TOSHIO HOSOKAWA (b.1955): Neben dem Fluss for Solo Harp, JÖRG-PETER MITTMANN (b.1962): Jenseits der Blaue for Flute, Clarinet, Harp, Percussion and String Trio, MALIKA KISHINO (b.1971): Lamento for Violin and Viola, Aqua Vitae II for Flute, Clarinet, Percussion, Violin and Cello, TORU TAKEMITSU (1930-1996): Voice for Solo Flute, MIYUKI ITO (b.1968): Lunar Phases for Flute, Viola and Harp, ULRICH A. KREPPEIN (b.1979): Windinnres - wucherungen for Flute, Clarinet, Bassoon, Horn and String Quartet.

Catalogue Number: 08X060

Label: MD&G

Reference: 925

Format: SACD hybrid

Price: $18.98

Description: Japanese-German "Dialogues on Nature”: The project, rich in associations, evokes echoes of German Romantic nature poetry as well as finely chiseled Japanese ink drawings; the forces of nature and the magic of nature sometimes lie close together in the new and latest compositions. The diverse biographical interpenetration of cultural areas so far apart from each other creates a dazzling kaleidoscope with great sonic appeal that one can hardly get enough of. The way in which nature enters into musically shaped time varies greatly. Hosokawa's "Beside the River" refers to Hesse's "Siddhartha"; there is a constant invitation to listen: What do you hear? Mittmann's Jenseits der Bläue hovers in the ethereal borderland of the perceptible before a rhythmically throbbing pulse brings mundane reality back into consciousness. In the most recent works, the memory of the devastating tsunami of Fukushima is naturally present: the juxtaposition of idyllic landscape, raw violence and fragments of folk songs wafting from memory gets deep under the skin in Kishino's Lamento. Her Aqua Vitae II, on the other hand, brings the sounds of musique concrète back into classical music-making, which demands a lot from the performers with its extremely differentiated playing techniques and unusual instruments. Lunar Phases by Ito refers to the moon in the course of the month and the year, with echoes of Eichendorff and Caspar David Friedrich; Kreppein, on the other hand, emancipates the playing noise, which unfolds its very own effect, detached from or equal to the played sound. Mirjam Schöder (harp), Ensemble Horizonte.


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