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Elliott CARTER (b.1908)
CD
Mosaic (2005) [11:56]
Scrivo in Vento (1991) [5:32]
Gra (1993) [4:18]
Enchanted Preludes (1988) [6:00]
Steep Steps (2001) [2:40]
Figment No 1 (1994) [6:16]
Riconoscenza per Goffredo Petrassi (1984) [5:51]
Figment No 2 (Remembering Mr Ives) (2001) [3:58]
Rhapsodic Musings (1999) [3:14]
Dialogues (2004) [14:14]
DVD
Interview with the composer [22.06]
Live performances: Mosaic [12.48] Dialogues [15.13]
New Music Concerts Ensemble/Robert
Aitken (director, flute), Max Christie (clarinet), David Hetherington (cello),
Virgil Blackwell (bass clarinet), Fujiko Imajishi
(violin), David Swan (piano)
rec. 28 May 2006, Gelnn Gould Studio, Toronto, Canada, 27 May 2006, 16 October
2007, 14 December 2007, 18 December 2007, The Church of St George the Martyr,
Toronto, Canada. DDD
NAXOS
8.559614 [64:50] + 2.110257 [51:07] |
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This Naxos release features chamber music by Elliott Carter
as part of the American Classics series, to coincide with Carter’s
100th birthday. Containing a selection of works,
from ensembles to solo instrumental, the disc demonstrates
part of the range of Carter’s compositional output.
Mosaic is for solo harp and an ensemble of seven players,
written as a tribute to the harpist Carlos Salzedo and commissioned
by the Nash Ensemble. It is made up of many small fragments
which slot together in the style of a Mosaic. Erica Goodman’s
harp playing is impressive throughout, with a polished ensemble
providing support and colour.
The solo works feature various instruments, beginning with
Robert Aitken playing Scrivo in Vento for solo flute,
which was dedicated to him. Aitken is well established as a
champion of new music and his performance has both elegance
and a sense of understanding, with the multiphonics well executed
and a strong sense of melodic direction. Based on a poem by
Petrarch, the piece uses extremes of pitch and rapid contrasts
of playing style. Gra for solo clarinet is a playful
work with dexterous energy, composed for Lutoslawski’s
eightieth birthday. Max Christie’s playing impresses
with its lightness of touch and sonorous tone.
The Enchanted Preludes are a six minute duo for flute
and cello. Carter packs much into the work’s short duration
and it has a grander sense of scale than one would expect from
a miniature. The material is organized as a set of short interlinked
sections which challenge and sparkle. The short bass clarinet
solo, Steep Steps was composed in 2001 and is a true
miniature, with a duration of under three minutes. The piece
features leaps of a twelfth - based on the bass clarinet’s
overtone series - and serves as an enjoyable character study
of the instrument.
The solo cello features in the two Figments, with the
first of the two pieces composed in 1994 and the second in
2001 with the subtitle Remembering Mr Ives. The two
pieces complement each other well, with the second perhaps
a little more subdued than the first, quoting fragments of
music from Charles Ives. Carter’s cello writing is resonant
and expressive, and as with his other instrumental solos, he
seems to elicit a sense of the instrument’s character
through the music. David Hetherington performs with delicacy
and exuberance in equal measure, giving life to the music and
possessing a richness of tone which is a pleasure to listen
to.
Fujiko Imajishi’s performance of the Riconoscenza
per Goffredo Petrassi is expressive and poignant. Written
for Petrassi’s eightieth birthday celebrations, the piece
features long static lines interspersed with flashes of sound
and flowing lines. The stillness has a dramatic effect, especially
within the context of the complexity of some of Carter’s
other works, and there is a sense of contemplation in the performance.
The second solo violin work, Rhapsodic Musings was written
for Robert Mann and features his initials in the musical material.
The final work on the disc is the longest and uses the largest
instrumental forces. Dialogues is almost orchestral
in its scale, using eighteen players in addition to a solo
piano. Composed for Nicolas Hodges, the title of the work comes
from the interaction between the soloist and ensemble, with
a sense of discourse, reaction and interruption. This is an
engaging and nimble work, and Robert Aitken’s ensemble
is polished throughout. David Swan’s piano playing is
both technically impressive and musically sensitive, giving
a performance which is meaningful and controlled.
The disc comes paired with a fascinating DVD which features
an interview with Elliott Carter conducted during a visit to
Toronto in 2006. Robert Aitken also provides wonderful insights
into Carter’s music, making this DVD worth the price
of the disc alone.
This is a fantastic product, with world class recordings of
Carter’s music. Robert Aitken’s work with the New
Music Concerts ensemble is of an extremely high standard, demonstrating
an excellent understanding of the composer.
Carla Rees
see also review by Gary
Higginson
Reviews
of other Carter recordings on Naxos
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