Martin Heinze, KlangArt Berlin and friends — Sofia Guibaidulina: Chamber Music With Double Bass (2011)

Composer: Sofia Guibaidulina

Composition: Chamber Music With Double Bass

Performers: Martin Heinze, KlangArt Berlin and friends

Released: Neos / 2011

Sourse of information: Allmusic.com Buy on Amazon

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The music of Sofia Gubaidulina (b.1931) is nothing if not endlessly fascinating. Pupil of Shostakovich, contemporary of the likes of Shchedrin, her music is ever rewarding of study. This issue of Read more legato-staccato ), a study in textures. The legato passages are actually chordal, magnificently delivered here. These later etudes last 23 minutes, yet feel much less. Notable, perhaps, are the ghostly fifth ( sul ponticello ) and the senza arco final etude, with its otherworldly pizzicato slides. The short Pantomime (1966, for bass and piano) is remarkably fragile. Helke Gneiting is a responsive, imaginative pianist (more companion that accompanist). Finally for this disc, the Sonata for Bass and Piano of 1975, a work of impeccable darkness. In some way it seems to containg the essence of Gubaidulina, its subterranean world embryonic in its hold of promise.
The use of a bayan (a Russian button accordion) in conjunction with bass for In Croce (1979 for cello and organ/2009 in this version) is remarkably effective, the glassiness of the bayan adding a glistening complement to the resonance of the bass. The bayan’s stunning use of glissandi brings us close at times to the world of Stockhausen’s electronics; at other times, there is a childlike wonder about its near-organ sounds. Quasi Hoquetus (1984/2008) was originally for bassoon (and is available in that form on Chandos’s excellent disc of Gubaidulina works, 9717). Here it is for viola, double-bass and piano, and Heinze and Gneiting are joined by the viola of Ulrich Knörzer. Gubaidulina plays with the idea of the hocket intriguingly (its ancient links fit in with her preoccupations of balance and proportions, I expect), but there is much more than that to the piece. The piano invokes Bach chorales on occasion; elsewhere there is the most eloquent dueting between viola and bass.
The piece Silenzio is heard here in a version for bayan, violin, and bass (the violinist is Lisa Marie Landgraf; the bayan player, as for In Croce, is Elsbeth Moser). As befits the title, throughout the work’s four movements the music’s very existence seems to hang by a thread.
A pity the poem by Else Lasker-Schüler that forms the text for Ein Engel (1994), the work that concludes the second disc, is not included in the documentation for this issue. Vanessa Barkowski is the excellent mezzo who gives out the text at the beginning and who mesmerizes throughout her contribution. Her voice is strong over its entire range, which it needs to be for Gubaidulina’s writing. Initially, the bass enters with only the odd snatched comment before it grows to a life of its own. Here, it seems the perfect complement to the mezzo voice.
The Galgenlieder (Gallows Songs, 15 pieces for mezzo, percussion, and double bass of 1996 on poems by Christian Morgenstern) is a remarkable cycle. The mezzo is again Vanessa Barkowski. Some of the scoring is of the uttermost delicacy, yet there is space for drama, too. Barkowski’s virtuosity is magical: try the gymnastics of the fifth song, “Das Spiel I.” The duration of the cycle is 47:20, yet somehow it flies by. The longest songs stand centrally (the rhythmically exciting “Der Tanz,” at 7:01) and at the end, with the Schoebnergian (think Pierrot Lunaire ) “Das Mondschaf” at 7:02.
Finally to end this monumental and vitally mportant collection, Pentimento of 2007 for the intriguing combination of double bass and three guitars (an arrangement of Ravvedimento for cello and four guitars of the same year). The guitars can give a remarkably romantic feel to the music (for the first time in the set); the lone voice of the bass ruminates against them. Fascinating.  (source: arkivmusic)

 

CD 1:

Five Etudes for harp, double bass and percussion (1965) 12:28

[01] I Largo 03:09
[02] II Allegretto 02:10
[03] III Adagio 02:31
[04] IV Allegro disperato 01:37
[05] V Andante 03:01

Elsie Bedleem, harp · Martin Heinze, double bass · Jan Schlichte, percussion

[06] Pantomime for double bass and piano (1966) 09:25

Martin Heinze, double bass · Heike Gneiting, piano

Eight Etudes for double bass (1974/2009) 23:19

[07] I staccato – legato 01:41
[08] II legato – staccato 03:18
[09] III espressivo – sotto voce 02:18
[10] IV ricochet 02:16
[11] V sul ponticello – ordinario – sul tasto 03:09
[12] VI al taco – da punta d’arco 01:40
[13] VII pizzicato – arco 03:10
[14] VIII senza arco 05:47

Martin Heinze, double bass

[15] Sonata for double bass and piano (1975) 13:02

Martin Heinze, double bass · Heike Gneiting, piano

CD 2:

[01] In Croce for double bass and bayan (1979/2009) 15:26

Martin Heinze, double bass · Elsbeth Moser, bayan

[02] Quasi Hoquetus for viola, double bass and piano (1984/2008) 15:00

Ulrich Knörzer, viola · Martin Heinze, double bass · Heike Gneiting, piano

Silenzio for bayan, violin and double bass (1991/2010) 19:51

[03] I 04:00
[04] II 03:29
[05] III 02:51
[06] IV 01:30
[07] V 08:01

Elsbeth Moser, bayan · Lisa Marie Landgraf, violin · Martin Heinze, double bass

[08] Ein Engel Lied for alto and double bass, on a poem by Else Lasker-Schüler (1994) 05:59

Vanessa Barkowski, mezzo-soprano · Martin Heinze, double bass

CD 3:
Galgenlieder à 3 (Gallows Songs) 47:20
15 pieces for mezzo-soprano, percussion and double bass (1996)
on poems by Christian Morgenstern

[01] Die Mitternachtsmaus 03:34
[02] Das Nachdenken 02:58
[03] Das ästhetische Wiesel 01:49
[04] Das Knie 02:29
[05] Das Spiel I 01:57
[06] Das Spiel II 02:46
[07] Die Beichte des Wurms 02:33
[08] Der Psalm 02:23
[09] Der Tanz 07:01
[10] Das Gebet 03:53
[11] Das Fest des Wüstlings 02:35
[12] Improvisation 01:53
[13] Fisches Nachtgesang 01:48
[14] Nein! 02:39
[15] Das Mondschaf 07:02

Vanessa Barkowski, mezzo-soprano · Jan Schlichte, percussion · Martin Heinze, double bass

[16] Pentimento for double bass and three guitars (2007) 24:32

Martin Heinze, double bass · Guitar Ensemble Quasi Fantasia

 

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