Michael KIMBER (b.1945)
Three Armenian Impressions (2002) [10:55]
Six Caprices (from: Twelve Caprices (1996)) [13:14]
Murovisation (2013) [5:42]
Viola Fight Song (2004) [1:52]
*La Folia (1995) [5:47]
*Christmas Medley (2005) [5:24]
*Jingle Bells (2004) [2:02]
*Two Pieces in Spanish Style (2008) [3:32]
*Dancing Viola (2011) [5:35]
*I Really Love to Play Viola (2005) [4:00]
*I Am Lost without my Beautiful Viola (2005) [3:34]
Caprice in A flat (from: Twelve Caprices (1996)) [3:15]
Marcin Murawski (viola)
*Edyta Hedzielska, Justyna Kowalczyk, Aleksandra Bazan (violas II, III, IV)
rec. Paderewski Academy of Music, Poznań, Poland, 27 March and 17 April
2013.
ACTE PREALABLE AP 0284 [65:02]
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
The wider appeal of an all-viola programme is hard to gauge; certainly
anyone with even the slackest of viola connections should consider investment.
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