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Muzica CD

CD ECM Records Giya Kancheli: Little Imber

2008

Nederlands Kamerkoor
Christine Rall - saxofon sopran
Elliot Riley - saxofon alto
Bruce Weinberger - saxofon tenor
Kenneth Coon - saxofon bariton
Klaas Stok - dirijor
Mamuka Gaganidze - voce
Zaza Miminoshvili - chitara
Matrix Ensemble
Rustavi Choir
Children's Choir
Nika Memanishvili - claviaturi, dirijor cor

Giya Kancheli : Amao Omi ( For Mixed Choir And Saxophone Quartet )
- Little Imber ( For Small Ensemble, Voice, Children's Choir And Men's Choir )

Two choral works by the great Georgian composer Giya Kancheli. “Little Imber” is a “site-specific” work, profoundly melancholic yet with a hint or irony, directly inspired by the English village of the same name, a ghost-town since it was evacuated and turned over to the US army for military manoeuvres in 1943. The piece is coupled here with “Amao Omi” (“senseless war”) whose phonetic text adds up to moving sound tapestry, underpinned by the subtle and supple playing of the Raschèr Saxophone Quartet.

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Giya Kancheli: Themes From The Songbook

2010

Dino Saluzzi - Bandoneon
Gidon Kremer - vioara
Andrei Pushkarev - vibrafon
Jansug Kakhidze - voce, dirijor
Tbilisi Symphony Orchestra

The alchemy involved in conceiving music like this, much less making it, is of a miracle variety. This project is beyond simple genius dispensed by virtuosi, its substance if of a whole other world, one that looks within rather than without, for those things previously missed or never considered. [ C. Michael Bailey, All About Jazz ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Giya Kancheli: Diplipito

2004

Derek Lee Ragin - contratenor
Thomas Demenga - violoncel
Stuttgarter Kammerorchester , dirijor Dennis Russell Davies

Giya Kancheli:
- Diplipito ( Fur Violoncello, Countertenor Und Orchester )
- Valse Boston ( Fur Klavier Und Streichorchester )

“Diplipito”, pitting countertenor against cello in duets of aching elegy, seems to me one of Kancheli’s most ravishing creations. In “Valse Boston” for piano and strings an ineluctably slow ¾ time merely hints at long-lost dance origins amid images of lament and frustration: the ballrooms of Kanchelia are chill, empty places, probably with glass and rubble on the floor. With Dennis Russell Davies (conductor and dedicatee) at the piano, there are ghosts in “Valse Boston” of Shostakovich’s First Piano Concerto and, in both pieces, of Schubert, whose example has encouraged Kancheli’s recent works towards more direct melodic content. The performances reflect utter dedication from all concerned. [ Calum MacDonald, BBC Music Magazine ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Giya Kancheli: Trauerfarbenes Land

1998

Radio Symphonieorchester Wien , dirijor Dennis Russell Davies

Giya Kancheli:
- A La Duduki
- Trauerfarbenes Land

Giya Kancheli's fifth album for ECM New Series is the first to be devoted exclusively to his orchestral music and features two extended pieces of often volcanic power that bear out the judgement of Russian composer Rodion Shchedrin: 'Kancheli is an ascetic with the temperament of a maximalist, a smouldering Vesuvius.' Impassioned performances by the Vienna Radio Symphony Orchestra under the dynamic direction of Dennis Russell Davies make this another milestone in the career of a musician that Time magazine has said 'may well be the most important composer to emerge from the old Soviet Union since Dmitri Shostakovich.'

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Giya Kancheli: Exil

1995

Maacha Deubner - soprana
Natalia Pschenitschnikova - flaut alto si bas
Catrin Demenga - vioara
Ruth Killius - viola
Rebecca Firth - violoncel
Christian Sutter - contrabas
Wladimir Jurowski - dirijor

Settings of Psalm 23 and poems by Paul Celan and Hans Sahl for Soprano and mixed chamber ensemble. 'From strife-torn Georgia comes a man who may well be the mostimportant Soviet composer since Shostakovich: Giya Kancheli, whose olorousyetspiritually radiant music gives eloquent voice to the ongoing tragedy ofhis native Georgia. Says Kancheli, a devout Orthodox Christian, 'When a person goes into achurch, synagogue or mosque where there's not service going on, there's aspecial kind of silence. I want to turn that silence into music.' InKancheli's hands the sounds of silence are hauntingly eloquent.' --[ Michael Walsh, Time Magazine ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Gidon Kremer, Kremerata Baltica - Mieczyslaw Weinberg

2014

Gidon Kremer - vioara, dirijor
Daniil Grishin - viola
Giedre Dirvanauskaite - violoncel
Daniil Trifonov - pian
Kremerata Baltica

Mieczysław Weinberg:
- Sonate Nr. 3 Op. 126
- Trio Op. 48
- Sonatine Op. 46
- Concertino Op. 42
- Symphonie No. 10 Op. 98

The affinities between the music of Mieczyslaw Weinberg and his good friend Dmitri Shoastakovich are as obvious as the Beethoven/Brahms connection, which caused the latter to say ‘Any fool can see that’. Those affinites permeate the early works here, Weinberg’s sole String Trio, the sonatina for violin and piano, and the concertino for violin and strings, all written shortly after the second World War. The later pieces – the Symphony No 10 of 1968 and the Sonata No 3 for solo violin of 1979 – are of a different cut, more adventurous and often sonically harsher. The gripping solo sonata is a real discovery, and Gidon Kremer regards it as worth a 20-century place alongside Bartók’s towering solo sonata. He certainly handles the work with that level of conviction. [ Michael Dervan, Irish Times ]

  • Numar discuri: 2
  • Gen muzica: Contemporana

CD ECM Records Gidon Kremer - Mieczyslaw Weinberg: Chamber Symphonies & Piano Quintet

2017

Gidon Kremer - vioara, dirijor
Andrei Pushkarev - percutie
Kremerata Baltica

Mieczysław Weinberg:
- Chamber Symphony No. 3 Op. 151
- Chamber Symphony No. 2 Op. 147
- Chamber Symphony No. 1 Op. 145
- Piano Quintet Op. 18
- Chamber Symphony No. 4 Op. 153

This new set leaves you wondering why a composer of such consistently intense, emotionally direct music remained virtually unknown in the West for his entire career. […] through it all, Weinberg’s own voice comes through in long, soaring string lines, and textures that are invitingly sumptuous but also full of mystery. What makes the first three chamber symphonies especially fascinating is that they are early and late works simultaneously. In each case, Weinberg used a youthful chamber piece as a template, with trims, additions and reordering, along with broad rescoring. They superimpose an older man’s perspective on the youthful vision of the original work, yielding a moving balance of energy and world-weariness. [ Allan Kozinn, The Wall Street Journal ]

  • Numar discuri: 2
  • Gen muzica: Contemporana

CD ECM Records Ghazal: The Rain

Mai 2001
Kayhan Kalhor - kamancheh
Shujaat Husain Khan - sitar, voce
Sandeep Das - tabla

Recorded live in Berne, Switzerland, The Rain is divided into three long-form improvisations on traditional motifs, averaging 18 minutes each. “Fire” opens with a blush of sitar, a splash of sun on the well-worn path of the kamancheh’s tearful song. The expectation in Khan’s singing, indistinguishably potent through throat and string, marks that path with a mapmaker’s intuition. Khan’s voice is almost startling, providing that moment of satori on which everything hinges. Vocal cues are left intact, loosing the birds of Kalhor’s flights from their cages: signals born of moments yet predestined beyond all sense of time. In contrast, the tabla arises from the very earth, its skins mineral-rough against a backdrop of unforced biorhythms.

  • Numar discuri: 1
  • Gen muzica: World

CD ECM Records Kayhan Kalhor, Erdal Erzincan: The Wind

2006

Kayhan Kalhor Kamanche
Erdal Erzincan Baglama
Ulas Özdemir Divan Baglama

This Zen-like approach yields a powerful, serene music that builds in waves of sinuous bowed melodies, which often sound like weeping, muscular plucked phrases of great rhythmic oomph, and hypnotic loops of perfect synchronicity. The duo’s unity of spirit comes from simply being open to one another and letting natural harmony lead the way. This music speaks to our fundamental human interconnectedness. We would be wise to listen up. [ Sam Prestianni, Jazziz ]

  • Numar discuri: 1
  • Gen muzica: World

CD ECM Records Kayhan Kalhor, Erdal Erzincan: Kula Kulluk Yakisir Mi

2006

Kayhan Kalhor Kamanche
Erdal Erzincan Baglama

Precious little Persian classical music is available to roots enthusiasts in the West who are eager to improve their knowledge of Iran’s culture. In typical enterprising fashion, ECM has seen fit to record an intimate concert between two master musicians who, while emanating from two distinct cultures, are nonetheless linked by a shared border and a shared heritage that extends here to a musical métissage.[...] Pieces vary between traditionally-inspired and improvised numbers, but seam effortlessly into a cohesive whole. .[...] ECM certainly deserve credit for having the courage to put out this ambitious release and it fits comfortably into their continued support for world roots artists who would not otherwise gain a spotlight for themselves. [ Tim Stenhouse, UK Vibe ]

  • Numar discuri: 1
  • Gen muzica: World

CD ECM Records Dino Saluzzi: Cite De La Musique

1997

Dino Saluzzi - Bandoneon
Marc Johnson - contrabas
José María Saluzzi - chitara acustica

For this trio date he joins his son, guitarist José Maria, and bassist Marc Johnson, ever the idiomatic chameleon, for a set of nine pieces. All bear the compositional stamp of Saluzzi, save for a heartfelt rendition of Earl Zindars’s “How My Heart Sings.” The album also contains two dedicatory pieces. First is the lilting “Gorrión,” for Jean-Luc Godard, which melts our hearts like an Anna Karina close-up and transplants us gently into the soil of “Coral para mi Pequeño y Lejano Pueblo.” Written for an unnamed childhood friend, it ends the album in an eddy of fond memories that practically jump from his keys. On the way to these Saluzzi leads us down a path dusted by careful footprints. [ ecm reviews ]

  • Numar discuri: 1
  • Gen muzica: World

CD ECM Records Dino Saluzzi Group: El Valle De La Infancia

2014

Dino Saluzzi Bandoneon
José María Saluzzi Classical Guitar, Requinto Guitar
Nicolás 'Colacho' Brizuela Classical Guitar
Félix 'Cuchara' Saluzzi Tenor Saxophone, Clarinet
Matías Saluzzi Electric Bass, Double Bass
Quintino Cinalli Drums, Percussion

While he’s a gifted classical and jazz musician, Saluzzi has spent the past three decades exploring a range of Agentinian genres, including zamba, carnavalito and chacarera. […] A song like ‘Churqui’ has the warmth and heart of high-plains music but is also multi-layered and allusive. Through it all, Dino Saluzzi’s bandoneón guides, suggests, riffs, queries and sermonizes. More accessible and even more wondrous than 2006’s excellent ‘Juan Condori’, also on ECM, ‘El Valle de la Infancia’ is a sublime album.
Chris Moss, Songlines

  • Numar discuri: 1
  • Gen muzica: World

CD ECM Records Rosamunde Quartett - Joseph Haydn: The Seven Words

2001

Rosamunde Quartett :
Andreas Reiner - vioara
Simon Fordham - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel

Joseph Haydn - The Seven Last Words of our Saviour on the Cross op.51, Hob.III.50-56

The quartet version of "The Seven Last Words" is amongst the most remarkable works of chamber music produced during the 18th century - a highly potent distillation of an already remarkable original. The players of the Rosamunde Quartet, sparing of vibrato, concentrated but unforced of manner, understand that they're hear dealing with a work that hasn't so much as a single redundant gesture. [ Michael Dervant, Irish Times ]

  • Numar discuri: 1
  • Gen muzica: Clasica

CD ECM Records Rosamunde Quartett - Thomas Larcher: Ixxu

2006

Andreas Reiner - vioara
Simon Fordham - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel
Andrea Lauren Brown - soprana
Christoph Poppen - vioara
Thomas Demenga - violoncel
Thomas Larcher - pian

Thomas Larcher: Ixxu (1998-2004)
Thomas Larcher: My illness is the medicine I need (2002)
Thomas Larcher: Mumien (2001/02)
Thomas Larcher: Cold Farmer (1990)

Thomas Larcher has a way of convincing you, like Morton Feldman, that every note is in its right place and should be nowhere else. A delicate touch and taut use of dramatic contrast flicker across his compositions, sending out shards of notes and icy silences. [ Andi Spicer, Gramophone ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Rosamunde Quartett - Othmar Schoeck: Notturno

2009

Rosamunde Quartett
Andreas Reiner - vioara
Diane Pascal - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel
Christian Gerhaher - bariton

Othmar Schoeck - Notturno (für Streichquartett und eine Singstimme), op. 47

If anything can broaden interest in the art of Swiss composer Othmar Schoeck, it is this wonderful recording of his song cycle for baritone and string quartet. … The work represents Schoeck’s dark night of the soul – an act of introspection that expresses existential doubts in music of the most intimate lyricism. The intricacy with which Schoeck intertwines the voices, vocal and instrumental, is one of his supreme achievements. … Gerhaher, sensitively supported by the Rosamunde Quartet, proves himself a more-than-worthy successor, summoning many of Fischer-Dieskau’s interpretative qualities. [ Andrew Clark, Financial Times ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Valentin Silvestrov: Symphony No. 6

2007

SWR Stuttgart Radio Symphony Orchestra, dirijor Andrey Boreyko

A defining orchestral work by Ukrainian composer Valentin Silvestrov, one of the most individual voices from the former Soviet Union. His sixth symphony, written in 1994/95, a five-part work stretching over 55 minutes, offers an impressive synthesis of Silvestrov’s personal style which he himself has called “Metamusik”: music beyond music, sounds, often verging on silence, eavesdropping on long-lost reverberations.

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Valentin Silvestrov: Bagatellen Und Serenaden

2007

Valentin Silvestrov - pian
Alexei Lubimov - pian
Münchener Kammerorchester, Christoph Poppen


Documentation of orchestral music by Valentin Silvestrov in Munich gained an unexpected extra dimension with the spontaneous decision to record the Ukrainian composer playing the piano before and after the ‘official’ session. The results, captured in the early morning and late afternoon, are fascinating, offering an intimate glimpse into Silvestrov’s reflective musical language. The first half of this disc features Silvestrov alone. In the second half, Christoph Poppen directs the Munich Chamber Orchestra and Alexei Lubimov again reveals his deep affinity for Silvestrov’s oeuvre. In all, a true ‘composer portrait’, in time for Valentin Silvestrov’s 70th birthday.

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Valentin Silvestrov: Hieroglyphen Der Nacht

2017

Anja Lechner - violoncel, Tamtam
Agnès Vesterman - violoncel

Released in time for the great Ukrainian composer’s 80th birthday on September 30, Hieroglyphen der Nacht features Valentin Silvestrov’s music for solo violoncello and for two cellos. German cellist Anja Lechner has had a long association with Silvestrov, first documented on the Grammy-nominated leggiero, pesante in 2001. Here she plays, alone, Augenblicke der Stille und Traurigkeit (of which she is the dedicatee), Lacrimosa, Walzer der Alpengöckchen, and Elegie (which calls for her to play both cello and tamtams). Lechner is joined by French cellist Agnès Vestermann, a frequent duo partner, to play Drei Stücke (dedicated to both musicians), 8.VI. 1810…zum Geburtstag R.A. Schumann, Zwei Serenaden, and 25.X.1893…zum Andenken an P.I. Tschaikowskij. As so often with Silvestrov, the compositions often take the form of metaphorical conversations with composers of the past and the present. Tchaikovsky and Schumann are amongst the composers referenced here, while Lacrimosa is a reaction to music of his friend Tigran Mansurian. “My own music is a response to and an echo of what already exists,” says Silvestrov, viewing his oeuvre as a series of “codas” to music history.

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Valentin Silvestrov: Leggiero, Pesante

2002

Maacha Deubner - soprana
Silke Avenhaus - pian
Valentin Silvestrov - pian
Rosamunde Quartett
Andreas Reiner - vioara
Simon Fordham - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel

This album of chamber music is the first in a series of ECM releases by Valentin Silvestrov, intended to spotlight the work of this important Ukrainian composer in the months and years to come. The pieces on the present recording - made with the participation of the composer - were written between 1974 and 2001. Inspired performances by Anja Lechner and Silke Avenhaus, Maacha Deubner and the Rosamunde Quartett bring out the highly individual lyricism and melodic feeling at the heart of Silvestrov's music. Silvestrov himself adds the 'final caesura', with his tender piano performance of his 'Hymn 2001'.

  • Numar discuri: 1
  • Gen muzica: Contemporana

CD ECM Records Valentin Silvestrov: Metamusik / Postludium

2003

Alexei Lubimov - pian
Radio Symphonieorchester Wien, dirijor Dennis Russell Davies

Valentin Silvestrov:
- Metamusik - Symphony for piano and orchestra
- Postludium - Symphonic poem for piano and orchestra
Any attempt to describe the music of Valentin Silvestrov in a few words is doomed to fail, not least because of the incredible tonal and expressive variety that the 66-year-old Ukrainian composer brings to his work. This exquisitely performed and recorded disc offers two symphonic compositions in which solo piano stars. Metamusik, completed in 1992, ranges from overt Modernism to Jarrett-esque fantasy by way of Mahler, while the earlier Postludium contains a mind-blowing compression of ideas. [ Andrew Stewart, Music Week ]

  • Numar discuri: 1
  • Gen muzica: Contemporana

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