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Ligeti, Schnittke, Tiensuu, Kusjakov - Francesco Dillon, Trio Solotarev |
| Vertige |
| Nośnik |
Wydawca |
Cena |
Waluta |
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| 1 CD |
Stradivarius |
44 |
PLN |
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STR33652
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| Opis albumu |
>>> Większa okładka A <<<
The Three Studies by Gyorgy Ligeti, arranged here for three bajans by the Trio and Vladimir Zubinsky, are part of the Second Book: by their very nature, these compositions are intimately bound up with touch and sound of the piano and yet the Studies are what might be termed "absolute music", i.e. sound which reveals a process involving the intellect and construction of music independently of the instrument for which it is intended and from which it emanates in performance.
Hommage ? Igor Stravinsky, Sergej Prokofiev und Dimitri Shostakovich by alfred Schnittke was not conceived for bajan but for the rather unusual six-handed piano and finds the composer taking stock of his previous out-and-out experimentalism and setting it aside for something decidedly narrative in nature. Playing the piece on three bajans meant the performers looking afresh at tone colourthrough the registers of their instrument and at technique.
Mutta by Finnish composer Jukka Tiensuu (*1948) is one of a number of pieces he wrote for the bajan. He studied composition with Brian Ferneyhough and at the Ircam in Paris where he learned the spectral lesson and technique. He continued to apply this technique after returning to Finland, albeit in a more fluid, less experimantal vein. Using three bajans in Mutta influenced the way in which Tiensuu organized this composition: the sense of sway and movement inherent in ternary rhythm drives the piece along infectiously and the music itself ranges from single-note lines to highly dissonant clusters.
The works of Sofia Gubaidulina call for the bajan not a little. This is hardly surprising since the instrument was created in the Soviet Union when the composer was finishing her studies at teh Moscow College of Music. The original version of In Croce was in fact for cello and organ; the version for bajan was prepared by Elsbeth Moser in 1991 under the supervision of the composer. The title is not intended to have religious connotations but refers to the contrast and crossing over of what the instruments play and how they sound the sort of opposing dynamics for which Gubaidulina clearly has considerable affection. The Sonata Et Exspecto contains symbols which are at once moreopenly related to the musical content of the piece and yet also more veiled. There is conflict during the five movements which go to make up the work between the pure clarity of the sound sphere of the chorale and of the clusters, all of which is bound up with the vision of the second coming of Christ upon earth.
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| Utwory |
1. Vertige - 1:48
2. Coloana fara sfarsit - 1:10
3. L'escalier du diable - by Trio Solotarev 3:42
4. Hommage à Strawinsky, Prokofjew und Schostakowitsch - by Trio Solotarev 5:29
5. Mutta - by Trio Solotarev - 5:03
6. Sonata et exspecto 1 - by Trio Solotarev - 3:17
7. Sonata et exspecto 2 - by Trio Solotarev - 3:35
8. Sonata et exspecto 3 - 5:59
9. Sonata et exspecto 4 - by Trio Solotarev 3:43
10. Sonata et exspecto 5 - by Trio Solotarev 1:46
11. In croce - 13:12
12. Sonata variazioni - by Trio Solotarev 3:46
13. Sonata ostinato - by Trio Solotarev 3:20
14. Sonata corale e recitativo - by Trio Solotarev, Fra 4:52
15. Sonata finale - by Trio Solotarev 4:28
Łączny czas: 1:05:10 |
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| Dodatkowe informacje |
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| Wykonawcy |
Francesco Dillon - cello
Trio Solotarev - bajan |
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