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Naomi Pinnock : Lines and Spaces. Ebrahim, Uttley, Furrer.
Format : 1 CD
Durée totale : 00:53:31

Enregistrement : 2011-2019
Lieu : Dethick/Londres/Oxford/Berlin
Pays : Allemagne/Royaume-Uni
Prise de son : Studio / Stereo

Label : Wergo
Référence : WER6431
EAN : 4010228643121
Code Prix : DM021A

Année d'édition : 2020
Date de sortie : 01/05/2020

Genre : Classique
Naomi Pinnock (1979-)
Quatuor à cordes n° 2
Words, pour baryton et ensemble
Why… (a night song)
Solve a night
Again nothing why (on forgetting)
Lines and Spaces, pour piano
Music for Europe, pour flûte, clarinette, batterie, piano et harpe
Transparent lament
Porous with loss I
Porous with loss II
Rising, rising

Omar Ebrahim, baryton
Richard Uttley, piano
Quatuor Bozzini
Clemens Merkel, violon
Alissa Cheung, violon
Stéphanie Bozzini, alto
Isabelle Bozzini, violoncelle
Ensemble Adapter
Kristjana Helgadottir, flûte
Ingolfur Vilhjalmsson, clarinette
Matthias Engler, batterie
Antonis Anissegos, piano
Gunnhildur Einarsdottir, harpe
London Sinfonietta
Beat Furrer, direction

On this portrait-CD the British composer Naomi Pinnock creates tender-fragile, finely differentiated sound formations from highly reduced sound material. The attempt to transform imperfection into sound is crucial for Pinnock’s work. Dirk Wieschollek explains in the CD-booklet: ‘The concentration and compression of musical gestures into essential expressive elements, always accompanied by the possibility of not existing at all, are often taken to a melancholic extreme.’ “String Quartet no. 2” for example in the beginning remains in a heavy, wearily advancing motion created by varied expressive repetitions of a descending chord progression. In the second movement it segues into resigned, melancholic sound circles which end in a barely perceptible, toneless pizzicato at the bridge. Naomi Pinnock frequently derives inspiration for her works from literature and paintings. The piano solo “Lines and Spaces”, which gave the title to the portrait-CD, owes its existence to her encounter with the abstract paintings of Agnes Martin, whose minimalist square canvases reveal the subtlest nuances of colours and lines. In the composition various differentiations and relations evolve through the reduction on horizontally-conceptualized, singular lines and chordally-inspired, vertical spaces. In “Music for Europe” Naomi Pinnock deals with the Brexit – but not politically motivated: ‘I’d already started sketching the piece when the United Kingdom made its decision to leave the EU. I was utterly devastated about the referendum result. […] Even though I do adhere to the idea that you should concentrate on the work and not yourself when you’re making art – it’s going to express yourself anyway, so you don’t need to think about self-expression – I can’t tell you where I stop and the music starts. The fragility you hear is not contrived.’ The compositions on this portrait-CD reflect the range of works of Naomi Pinnock from solo pieces to larger vocal and instrumental compositions, interpreted by internationally renowned artists as Richard Uttley, Quatuor Bozzini, London Sinfonietta and Ensemble Adapter.

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