Bartok, Schnittke, Lutoslawski - Works for Violin & Piano | ECM New Series 4811788

Bartok, Schnittke, Lutoslawski - Works for Violin & Piano

£12.15

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Label: ECM New Series

Cat No: 4811788

Format: CD

Number of Discs: 1

Genre: Chamber

Release Date: 22nd April 2016

Contents

About

The New York Times has praised violinist Miranda Cuckson’s “undeniable musicality,” while Gramophone has declared her “an artist to be reckoned with”. Born in Australia and educated in America, she makes her ECM New Series debut – alongside pianist Blair McMillen – with three 20th-century milestones: the Hungarian Béla Bartók’s Violin Sonata No.2 (1922), the Russian Alfred Schnittke’s Violin Sonata No.2 “Quasi una Sonata” (1968) and the Pole Witold Lutosławski’s Partita for Violin and Piano (1984). “Bringing these great Slavic composers together enables us to hear each dealing with the dichotomies of form and spontaneity, playfulness and seriousness, folk expression and abstraction,” Cuckson explains. “The colors and traits of Slavic ethnic music are vibrantly in the foreground in Bartók’s music, more subsumed into abstraction and flavor in the Schnittke and Lutoslawski. Humor is a tool of provocation and survival in Schnittke and to some extent Lutoslawski, a cheeky attitude anchored by deep purpose. In Bartók, the boisterousness and teasing charm of folk dances gives way to moods of profound melancholy.”

Reviews

“Humour is a tool of provocation and survival in the music of Schnittke,” writes violinist Miranda Cuckson in her sleeve notes. “A cheeky attitude anchored by deep purpose.” Which isn’t a bad summation of the commonalities between Béla Bartók, Alfred Schnittke and Witold Lutosławski – all composers who loved the jostle between wit and weight, spirit and logic, raw emotion and modernism. Cuckson and pianist Blair McMillen end up delivering less cheeky attitude and more of the deep purpose: their playing is frank and urgent, with powerfully stripped-back quiet passages in Bartók’s Second Sonata, a gritted-teeth ecstatic climax at the heart of Lutosławski’s Partita, and brutal attacks and silences in Schnittke’s extraordinary Second Sonata.  Kate Molleson
The Guardian 6 May 2016
“Humour is a tool of provocation and survival in the music of Schnittke,” writes violinist Miranda Cuckson in her sleeve notes. “A cheeky attitude anchored by deep purpose.” Which isn’t a bad summation of the commonalities between Béla Bartók, Alfred Schnittke and Witold Lutosławski – all composers who loved the jostle between wit and weight, spirit and logic, raw emotion and modernism. Cuckson and pianist Blair McMillen end up delivering less cheeky attitude and more of the deep purpose: their playing is frank and urgent, with powerfully stripped-back quiet passages in Bartók’s Second Sonata, a gritted-teeth ecstatic climax at the heart of Lutosławski’s Partita, and brutal attacks and silences in Schnittke’s extraordinary Second Sonata.  Kate Molleson
The Guardian 6 May 2016

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