Again, a suspicious package line 5 causes an early gig in a room a bit empty, which will be well filled when the doors open at the end of the first piece .
Valentin Silvestrov - String Quartet No. 1
strange room, as timeless. Historical time, initially, with the full tonal melody that goes wrong, from the whisper in a noisy, then leaves, torn between the ages difficult to date. Written in 1974, she did not place in a musical, digs its own style. Timeless narrative, too. Slow almost imperturbable something static, contemplative, even when the pace accelerates, it in a reservoir tending towards the abstract, with original structures, duplicate pairs, making the violins that punctuate a rather bewitching viola-cello duet, for example. A beautiful discovery.Dmitri Shostakovich - Chamber Symphony Op. 110a
Finally, it is preferable to give him that title, rather than say it is the transcription for string orchestra quartet No. 8. Because the face is much different. Less poignant (the limit of endurance, both the dose of desperation is strong in this quartet!), And more material Symphony, where we more easily recognize the quotations, whether from the symphonies of Shostakovich himself, or other composers. The DSCH ubiquitous digest all this, and unifies the way, in self-portrait written as an epitaph. But this transformation orchestral works less well on the slow passages, where the bowing in unison shrill sound unnecessarily spectacular when the text is to destitution and introspection deadly. Interesting but less important than the original version.Alfred Schnittke - Concerto Grosso No. 1 for Piano acute
prepared and playing a melody Metallic and severe left in natural and punctuating percussion resonant, then the strings are waking up gradually and emerge the two solo violins. This time, David Grimal stands, accompanied by Hans Peter Hofmann, who in the middle of the toccata breaks a string. Grimal jokes with the audience while Hofmann repairs at full speed. I find humor in this concerto by Schnittke creaky, but the whole does not turn me on, without my knowing if this is implemented by the dissonance that is not accurate, or whether it is music that would be too timid in its audacity, which offers such a breathless chase between the two violins finally fairly standard, but cluttered with drifts more avant-garde without achieving consistency. Other concerti grossi (the fifth example) have me hooked and otherwise conveyed.Spotify: Rosamunde Quartett - Silvestrov: Leggiero, Pesante , Constantine Orbelian - Shostakovich: Chamber Symphony / Schnittke: Piano Concerto , Chamber Orchestra of Europe & Heinrich Schiff - Schnittke: Concerto Grosso No.1
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