After a few early compositions American Michael
Kimber spent the next two decades performing as a violist and subsequently
teaching viola. He returned to writing music in 1985, much of it for
his instrument. On this new release, experienced Polish violist Marcin
Murawski presents a programme of two halves: the first, a selection
of Kimber's solo works; the second, short pieces for the unusual combination
of four violas, for which Murawski generously teams up with three of
his just-graduated students.
Ostensibly, only the Three Armenian Impressions are to any degree substantial,
a two- or three-minute running time the norm elsewhere. Their Armenian
flavour may be confected, but the three short movements - 'Night Music',
'Supplication', 'Celebration' - are highly atmospheric and a worthy
addition to any violist's repertory. They were dedicated, incidentally,
to Armenia's most famous violist, Kim Kashkashian.
The remaining items are all short, light or, in the case of the Caprices,
incomplete. These latter - broadly pedagogical but delightfully expressive
- are devalued somewhat thereby, only seven of the twelve that make
the complete cycle included. One of those is archly designated 'bonus
track'. Kimber's response to those who wonder why he has composed "caprices
in a nineteenth century bravura style" is a witty "Better late than
never!"
Kimber's own account of the centuries old smash hit 'La Folia' is a
collector's item. Murovisation is a heartfelt, written-out improvisation
specially for Murawski, a repayment in part for the advocacy work the
latter has done for Kimber over the past few years. The three Dancing
Viola ditties use a pentatonic scale to suggest Asian folk music, though
the middle one at least has Kimber at his most American-sounding - there
are of course several traditions in the States that rely on such scales.
Jingle Bells and Christmas Medley are space-fillers for sure, but at
the right time of year are sure to bring cheer. Similarly, the Two Pieces
in Spanish Style - one of which borrows heavily from the slow movement
of Rodrigo's Aranjuez Concerto, the other imitating castanets - is a
short, light-hearted work custom-made for a violist's encores. Ditto
the final two tracks, which are in the style of an old-fashioned sentimental
pop standard like Charlie Chaplin/Nat King Cole's 'Smile'.
Audio quality throughout is pretty good, although it does sound as if
some artificial reverberation has been added to certain tracks - the
Caprices, for example. Some of the music has been recorded up close
too, but Murawski is thankfully not one of those string soloists who
feel the need to take enormous gulps of breath at the start of every
new phrase. The accompanying Polish-English booklet provides all the
information the listener is likely to need on composer, works and performers
alike. This is actually Murawski's fourth CD for Acte Préalable:
previously he has recorded with his flautist sister Ewa Murawska, an
engaging programme of Classical-period duos by François Devienne
(AP0222).
At any rate, he, his three ex-students and Michael Kimber himself can
all be very pleased with this latest disc. The
wider appeal of
an all- and only-viola programme is harder to gauge, but certainly anyone
with even the slackest of connections with the instrument should consider
investment.
Byzantion
Contact at artmusicreviews.co.uk
