In the second release under his own name, the Viennese musician Clemens Sainitzer once again devotes himself entirely to his instrument: the cello.

But not like the previous album “Solo #1” in a puristic acoustic dress, no, this time Sainitzer went all out and assaulted the esteemed listener with a sheer mountain of wood.

From acoustic improvisations in large rooms to electronically distorted cello choirs, many branches grow from this album.

The lovely fellow musicians that Sainitzer has invited for his venture complete the cellistic proliferation with a few shimmering green shoots: Christian Reiner interprets and improvises with texts - including those written by the cellist. And Alexander Yannilos plays drums, electronics and with the other musicians involved. This resulted in a wide variety of pieces and improvisations, solos, duos and trios, all of which defy stylistic classification; The connecting element, however, is the violoncello, which is always present - even when it is disguised and peeks around the corner.

In addition to the cello, another facet of Sainitzer's work also finds space on this recording: Clemens Sainitzer began writing in the spring of 2020. What began as a diary quickly became a playground for textual and graphic experiments - in reminiscence of past school days and doodled math books, anything that came to mind was actually allowed.

This rudimentary collection of the pandemic years served the speaker and improvisation musician Christian Reiner in the studio as a template, inspiration and ramp for joint improvisations. Reiner pulled out scraps of words, texts and drawings from Sainitzer's notebooks and interpreted or played with them.

Thomas Schrenk designed the record cover. The photograph was taken during a joint photo session in the painter's studio: following a long-held wish of Sainitzer, he himself smashed a cello shortly before Christmas. Not out of malice or bad will, but simply to ask what happens if you do it. Sainitzer sees the destruction of the instrument as a further aspect - admittedly a very broad one - of playing the cello itself.

“Solo #2” is an eclectic mix of all aspects of Clemens Sainitzer’s work. The thrown and improvisational approach highlights one of the most important ideas underlying this music: playing in the moment; an interactive and organic way of dealing with one another and meeting one another, the core of artistic work, but also a suggestion for constructive cooperation outside of the concert hall.