Gabriella Gullin - For Those Borne in Mind - COMPACT DISCS [CD]

Schubert / Shostakovich / Sachse / Skride - Viola Sonata [COMPACT DISCS] date 04/14/2017

Portland based Lovers fuse intimacy and empowerment into a modern atmosphere of honesty, new feminist humor, and rhythmic complexity. The result is at once confident, tender and romantic. The follow-up to their best-selling 2010 Dark light, a Friend in the World is a rich engagement of acoustic and electronic extroversion and introspection-an uplifting ride into uncharted territories of the heart and mind.

This Wergo recording features two of Sofia Gubaidulina's works from the late 1970s/early 1980s that see her establishing a mature style after years of journeyman efforts. The titles of the works point to the Russian composer's deep religious belief, and while there is no text in these purely instrumental works, the spirit of contemplation and wrestling with spiritual questions persists throughout. The pieces are centered around cello and accordion, played here by Julius Berger and Stefan Hussong respectively. InchIn CroceInch was originally written in 1979 as a piece for organ and cello, but it is represented here in a 1991 arrangement for cello and accordion by Elsbeth Moser which Gubaidulina has approved. As it's title suggests, this is an exploration of InchverticalInch music (the organ or accordion) intersected by the InchhorizontalInch (cello). The work is a steady slow of eerie chords from the accordion with the sinuous, yearning voice of the cello threading through them. While the first half of the work offers a feeling of stasis with the occasional outburst, the second half offers a suspenseful, gradually rising development. The work draws to a close with the cello playing harmonics by which the music seems to evaporate. The Kammerorchester Diagonal conducted by Florian Rosensteiner joins in for the next piece. InchSieben Worte (Seven Words)Inch for cello, bayan, and strings is a depiction of Jesus' death on the cross in the venerable classical tradition started by Heinrich Schütz (whom Gubaidulina subtly quotes at one point). Gubaidulina was attracted to writing for the accordion because it has a very living quality to it, it InchbreathesInch, and here the instrument depicts the gradual dying of breath. This is one of Gubaidulina's best pieces, the seven movements offering a variety of textures - even a tragic subject like the crucifixion can still be painted