The album continues with another great track: Kellerman’s rearrangement of Antonio Vivaldi’s classic composition Winter. This beautiful piece has been reimagined with flute as the leading voice accompanied by The Australian Urban Orchestra on strings and the Soweto Gospel choir. Aishwarya is a brilliant example of some of Kellerman’s more virtuosic playing and shows how exceptionally unique his voice is on the flute. The two collaborated previously on the Winds of Samsara album which won a Grammy earlier this year. The album’s journey begins in India with a track Aishwarya with one of Kellerman’s main musical collaborators, Ricky Kej. This ‘tapestry’ is unified with Kellerman’s gorgeous flute sound as the feature on each track – using C flute, Bass and Alto. Each track is accompanied by many different combinations of brilliant handpicked players from around the globe and every corner of the earth. Kellerman’s album from the start is a full-on journey for the listener exploring many of the rich musical cultures that exist around the world. He artfully weaves together many different musical cultures, styles, practices and peoples to create a stunning tapestry of unique and beautiful music. This album is a brilliant work that fuses together the music of many cultures and influences from around the world including Senegal, Spain, Cuba, India, Greece and even the United States. Love Languages is the fourth release by Grammy-award winning South African flautist and composer Wouter Kellerman. Written by a student composer perhaps – but an accomplished one. But it’s very enjoyable music, showing by turns liveliness and a delicate northern melancholy. Various composers have been suggested as influences in the A minor Quartet of 1889 (Grieg, Mendelssohn) – certainly there’s not much to hear of the mature Sibelius. Throughout though, they show careful attention to dynamics, and the players’ ensemble and the recording itself offer great detail. Sibelius’ tempo instructions for the finale basically amount to ‘faster and faster’ – so starting it too quickly might leave you with nowhere to go even so, I wonder if the Flinders could have shown a little more abandon to create the ‘whirlwind of sound’ that I sense the composer wanted toward the end of the movement. There’s an elusive mood in the Allegretto ma pesante: the main theme has all the sardonic character of Shostakovich/Prokofiev and you sense darker emotions are just beneath the surface of its ‘folky’ bonhomie. It’s in five movements, with two scherzo-like movements around the emotional core of the work, the Adagio di molto, which has some heart-felt playing from the Flinders. It was written in 1909, just a year after the trauma caused by a confrontation with cancer that overshadowed him for the next five years and was to also influence the desolate Fourth Symphony (1911). 4 (Voces Intimae), the composer’s only mature essay in the medium. Once strangers to the catalogue, the Sibelius Quartets receive ever more outings – the latest being this offering from ABC. Intimate Voices – Sibelius String Quartets
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |