Pangaea Chamber Players - Three Perspectives - COMPACT DISCS [CD]

Name: Pangaea Chamber Players - Three Perspectives - COMPACT DISCS [CD]
SKU: 10656297
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SKU: 10656297

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The piano trio Pangaea Chamber Players explores the fickle nexus between music and visual art in their Navona THREE PERSPECTIVES. While the ensemble's flute-cello-piano setup might evoke ideas of Baroque music, there are no such reminiscences to be found. Instead, the young trio presents three new compositions by contemporary composers. Although recent works, all pieces on THREE PERSPECTIVES are tonal - perhaps owing to their descriptive, illustrative purpose. The album's title, after all, hints at the connections between musical and visual artistic expressions music inspired by art, music inspired by artists, and art inspired by music. There's the beautiful cycle Reynolda Reflections by Dan Locklair, motivated by five artworks housed in the Reynolda House Museum of American Art, Jennifer Higdon's American Canvas, inspired by three American visual artists like Jackson Pollock, and Ned Rorem's Trio which reverses the process several visual representations of this piece were drawn by artists during performances and rehearsals - one of them can be admired on the album's cover. It is a challenging project, to be sure; but the Pangaea Chamber Players are more than up to the task. With great clarity, care and precision, these new compositions are brought to life not only as black-and-white sketches, but as colorful, refined masterpieces, truly representative of the visual artworks to which they are so intimately wedded.

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Genre
Classical
Description
The piano trio Pangaea Chamber Players explores the fickle nexus between music and visual art in their Navona THREE PERSPECTIVES. While the ensemble's flute-cello-piano setup might evoke ideas of Baroque music, there are no such reminiscences to be found. Instead, the young trio presents three new compositions by contemporary composers. Although recent works, all pieces on THREE PERSPECTIVES are tonal - perhaps owing to their descriptive, illustrative purpose. The album's title, after all, hints at the connections between musical and visual artistic expressions music inspired by art, music inspired by artists, and art inspired by music. There's the beautiful cycle Reynolda Reflections by Dan Locklair, motivated by five artworks housed in the Reynolda House Museum of American Art, Jennifer Higdon's American Canvas, inspired by three American visual artists like Jackson Pollock, and Ned Rorem's Trio which reverses the process several visual representations of this piece were drawn by artists during performances and rehearsals - one of them can be admired on the album's cover. It is a challenging project, to be sure; but the Pangaea Chamber Players are more than up to the task. With great clarity, care and precision, these new compositions are brought to life not only as black-and-white sketches, but as colorful, refined masterpieces, truly representative of the visual artworks to which they are so intimately wedded.
Artist
Pangaea Chamber Players
Title
Three Perspectives
Format
CD
Label
Navona

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The pianist Ekaterina Litvintseva won critical praise for her solo album on Piano Classics (PCL10226) of piano music by Dora Pejacevic 'You owe it to yourself to make the acquaintance of Dora Pejacevic if you haven't done so already.' (Fanfare, May 2022) With her colleagues in Trio RoVerde, she now turns to the Croatian composer's chamber music. The Cello Sonata dates from 1913, the same year as Pejacevic wrote the first piano concerto by any Croatian composer. Like Brahms's First Cello Sonata and Elgar's Cello Concerto, it is cast in a moody E minor, with a yearning character are established from the outset by a long-limbed cantabile melody for the cellist. Pejacevic proceeds to develop a passionate dialogue between cello and piano through an assured handling of sonata form. The following sequence of miniatures for violin and piano evokes the world of the salon in their titles, but the Schumannesque warmth of the Romanze Op.22, from 1907, is replaced by a style at once more wistful and refined by the time of the Elegie, which she wrote in the same pivotal year (1913) as the Cello Sonata. From seven years later, the Meditation Op.51 makes no retreat into solipsism but paints a three-minute sketch of a new and uncertain world. From 1910, the C major Piano Trio returns us to safer ground. Pejacevic demonstrates a notable sensitivity in writing for a tricky combination of instruments strong melodic writing for the string instruments counterbalances the weight of the piano part, which is in any case deftly pointed and touched by the composer's experience as a performer. If Pejacevic's chamber music has not taken it's place in the standard repertoire of late-Romanticism, it is our loss, and one that an increasing number of performances and recordings such as this one are belatedly redressing.