Album Review: Spielt Eigene Kompositionen by Hedy Salquin
Let’s get one thing straight—this album isn’t your typical classical record. Released in 1985 in Switzerland, Spielt Eigene Kompositionen (which roughly translates to “Plays Own Compositions”) feels like a quiet rebellion against the flashy trends of its time. Hedy Salquin, who not only composed and performed the music but also handled the artwork, gives us something deeply personal here. It’s not perfect, and that’s what makes it so good.
The genre is classical, sure, but don’t expect anything stuffy or overly polished. This is music with soul, recorded by Heinz Affolter and mastered by R.SO., both clearly letting Salquin’s raw talent shine through. The album has six tracks, but two stuck out to me like sore thumbs—and I mean that in the best way possible.
First up, there’s “November Am Thunersee.” If you’ve ever been to Switzerland in November—or even if you haven’t—you’ll feel this piece deep in your bones. The melody starts off slow and reflective, almost like walking along the lake on a chilly day. Then, just when you think it’s going to stay mellow forever, it builds into this rich tapestry of sound that feels… hopeful? Sad? Both? Honestly, I’m still figuring it out, but I can’t stop humming it days later. It’s hauntingly beautiful without trying too hard.
Then there’s “Sorriso,” which means "smile" in Italian. And wow, does this track deliver exactly what its title promises. Unlike some of the heavier pieces on the album, “Sorriso” feels light and playful, like catching a glimpse of sunlight breaking through clouds. You can practically hear Hedy smiling as she plays—it’s got this warmth that sneaks up on you. There’s no big dramatic crescendo; instead, it’s understated and charming, kind of like finding an old handwritten letter from someone you miss.
What really struck me about Spielt Eigene Kompositionen is how unpretentious it feels. Hedy didn’t have some big label backing her; she put this out independently under “Not On Label.” That DIY spirit shines through every note. Sure, the production quality might not rival modern standards, but honestly? It adds character. It feels real, like flipping through a photo album rather than scrolling Instagram filters.
And let’s talk about the cover art for a sec—also done by Hedy herself. It’s simple yet striking, much like the music inside. No bells and whistles, just pure intention.
So yeah, this album isn’t gonna blow speakers or top charts, but maybe that’s the point. Listening to it feels like sitting down with an old friend who doesn’t need to impress you—they just want to share their world.
Funny enough, while writing this review, I realized I kept referring to Hedy as if we were pals. Weird, right? But hey, that’s the magic of music—it bridges gaps, even between strangers across decades. Now excuse me while I hit replay on “November Am Thunersee”… again.
