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1
Performance of ''Passing I'' +
2
Performance of ''Passing II'' +
3
Performance of ''Menuetto'' and ''Passing I'' +
7
Passing performed by Chinese students. +
A
Concert series with the NJO Orchestra, Nederlands Jeugd Orkest,( Dutch Youth Orchestra ) with conductor Otto Tausk. Accordion Concerto by Mathilde Wantenaar followed by Encore for accordion. +
'''CD - "In Time"'''
AI Translation:
Every day, the town hall bells in Aarhus play the melody "In vernalis temporis," also known for its lyrics, which are an ode to spring.
Written by the then rector of Aarhus Cathedral School, Morten Børup, around the year 1500. Since its Danish translation in 1895 and its inclusion in the Danish songbook ("Højskolesangbogen"), it has been sung all over the country. It can rightly be called a Danish cultural heritage.
This inspired two young guitarists, Simon Wildau and Mikkel Egelund, who make up the "Aros Guitar Duo" (Aros being the old name for Aarhus), to ask a number of Danish composers to draw inspiration from the melody for new works written specifically for the two Aarhus musicians.
Now the CD "In Time" has been released. It contains six works by Danish composers born between 1953-88; the music was composed between 2018-20. It's a fun and commendable initiative, both to provide new Danish music and to perform it around and release it.
The album primarily showcases the stylistic diversity that characterizes Danish music today.
Naturally, the composers approach the task differently, and there is a big difference in how the old melody shines through the new music.
There's a bit of everything from traditional variation works to whimsical escapades to almost provocatively challenging interpretations of the original.
The oldest composers, Frandsen (67 years old) and Siegel (71), seem the most daring and interesting both in tonality and craftsmanship.
Just as the Aros duo has received and realized the original idea, the performance is characterized by great commitment and empathy.
The enthusiasm for playing the new works is clearly audible. Both the technique and the musical expression seem convincing, as does the choice of composers.
Despite a slightly fluctuating experiential quality, it's an exciting and qualified journey into the old melody, whose origin - unlike the lyrics - is uncertain, but can be traced back long before rector Børup's 500-year-old text.
'''Original review in Danish'''
'''CD - “In time”'''
Hver dag spiller rådhusklokkerne i Aarhus melodien "In vernalis temporis", også kendt for teksten, som er en ode til foråret.
Forfattet af daværende rektor på Aarhus Katedralskole Morten Børup omkring år 1500. Siden den fik sin danske oversættelse i 1895 og senere kom med i Højskolesangbogen, er den blevet sunget over det ganske land. Man kan med rette kalde den dansk kulturarv.
Det gav to unge guitarister, Simon Wildau og Mikkel Egelund, der udgør "Aros Guitar Duo" (Aros er det gamle ord for Aarhus), idéen til at bede en række danske komponister hente inspiration i melodien til nye værker, skrevet specielt til de to århusianske musikere.
Nu er cd'en "In Time" udkommet. Den indeholder seks værker af danske komponister, født i perioden 1953-88; musikken er komponeret 2018-20. Det er et sjovt og prisværdigt initiativ, både at tilvejebringe ny dansk musik, men også at spille den rundt om og udgive den.
Pladen viser først og fremmest den stilistiske mangfoldighed, der præger dansk musik i dag.
Naturligvis går komponisterne forskelligt til opgaven, og der er stor forskel på, hvordan den gamle melodi skinner igennem den nye musik.
Der bydes på lidt af hvert fra traditionelle variationsværker over sværmeriske eskapader til næsten provokerende udfordringer af forlægget.
De ældste komponister, Frandsen (67 år) og Siegel (71), forekommer mest dristige og interessante både i tonesprog og håndværk.
På samme måde, som Aros-duoen har fået og realiseret den originale ide, er udførelsen præget af stort engagement og indlevelse.
Begejstringen for at spille de nye værker høres tydeligt. Både teknikken og det musikalske udtryk virker overbevisende ligesom valget af komponister.
Trods en lidt svingende oplevelsesmæssig kvalitet er det en spændende og kvalificeret rejse ind i den gamle melodi, hvis oprindelse - i modsætning til tekstens - fortaber sig i det uvisse, men kan føres tilbage til lang tid før rektor Børups 500 år gamle tekst. 9. marts 2024
Af Evanthore Vestergaard - evanthore@kulturen.nu
'''Address'''
Ellipse of Landesakademie für musisch-kulturelle Bildung e.V.
Reiherswaldweg 5
66564 Ottweiler
Germany
First performance of '''Autumn Rain''' dedicated to Geir Draugsvoll +
Bjarke Mogensen plays Domenico Scarlatti<br/>Mogensen - Lohse: Mobile, Works for Solo Accordion
This time we present two recording works, by Danish accordionist Bjarke Mogensen, which at first sight would seem very distant from each other, yet in reality and instead, are deepening their genesis and we find that they actually contain some common points.
These are two monographic CDs: the first dedicated to Domenico Scarlatti (1685-1757), while the second is dedicated to the contemporary Danish composer Martin Lohse (1971).
Regarding the first CD, there are musicians and critics who question the use of the accordion in the Baroque repertoire dedicated to instruments such as the harpsichord ... but listening to the transcriptions, and related interpretations, of 13 Sonatas of the great Italian musician, by of the same Mogensen, one immediately becomes convinced of the opposite.
Impeccable technique, engaging sound, passionate but congruent interpretation at the same time; "Lyric" in slow / moderate times, brilliant and snappy in the bright times.
Even the program, chosen appropriately and with great care - bringing together rather varied musical situations and textures, often in contrast with each other - enhances the instrument, and also the same passages, which literally live again in a new light.
On the second CD there are compositions, original for accordion solo - in the first world recording, by the Danish Martin Lohse, with whom Mogensen has collaborated for 10 years.
And it must be said that this collaboration has been rather fruitful and has certainly given good results! These works are inspired by the Sonatas of Scarlatti (and here is the link with the other album) and are based, above all the last ones in temporal order, on a personal technique of the author called "mobile": or different levels, concerning time, meter , textures, style blend on various melodic cues and simple harmonic patterns, which "slip" gradually modulating through the 12 tones, as in a continuous perpetual motion, all without or with very few dissonances.
Fresh music, contemporary but not excessively "intellectual" and not at all hermetic, indeed sincere and communicative, often captivating, which show strong roots with the great Western "classical" tradition; a happy combination, just like in Scarlatti, of lightness and playfulness with passion and solemnity.
Selections that particularly impressed me: [[Passing (accordion)|Passing I, II, III]], [[Menuetto (accordion)|Menuetto]], [[Cadenza (accordion)|Cadenza]] and [[Momentum (accordion)|Momentum I, II, III]].
Music that surely reconciles the audience with contemporary "cultured" music and that undoubtedly enrichs the specific repertoire for the accordion.
Review by Alessandro Mugnoz, April 2018
[https://theateramrand.de/#theater_stueck/219 Concert info] +
Link to: [https://www.akkordeonherbst.de/15-claudio-jacomucci Akkordeon Herbst] +
I am an accordionist and have always defended it as a legitimate concert instrument whenever I get the chance. Hanzhi Wang is a brilliant musician and accordionist and has done a tremendous service to accordionists everywhere with the release of this album. Even I was amazed at the range of full orchestral sound that can be emitted by a single accordion. All I can say is "Wow!", and I hope this recording receives the wide exposure and accolades it deserves.
'''''Julie Lamoureux''''' +
The last time I encountered accordion concertos, other than the work by Piazzolla of its cousin the bandoneón, was during the Soviet era and that was based, as expected, on Russian folk music. Thus, this album was full of surprises. Recently, the Kronos Quartet had teamed with Finnish accordionist Kimmo Pohjonen for a rather New Age, atmospheric album, but these works are in the classical idiom. Here, Ole Schmidt, the first of the Danish representatives, wrote an amusing, playful fantasy, where the accordion seems to be narrating a satire. It is the oldest composition (1958). The sound of the instrument is peculiar itself: it may suggest a circus calliope, or harmonica, or folk harmonium, or even a pseudo-electronic keyboard. Anders Koppel's ''concerto'' is more serious, with elements of dance, jazz, and cinematic atmospheres. The accordion is played at its upper register, hence the suggestion of piccolo. The second movement, the largo, has much of the melancholic lyricism of tango without its rhythm and ends with bass notes (some piccolo!). A waltzing scherzo is the concluding movement, marked by sarcasm and virtuosic bravado reminiscent of Shostakovich. The next piece, by Martin Lohse, ''In Liquid...'', begins with a moderately slow, quiet flowing; the middle section starts, or barely starts, in a hesitant fashion and then becomes dramatic with various tempi and tensions. The work closes with a slow, minimalistic pensive reverie. ''Recall'', the final selection, is Per Nørgård's work for symphony, revised for chamber ensemble. The composer reflects on youthful listening to Balkan folk music. The piece begins in quiet reflection, a striving to recall the effect if not the actual melodies and rhythms. Indeed, at times the rhythms and arrangements seem to my ears Latin American. Thus, the composition is entertaining, light and frolicking, with jagged sparkles. Drums and brass propel the folkloric dances. The album ends well with the listener's spirits uplifted. Performing these pieces is accordionist Bjarke Mogensen, who makes a case for the instrument as worthy, if unusual, for serious classical compositions. His sure-fingered, rapid cadenzas and emotional interpretations bring out the best in the concerti. Rolf Gupta leads the Danish National Chamber Orchestra. This is a SACD album, suitable for regular and surround-sound players. Repeated listening, once the shock is past, should bring a new appreciation for the accordion.
Bjarke Mogensen forces the listener to rethink what an accordion can do with these four concertos.
Ole Schmidt's ''Symphonic Fantasy and Allegro'' starts off the program. It's a fairly traditional-sounding work, with the soloist and ensemble having clearly defined roles. Rich harmonies support the fluid melodies, which make this work an appealing one to listen to. Although most of the solo work on this recording is single line, Schmidt writes some interesting counterpoint into the cadenzas.
Anders Koppel composed the ''Concerto Piccolo'' for Mogensen, and the concerto shows the artist's ability to best advantage. The work is an angular neo-classical composition that's well suited to the tonal qualities of the accordion. In my opinion, it's the strongest work on the album.
''In Liquid'', another commission by Mogensen, is radically different. Martin Lohse's work is almost a study in slow motion. Lohse draws out every single note both from the ensemble and the soloist. The sensation is similar to trying to run underwater. And the enforced slowness of the composition makes the listener pay closer attention to the music as it passes by. An effective work, and one that completely removes the accordion from its popular roots.
As its name suggests, ''Recall'' by Per Norgard, harkens back to the roots of the instrument. While at times it threatens to devolve into sea chanty, at heart it's a carefully composed showpiece full of energy and good spirits.
These are fresh, exciting works that succeed both presenting the accordion in a new way and being an enjoyable listening experience. Whether you're after fresh sounds, virtuoso performances, or just plain good music-making, this recording fills the bill. +
'''LOHSE''': ''Collage de Temps; 5 Momenti Mobile; Moto Immoto''
David Lau Magnussen, p; Bjarke Mogensen, Claudio Jacomucci, acc; Christina Astrand, v; Toke Moldrup, vc; Danish Chamber Players/Casper Schreiber
:::Dacapo 8226590 - 57 minutes<br/>
I thoroughly enjoyed this music. Lohse is drawn to consonant minimalism, employing most dissonance as passing and decorative, rather than structural. He uses what he calls mobile technique, where sections with their own tempo, meter, and style are arranged in an endless sequence of major thirds, transformed as if seeing another side of the same object. The clearest example of the technique can be seen in the melancholy [[Moto Immoto (sinfonietta)|Moto Immoto]]. It alternates between periods of active movement and quiet stasis, returning to the same sections, a little changed each time. The notes repeatedly mention the music’s resemblance to Glass, but I hear a clearer connection to Nyman. I noticed this often in the piano concerto, [[Collage de Temps (piano and sinfonietta)|Collage de Temps]]. It is a joyous romp, sometimes suggesting different historical styles, from Baroque to jazz. It takes considerable willpower not to rewind to the beginning when it finishes. The [[5 Momenti Mobile (accordion duo and piano trio)|5 Momenti Mobile]] are just as eclectic, if not more so. They are scored for the unusual combination of accordion duo with piano trio. The colors contrast quite nicely. The pieces alternate between a peppy staccato style and wistful lyricism. Like the rest of Lohse’s works on the album, it is a delight.
'''''Nathan Faro''''' +
The performed works are a part of [[Seasons (accordion)]]. +
'''"In Time"'''
Aros Guitar Duo/
Simon Wildau and Mikkel Egelund
6 tracks
Released on April 5, 2024
Publisher: OUR Recordings
AI translation of original text in Danish:
'''The whole endeavor revolves around bringing a particular ode from around 1500 into the present day. This endeavor is what the Aros Guitar Duo has set out to accomplish by playing six different versions of Morten Børup's "In vernalis temporis" on the duo's album "In Time," released on April 5, 2024. The result is a truly interesting, well-executed, and festive rendition of the old tune.'''
'''It's a fantastic idea:''' to have one theme with variations as the subject of a release. It's so well thought out. And to choose a melody that has such a long history in our own country and deserves to be kept alive, as it turns out. The snippet of melody "In vernalis temporis" seems to have its value extended with this album; like an object suddenly placed into a painting, where it naturally blends in with the painting's other parts, complementing the object and making it shine in an entirely new way.
The Aros Guitar Duo is anchored in Aarhus in several ways. And in several respects, the album seems like a bit of an Aarhus story - but in a slightly different and somewhat more successful way, one might add. The two friends and subsequent musical colleagues, Simon Wildau and Mikkel Egelund, met in Aarhus. Here they were educated, and here they often listened to the town hall bells, which every day, when the clock strikes 12.00, make the city's citizens aware of it by ringing out precisely Morten Børup's ode "In vernalis temporis." Morten Børup (1446-1526), who was also a prominent figure in Aarhus, among other things as the rector of Aarhus Cathedral School for a period, also contributes nicely to the entire Aarhus idea in the release.
All six pieces are composed by Danish composers in 2018-21, and they are an exciting array of composers; different in musical characteristics and territories, age, and styles. But ultimately, they all form a nice coherence with each other, which is also part of the idea of the album. We're allowed to experience the entire album as one cohesive work in six parts, we're told in the booklet. It's not difficult.
'''The task is approached''' differently; with Rasmus Zwicki, we're invited into a contemplative sonic world, where the music almost flows around trying to find its form. It's like a dream universe where "In vernalis temporis" doesn't prominently display its presence but only slowly emerges and steps forward at the end. On the other hand, John Frandsen's version is fiery from the start: There's almost fire in the guitar in a captivating, passionate musical style. Like a sort of climax, deep tones in one guitar anchor everything, while the other guitar gesticulates in the high register like a call to arms. It works well. It's as if John Frandsen places the theme into a context where it alternately hides and emerges, but maybe also plays in the background. In a special passage, there's liveliness and leaps in the notes, and one can also enjoy other interesting explorations in the guitar duo constellation. And this piece is just performed beautifully by the Aros Guitar Duo.
The empty chords have caught Peter Bruun's interest. He unfolds them beautifully, and it suits the theme really well. He tastes a bit of the melody, gives it time, and slowly brings the soup to a boil. It comes off as rustic and originally medieval in a way. The highlight is when, at one point, there's a sort of breakthrough, where one guitar is strummed on all strings in an almost campfire-around-the-bonfire manner with great force. This mood is interrupted by a sort of manically insistent figure before everything slows down again. Unfortunately, the theme doesn't seem to have as clear an expression with Peter Bruun.
Martin Lohse chose to wrap Morten Børup's melody in a minor key. So that the melody is surrounded by minor chords. There's constant activity in the strings from the start, and there's great dynamism in the heartfelt melancholy in the piece's first few minutes. When the theme emerges, it continues in a sort of restless keeping the strings going, before he returns a bit to his own starting point. You feel that Martin Lohse really wants to tell us something, and it keeps attention focused.
'''Wayne Siegel and Asger Agerskov Buur''' are probably the two composers who make the theme stand out most clearly. It's interesting to have American-born Wayne Siegel in such a context. He has been a professor of electronic music at the Royal Academy of Music in Aarhus, and since retiring from there in 2018, he has maintained an affiliation with the institution as an adjunct professor. Now he gets to close out the Aros Guitar Duo's release. It's a very melodious and easily recognizable version that one can't help but rock along to. Siegel cultivates a lively expression, almost rhythmic. He plays with the melody, which twists around in the instruments. There's good energy, and the strings are also plucked, bringing presence and will to it. It's a truly worth-listening, encouraging, and deeply interesting version of "In vernalis temporis," which would light up any garden party.
But what about Asger Agerskov Buur's contribution?
Here, the reviewer's arms are raised high in approval.
Buur, who is trained as a cellist, lets his composition start very faintly; in a really beautiful, swaying rhythm, the theme wakes up from its slumber. Gradually, the theme is supported more and more before it appears in a series of beautiful, empty sounds. Buur changes character, strength, and expression along the way, and it also tastes a bit of jazz at times, just as the theme sometimes sounds solemn like a hymn.
It's truly wonderful how the theme emerges in so many variations - uplifting, optimistic, progressive, and modern, but without flattening the theme, which remains intact. He creates his passages that contrast with the theme. But it's as if "In vernalis temporis" wins. It takes power by being able to function in so many ways. It's a convincing introduction to the album. How delicious.
'''All composers have created''' beautiful duets for the two guitars, which complement each other throughout the album. The musical orchestration in the form of a guitar duo fits really well with the execution of the old melody in the various versions. If one can consider the guitar as a kind of substitute for the medieval lute, the recording almost feels authentic. In addition, the Aros Guitar Duo is a really well-oiled and well-functioning team. Simon Wildau and Mikkel Egelund play delightfully unsentimentally but with presence, spark, and fantastically coordinated dynamics.
"In Time" is modern without ever being too far out at any point. Everyone can understand this, use the music, hum it, take it in, be moved by it. "In vernalis temporis" is elevated and brought into the present in a dignified manner, and present and past meet in harmonious understanding of each other.
'''There is a release concert in connection with the release, and it takes place in the Chamber Music Hall at Musikhuset Aarhus on Friday, April 12 at 7:30 p.m. Everyone is welcome, OUR Recordings informs.'''
I just need to listen to it again....
'''Released on April 5, 2024
Rachel Einarsson'''
'''Original review in Danish:'''
'''Og sådan blev en gammel ode til en fest'''
'''Det hele drejer sig om at bringe en bestemt ode fra omkring 1500 op til nutiden.
Det forsøg har Aros Guitar Duo sat sig for at udføre ved at spille seks forskellige udgaver af Morten Børups ”In vernalis temporis” på duoens album ”In Time”, der er udkommet den 5. april 2024.
Resultatet er en virkelig interessant, velfungerende og festlig iscenesættelse af det gamle nummer.'''
'''Det er en fantastisk idé:''' At have ét tema med variationer som emne for en udgivelse. Det er så godt fundet på. Og så netop en melodi, som har så lang en historie i vores eget land og fortjener at blive holdt i live, viser det sig. Melodistumpen ”In vernalis temporis” får ligesom forlænget sin værdi med dette album; som en genstand, der pludselig sættes ind i et maleri, hvor den naturligt falder i med maleriets øvrige dele, der komplementerer genstanden og får den til at stråle på en helt ny måde.
Aros Guitar Duo er på flere måder forankret i Aarhus. Og i flere henseender virker albummet som lidt af en Aarhus-historie - men på en lidt anden og noget mere vellykket måde, kunne man tilføje. De to venner og siden musikalske kolleger Simon Wildau og Mikkel Egelund, mødtes i Aarhus. Her blev de uddannet, og her lyttede de ofte til byens rådhusklokker, der hver dag, når klokken slår 12.00, gør byens borgere opmærksomme på det ved at klinge ud i netop Morten Børups ode ”In vernalis temporis”. Morten Børup (1446-1526), der ligeledes var en markant person i Aarhus, bl.a. som rektor for Aarhus Katedralskole i en årrække, bidrager i øvrigt også fint til hele Aarhus-idéen i udgivelsen.
Alle seks bud er komponeret af danske komponister i 2018-21, og det er ovenikøbet en spændende række af komponister; forskellige i musikalske kendetegn og territorier, alder og stilarter. Men i sidste ende danner de alle en fin sammenhæng med hinanden, hvilket også er en del af idéen med albummet. Det er tilladt at opleve hele albummet som ét samlet værk i seks dele, får vi at vide i bookletten.
Det er ikke svært.
'''Opgaven gribes''' forskelligt an; hos Rasmus Zwicki bydes vi ind i en funderende toneverden, hvor musikken nærmest flyder rundt og prøver at finde sin form. Det er som et drømmeunivers, hvor ”In vernalis temporis” ikke just pranger i tydelig tilstedeværelse, men kun langsomt dukker op og træder frem til slut. John Frandsens udgave derimod er fyr og flamme fra start: Der er nærmest ild i guitaren i en fængende, opfarende toneleg. Som en slags orgelpunkt holder dybe toner i den ene guitar det hele fast forankret, mens den anden guitar gestikulerer i det høje toneleje som en slags opråb. Det virker godt. Det er, som sætter John Frandsen temaet ind i en sammenhæng, hvor det skiftevist skjuler sig og dukker op, men måske også er i spil i det skjulte. I en særlig passage er der spræl og spring i tonetrinene, ligesom man også kan nyde andre interessante udforskninger i konstellationen guitarduo. Og så er dette nummer bare udført meget flot af Aros Guitar Duo.
De tomme akkorder har fanget Peter Bruuns interesse. Han folder dem flot ud, og det klæder temaet rigtig godt. Han smager lidt på melodien, giver den tid og koger langsomt suppen op. Det virker på en måde rustikt og originalt middelalderagtigt. Det flotte højdepunkt når han, når der på et tidspunkt kommer en slags gennembrud, hvor der på den ene guitar bliver strøget på alle strengene på næsten skolelejr-rundt-om-bålet-maner med god kraft. Denne stemning afbrydes af en slags manisk insisterende figur, inden det hele kommer helt ned i gear igen. Tilsyneladende har temaet desværre ikke så tydeligt et udtryk hos Peter Bruun.
Martin Lohse har valgt at pakke Morten Børups melodi ind i mol. Sådan at melodien er omgivet af mol. Der er konstant gang i strengene fra start, og der er flot dynamik i den inderlige vemodighed i stykkets første minutter. Da temaet dukker op, er det fortsat i en slags urolig holden strengene i gang, inden han vender lidt tilbage til sit eget udgangspunkt. Man mærker, at Martin Lohse virkelig vil fortælle os noget, og det holder opmærksomheden skærpet.
'''Wayne Siegel og Asger Agerskov Buur''' er nok de to komponister, der lader temaet træde tydeligst frem. Interessant er det at få amerikanskfødte Wayne Siegel på banen i sådan en sammenhæng her. Han har været professor i elektronisk musik ved Det Jyske Musikkonservatorium, og siden sin pensionering herfra i 2018 har han bevaret en tilknytning til stedet som adjungeret professor. Nu får han lov at danne finalen på Aros Guitar Duos udgivelse. Det er en meget melodiøs og let genkendelig udgave, som man ikke kan lade være at rocke med på. Siegel dyrker et sprælsk udtryk, som er næsten rytmisk. Han leger med melodien, der slynger sig rundt i instrumenterne. Der er en god energi, og der rykkes også lidt i strengene, så der kommer noget nærvær og vilje over det. Det er en virkelig lytteværdig, opmuntrende og dybt interessant udgave af "In vernalis temporis", som ville lyse op til enhver havefest.
Men hvad med Asger Agerskov Buurs bidrag?
Her er anmelderens arme helt i vejret.
Buur, der er uddannet cellist, lader sin komposition begynde meget svagt; i en virkelig flot, vuggende rytmik vågner temaet op af sin søvn. Gradvist underbygges temaet mere og mere, inden det dukker op i en række flotte, tomme klange. Buur skifter karakter, styrke og udtryk undervejs, og det smager nok også lidt af jazz indimellem, ligesom temaet somme tider lyder højtideligt som en salme.
Det er virkelig vidunderligt, i hvor mange afskygninger temaet dukker op - oplivende, optimistisk, progressivt og moderne, men uden at forfladige temaet, som stadig er intakt. Han skaber sine egne passager, der kommer til at stå i kontrast til temaet. Men det er, som vinder "In vernalis temporis". Den tager magten ved at kunne fungere på så mange måder. Det er en overbevisende indledning til albummet. Hvor er det lækkert.
Alle komponister har skabt flotte duetter for de to guitarer, der bare klæder hinanden hele vejen gennem albummet. Den musikalske orkestrering i form af en guitarduo passer i øvrigt rigtig godt til udførelsen af den gamle melodi i de forskellige udgaver. Hvis man kan betragte guitaren som en slags substitut for middelalderens lut, virker indspilningen nærmest autentisk. Dertil kommer, at Aros Guitar Duo er et virkelig velsmurt og velfungerende team. Simon Wildau og Mikkel Egelund spiller dejligt usentimentalt, men med nærvær, gnist og fantastisk velkoordineret dynamik.
"In Time" er moderne uden at være helt ude i tovene på noget tidspunkt. Alle kan forstå det her, bruge musikken, nynne den, tage den ind, lade sig røre. ”In vernalis temporis” bliver ophøjet og løftet ind i nutiden på en værdig måde, og nutid og fortid mødes i harmonisk forståelse for hinanden.
Der er releasekoncert i forbindelse med udgivelsen, og det sker i Kammermusiksalen i Musikhuset Aarhus fredag den 12. april kl. 19.30. Alle er velkomne, oplyser OUR Recordings.
Jeg skal lige høre den igen....
Udgivet den 5. april 2024
Rachel Einarsson
With this unique programme Hanzhi Wang takes us into the ‘fairy-tale world of the accordion’ in works by Danish composers that explore both the darkness and luminosity of Hans Christian Andersen’s famous stories. Poignant reflection and tragic depiction infuse Martin Lohse’s ‘Menuetto’ and ‘Match Girl (accordion)’ (dedicated to Hanzhi Wang), while his post-minimalist ‘Passing’ series forms adventurous mobiles of dancing light. From Jesper Koch’s quixotic ‘Jabberwocky’ to Svend Aaquist’s evocative ‘Saga Night,’ this new repertoire for a relatively recent concert instrument is both dramatic and uplifting. Up and coming artist Hanzhi Wang is the accordion’s perfect ambassador. Praised for her engaging stage presence and performances that are technically and musically brilliant, her career has already taken her around the globe with performances in Europe and Asia.
'''''ArkivMusic''''' +
Pretalk at 18:30 with accordion professor Geir Draugsvoll and the composers Benjamin de Murashkin and Martin Lohse. +
'"`UNIQ--youtube-00000753-QINU`"' +
Performance for the authors +