Markus Reuter: String Quartet No.1 ‘Heartland’

After years of preparation and planning, Solaire Records are proud and excited to present 'Heartland', Markus Reuter's first string quartet. The album sees Markus further explore his algorithmically- supported composing technique to create a sonic language that will surprise even long-standing supporters. After spending months listening to most of music history's major string quartets, Markus ultimately decided to break with tradition and approach things from an entirely unique angle. Working closely with Oval's Markus Popp, the tracks were built using a pool of self-referential musical fractals. By combining them into deeply layered structures, every single bar of music is related to what preceeds and follows it, even though there is not a single mechanical repetition in these pieces.

Performed by the prestigious Matangi Quartet and recorded by award-winning producer Dirk Fischer, Heartland is a journey to the borders of melody and harmony: Driving, sensual, serene and moving.

Markus Reuter earned his spurs in rock and electronica, but found his true calling as a composer. After working in influential band constellations for two decades, Reuter developed a process allowing for the creation of equally complex and accessible works in an expanded tonal environment.

Reuter’s studies started out with a classical education on the mandolin, guitar and piano and theoretical classes with composer Karlheinz Straetmanns. Visiting the school of legendary guitarist Robert Fripp marked an important change in direction. Through Fripp, Reuter developed ties to the individual members of avant-garde rock supergroup King Crimson, with whom he would perform in constantly changing projects and constellations.

The return to composition came in 2010 with the work “Modus Novus” for guitar quartet. An expansion of ideas pioneered by Messiaen, the underlaying concept allow for the creation of vast modal spaces outside of major/minor progressions and the tonality/dissonance polarity. The approach fully came to fruition with “Todmorden 513”, hailed by critic Gregory Applegate as “one of the most important orchestral works of our era.”

New work has since further raised his profile. Reuter appreciates the respect, although it remains his biggest wish to disappear completely behind the music: “In an ideal world there would be no need for my music to be interpreted. If I succeed as a composer, everything will be “on the page” and all the performer has to do is to play the music.”