Cully Jazz?

Simon Heggendorn: We played at Cully Jazz in 2012 for the first time. Spots are limited so it’s always very special to be chosen. Since it’s a big festival, you get more press attention than with standard gigs. It’s important to get known on the scene and be exposed to a wider audience, maybe even internationally. Not to mention the unique atmosphere in the village during the festival and the effort of everybody working here – just amazing!

Band members:

Simon Heggendorn – violin & composition
Ronny Spiegel – violin
David Schnee – viola & composition
Solme Hong – cello


Tobias Preisig: « Playing solo makes you stronger »

Tobias solo_3Après nous avoir séduit avec son quartet, après nous avoir surpris avec son projet électro Egopusher, le violoniste Tobias Preisig s’attaque à un autre exercice de haute voltige : le solo. Une première à voir dans le cadre des soirées Swiss Vibes du Montreux Jazz Festival au Château de Chillon le 10 juillet (quelques places sont à gagner, voir au bas de cet article). Autre invité de la soirée, l’excellent trio suisse-allemand, Vein, que nous vous avons déjà présenté sur ce blog. Alors qu’il st entrain d’enregistrer à Chamonix, Tobias Preisig a répondu à nos questions par téléphone.


Pourquoi avoir choisi d’essayer la formule solo ?

Tobias_solo_1Tobias Preisig: C’est un nouveau défi pour moi. Faire un concert en solo implique de gérer en même temps les rythmes, la mélodie, la situation du moment. C’est très difficile, très extrême, mais ça amène aussi des nouvelles idées, ça permet d’avancer musicalement. Le pianiste Bojan Z m’a dit une fois « playing solo makes you stronger ». C’est très vrai. Pour une prestation solo, on doit être très conscient de ce que l’on est et de où on veut aller.

Cela dit, un concert de violon solo est moins courant qu’un concert de piano-solo ?

Tobias Preisig: Oui bien sûr. Le piano est à la fois un instrument mélodique, harmonique et rythmique. Il se prête plus facilement à l’exercice du solo. Evidemment avec le violon, c’est plus risqué. Pour être honnête, j’avoue que ma grande crainte est d’ennuyer les gens, un peu comme une chanteuse d’opéra qui chanterait pendant une heure… Le plus dur de ma tâche consiste à garder l’attention, captiver le public pendant toute la durée de mon solo.

Est-ce que vous allez utiliser les pédales d’effet que vous utilisez dans le projet électro Egopusher ?

Tobias Preisig: Le top du top serait bien sûr de faire un concert solo avec seulement un violon. Un peu comme Marc Ribot le fait avec une guitare solo. Les concerts en solo de Marc Ribot sont d’ailleurs une source d’inspiration pour moi…

Ceux du chanteur Phil Minton aussi, même si les deux n’ont rien à voir.

Mais, je n’en suis pas encore là ! J’utilise quelques pédales d’effets sur certains morceaux, mais j’ai aussi plusieurs morceaux où je ne joue que du violon.

Avez-vous créé un répertoire spécifique pour ce concert ou réadaptez-vous d’anciens morceaux ?

Tobias Preisig: C’est un répertoire entièrement nouveau. Je ne trouve pas très intéressant de reprendre des anciens morceaux et de les adapter. C’est plus excitant de faire quelque chose d’entièrement nouveau

Pourquoi le choix du violon ?

Tobias Preisig: J’ai toujours joué du violon. Je ne sais pas pourquoi. Ça a été un choix intuitif. En même temps, le violon n’est pas si important pour moi. Quelque soit l’instrument, le musicien dévoile sa personnalité musicale. J’aime sincèrement le violon, mais je pourrais aussi jouer d’un autre instrument. C’est la même chose pour mes différents projets: en quartet, en duo ou en solo, je parle toujours la même langue.


Vein et Tobias Preisig seront en concert au Montreux Jazz Festival, Château de Chillon, le 10 juillet, 21 :00.

10 places à gagner  pour ce concert pour les 10 premiers mails envoyés à e.stoudmann at et intitulés “Invitation 10.07” avec nom et prénom du participant.




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