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Gabriel Tchalik – Tishchenko: Complete Violin Works (2015) [Official Digital Download 24bit/88,2kHz]
Gabriel Tchalik – Tishchenko: Complete Violin Works (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:14:28 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alkonost Classic
After the success of his first album, devoted to Locatelli’s 24 ‘Caprices for solo violin’, Gabriel Tchalik takes us to Russia in the second half of the 20th century, following in the footsteps of Boris Tishchenko (1939-2010).
This album features the world premiere recordings of Tishchenko’s complete works for violin. To underscore this event, Gabriel Tchalik wanted to bring together with this album three outstanding personalities from the intellectual and artistic world of this post-Stalin era: a composer, a painter and a writer, each of whom, in his own way, depicted Soviet reality of the time. Instigator of Moscow’s famous so-called ‘Bulldozer Exhibition’, repressed in 1974 by the regime, Oscar Rabin is a painter now internationally known; 12 of his unpublished drawings, dating from the 1950s and ’60s, are thus presented in this new album conceived as an art object. Drawing their inspiration from the same Soviet reality and attesting to the ephemeral artistic effervescence that occurred at the moment of the Thaw, they closely echo the music of Tishchenko. So it is with the text by Nicolas Bokov, a dissident writer forced into exile by the same regime.
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Gabriel Tchalik, Dania Tchalik – Europe 1920: Violin Sonatas (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 01:22:21 minutes | 830 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Evidence
The present program features four sonatas for violin and piano written around 1920 by four composers of different nationalities and contrasting aesthetics, a representative panorama of the aesthetic profusion of musical Europe at that time. Here we find the relics and prolongations of Romanticism, the irruption of avant-gardes, and folk music being taken into account, this giving a new sense to the affirmation of musical nationalism.
The first two decades of the 20th century witnessed a fantastic springing up of avant-gardes, pushing the respective arts to stick to their own medium and forcing artists to develop their own aesthetic idioms. All this represents an excess of modernity when the sole forming of a movement immediately condemned it to being irremediably surpassed. For all that, trends inherited from the 19th century – post-Romanticism as well as the national schools – did not disappear. Remaining in the background, they continued to resonate with these new trends. ….
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