1. Im Frühtau [4:35] MP3 soundclip of Im fruhtau [0:30]
  2. Leicht Zu Fuß [4:17]
  3. Anima Mundi [3:39]
  4. über Den Wolken [7:07] MP3 soundclip of Uber den wolken [0:30]
  5. Aufgewacht [3:52]
  6. Capriccio [2:31] MP3 soundclip of Capriccio [0:30]
  7. Guten Morgen [4:41]
  8. Am Weiher [3:41]
  9. Pas De Deux [6:44]

    Bonus tracks:
  10. Auf Dem Markt [2:50]
  11. Vor Ohren [3:46]
  12. Molldau [3:38]
Stringent compositions and neoclassical improvisations. Piano pieces, some with saxophone and/or synthesizer accompanied.

Hans-Joachim Roedelius - piano, keyboards, synthesizer
Alexander Czjzek - saxophone

Since the early eighties, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different to Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. “Tu felix Austria” (Oh, happy Austria), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music.
“Momenti Felici” is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueling on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, “Momenti Felici” most closely resembles “Jardin au fou”. On closer listening, however, the length in time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period inbetween. Naturally, “Momenti Felici” saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines.

2011. Press Information