VIKTOR SUSLIN (1942-2012): 1756 and Mobilis for Solo Violin, Sonata capricciosa for Viola and Harpsichord, Grenzübertritt for Viola, Cello and Double Bass, Capriccio über die Abreise for 2 Violins, SOFIA GUBAIDULINA (b.1931): So sei es for Violin, Double Bass, Piano and Percussion (World Premiere Recording).
Catalogue Number: 01Q058
Format: SACD hybrid
Description: Suslin was part of the generation of composers who came of age during the post-Stalin 'thaw', and were able to explore more experimental techniques in their works (although in Suslin's case he decided to emigrate anyway). A major preoccupation in his work is the use of quarter-tones and micro-intervals to explore the differences between tuning systems. This is the primary focus of the marvellously expanded sound world of Grenzübertritt ("Crossing Beyond), in which the listener is constantly transported between what the composer aptly described as a 'looking-glass world' of just intonations in different keys, and the familiar, but suddenly alien-sounding equal temperament 'real world'. Aside from this characteristic, though, Suslin was remarkably undogmatic in his stylistic approaches, with styles ranging from a very tonal, motoric toccata that almost sounds like a nod to minimalism in Mobilis, to neo-classical derived figuration in the Mozart tribute 1756 (which also uses a dodecaphonic theme, alongside Mozart quotations), to the unusual sonorities overlain on a variety of very approachable idioms in the Sonata. Gubaidulina's piece was written especially for this recording as a tribute to Suslin, and a certain confluence of thinking between the two composers is evident in the rich, harmonic-laden timbres and wide-ranging, intricate thematic dialogue in Gubaidulina's hypnotic, resonant work of resonant mourning and transfiguration. Nurit Stark (violin, viola), Cédric Pescia (harpsichord, piano), Olga Dowbusch-Lubotsky (cello), Alexander Suslin (double bass), Rebecca Beyer (violin), Taiko Saito (percussion).