EDITION WANDELWEISER RECORDS
Works for solo piano
Dominik Blum, piano
Hermann Meier, dodecaphonist, serialist, avantgardist.
Born on May 29, 1906 in Selzach SO, raised in Solothurn.
Trained as a primary school teacher, he spent his entire career as a
school teacher in Zullwil SO. In addition, between 1935 and 1948, he
studied piano (with Ms. Leisinger), and organ and composition (with
Ernst Müller) at the Basel Music Academy. He also taught piano and
conducted several choirs.
In the years 1948 and 49 he joined the private composition class of
Vladimir Vogel in Orselina TI. In 1950 he studied with Rene Leibowitz
in Paris. He composed in a dodecaphonic style until 1952 (Piano
Sonata), and then moved on, at the same time as the Darmstadt
composers, to serialism (Piano variations, pieces 1956 and 1957). He
never took part in the "Darmstädter Ferienkurse", but one might
have heard about him there...
Beginning in around 1950 he started to work towards the performance and
broadcast of his work. There were two orchestral readings, one with the
Tonhalle Orchestra in Zürich directed by Volkmar Andreae, and a
second with the Radio Orchestra Beromünster directed by his friend
Erich Schmid, but they were not performed. In 1952 he got a rejection
from the "Südwestfunk". From that time on he had no concern for
He wrote pieces for orchestra (ten of them!), chamber ensembles, one or more pianos, and also for Hammond organ.
In the early sixties he began to work with cluster fields, putting them
together like collages. He designed graphic scores (there are about
200) as a basis for pieces which would then be written out
(Klavierstück, 1968), and which also like look very much like
In 1968 he visited Hermann Heiss at his electronic studio in Darmstadt.
In 1975 he was introduced to the newer technology of the
Südwestfunk experimental studio (Heinrich Strobel foundation) in
Freiburg i. Br., where he composed his electronic study for two track
tape. For this he received the ("Werkpreis") of the state of Solothurn
He continued composing until the end of the eighties
(Klavierstück, 1987, woodwind quintet, 1989), and continued
designing graphic scores until the early nineties, when he had to give
up this work because of old age. By means of stenography he has,
throughout his life, written his sketches, visions, comments and a