TYXart

German label owned by Andreas Ziegler (4). Label Code: LC 28001 The German label TYXart can be called an asset. The positive image is comparable to that of the Belgian Phaedra: both labels pay a lot of attention to (relatively) unknown composers, mainly from their own region, or who are more than worthy of attention for more than just geographical reasons. Fortunately, in passing, the idea that beautiful, content-rich music could only come from geniuses is dispelled. Also outside the thoroughly explored ('mainstream') repertoire, on the periphery, one jewel that had unfortunately remained (virtually) unknown until then threads itself onto the other. Music also that, placed outside its own time, has fallen into oblivion for various reasons, but which appears to be more than worth extracting from it. Moreover, the advantage of such explorations is that the well-known can be put in a different light, the context of it acquires an additional dimension, as it were, which makes the whole picture even more interesting. It's like good programming: one work enhancing the other and the pure musical synergy that results. This can be done within a specific concert programme, but also within a CD collection. TYXart not only produces its own productions, but also regularly collaborates with the SWR, the Südwestfunk in Baden-Baden, the broadcaster that has already provided so many beautiful recordings and has also excelled in the performance of contemporary music since the 1950s. music. That was when Hans Rosbaud waved the conductor's cepter and put on one adventurous program after the other. Later, as a form of tribute, a studio was named after him: the SWR Hans-Rosbaud Studio. In general, thanks to the collaboration between label and broadcaster, very interesting repertoire is often released on CD that would otherwise not have existed. There are plenty of examples of this, also in our own country, including the many recordings made by the radio orchestras in the MCO, the music center of the broadcaster. Without the broadcasting orchestras, we as music lovers, but also the cultural sector as such, would have been in a much worse position. It might be better to think about that a bit more!