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Accueil  Catalogue  Contemporain  WER7350
Tom Sora : Wechselspiele, musique pour voix et instruments. Sun, Sora, Skouras, Hastreiter.
Format : 1 CD
Durée totale : 01:03:27

Enregistrement : 10-12/02/2016
Lieu : Munich
Pays : Allemagne
Prise de son : Stereo

Label : Wergo
Référence : WER7350
EAN : 4010228735024
Code Prix : DM021A

Année d'édition : 2017
Date de sortie : 31/05/2017

Genre : Classique
Tom Sora (1956-)
Gruppenzwänge, pour trio à cordes
Frei sein, pour 2 guitares
Stahlbauten, pour piano
Wer sich nicht… , wir nicht… , pour soprano et batterie
Trio à cordes n° 2
Wechselspiele, pour soprano, baryton et boîte à musique
Heavy metal, pour guitare électrique et batterie

Sarah Maria Sun, soprano
Tom Sora, baryton
Andreas Skouras, piano
Thomas Hastreiter, batterie
Duo Steuber.Öllinger
Martin Steuber, guitare
Johannes öllinger, guitare électrique à 7 cordes
Heather Cottrel, violon
Klaus-Peter Werani, alto
Hanno Simons, violoncelle

Clarity and structure. These are the terms that first come to mind with Tom Sora’s music. The compositions of this Romanian composer from Bucharest seem vivid and literally graspable. The music radiates a kind of physical materiality. As an uncompromising free thinker he pursues his artistic goals with diligence and concentration. Sora’s compositions are based on simple, specific musical or extra-musical ideas. Intuition remains an important principle for his method of composing and is also a significant factor in his personal musical style. This applies to his composition “Heavy Metal” for electric guitar and percussion. Beyond that, the title reveals nothing about the composition. As is usual with Sora, the piece follows a consistent musical dramaturgy and has nothing to do with Heavy Metal. On the contrary: this instrumentation borrowed from another genre serves to reveal Sora’s artistic individuality. “Gruppenzwänge” [Peer Pressures] has to do with conformity, with absolute acquiescence. Violin, viola, and cello are tightly synchronized with the same rhythms and closely bound together melodically. This is unusual for string trio writing and conveys a rather constricted impression. His “Zweites Streichtrio” [Second String Trio] makes clear, that an allusive title is not essential. The listener is given no clue for orientation and is entirely dependent on the unfolding musical processes. But the music does not need the crutch of a story or title: the musical events are so clearly structured that on hearing the piece one has the feeling a story is being told.

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