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Patricia Kopatchinskaja, Reto Bieri, Polina Leschenko – Take 3 (2024)
FLAC (tracks) 24 bit/192 kHz | Time – 01:06:39 minutes | 2,16 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The basic idea of this album was to play in threes… Not to play ‘something’, but to experiment ‘in threes’ with sound worlds as different as those of Bartók, Poulenc and Schoenfield. With his Contrastes, composed in 1938 for Benny Goodman, Bartók broadened his penchant for traditional music and turned it into a more universal work, influenced by jazz. Poulenc was a child of the Paris of the Roaring Twenties, influenced as much by Stravinsky, Ravel and Satie as by cabaret songs and operetta. Paul Schoenfield, born in Detroit in 1947, also likes to combine styles. Each of the movements in his trio is based on an Eastern European Hasidic melody… not forgetting the breathtaking klezmer dances of Romanian Șerban Nichifor. Almost ten years after Take 2 (Alpha211), Patricia Kopatchinskaja reunites with two great accomplices, clarinettist Reto Bieri and pianist Polina Leschenko, for a programme based around trios that celebrate the roots of these three musicians.
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Reto Bieri & Meta4 – Quasi morendo (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 58:15 minutes | 943 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
Reto Bieri’s solo album “Contrechant”, released in 2011, was widely praised for the Swiss clarinettist’s beauty of tone and his uncommon expressiveness with extended instrumental techniques. “Quasi Morendo” begins with a new exploration of one of the pieces featured on “Contrechant”, Salvatore Sciarrino’s Let Me Die Before I Wake (1982), with its “whisper-quiet sound world of harmonics, multiphonics and tremolandos” (The Guardian). Reto Bieri is then joined by Finnish string quartet Meta4 for a profound interpretation of Johannes Brahms’s Quintet Op. 115 (1891). Inspired by Brahms’ friendship with clarinettist Richard Mühlfeld, the quintet sounds freer, and more idyllic, than the composer’s earlier chamber music, yet is one of his most meticulously constructed works. The album closes with Gérard Pesson’s Nebenstück (1998), a ghostly re-arrangement of Brahms’s Ballade, Op. 10 No. 4.
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Patricia Kopatchinskaja, Markus Hinterhäuser, Reto Bieri – Galina Ustvolskaya: Trio, Sonata, Duet (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:06 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
Chamber music by Russian composer Galina Ustvolskaya is featured on the second ECM disc by Patricia Kopatchinskaja, recently described by Strings magazine as “the most exciting violinist in the world” and winner of the 2014 Royal Philharmonic Society Instrumentalist of the Year Award.
The unique expressiveness of the work of Galina Ustvolskaya (1919-2006) speaks to the listener with directness and nuanced layers of sound, the powerful, rhythmic stringency of the music testifying to the relentlessness of her vision. Fiercely independent, Ustvolskaya maintained that her music sounded like the work of no other composer, living or dead, and put herself outside all stylistic “schools”. Her work, said Viktor Suslin, has the “narrowness of a laser beam capable of piercing metal”. Its sense of concentration is sometimes ferocious. Entering this sound-world calls for a special kind of commitment and intensity.
Kopatchinskaja and Markus Hinterhäuser play the Sonata (1952) and the Duet (1964) for violin and piano, and together with Reto Bieri, the Trio (1949) for clarinet, violin and piano, all recorded in the acoustically superb studio in Lugano which has become one of ECM’s primary locations.
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