 |
 |
|
 |
||
| Matthew Barley & Stephen de Pledge
The version heard of the ubiquitous Fratres, transcribed from one made for Gidon Kremer, was far livelier than usual (I generally try to avoid it!). It made a good opener before the substantial Mansurian sonata, which alternates 'episodes of inner concentration' with dramatic outbursts. Next, two light encore pieces, perfectly placed before Ali-Zadeh's exotic (perhaps a little too lengthy) exploration of Azeri kemancheh music played on the cello to accompaniment by a Cageian-prepared piano. After a well earned interval, a powerful account of Schnittke's first sonata. Then Barley and de Pledge brought the temperature down with humorous music Matthew had transcribed from a Shostakovich operetta. An important contribution to the success of this recital was the easy conversational way in which Matthew Barley introduced the items, without ever patronising us or going on too long; a natural presenter for BBC R3 or TV. Matthew Barley CDs
Two CDs that for their uniqueness justify my consideration and yours. Reminding (quartz QTZ 2032) has essentially the same programme as the recital, differently ordered and minus the Mansurian. An impressive visiting card, reflecting Barley's two years in Soviet Russia, which changed his playing "firmly rooted in the Russian tradition" and developed his "enduring love of music from the whole of the Soviet empire in all its eclectic glory". Ali-Zadeh's exotic Gabil-Sajahy sounded better at home without the distraction of seeing what was being done with the piano, and no longer felt too long. The Shostakovich was better as a finisher than a starter - but with the CD the choice is yours. The Silver Swan (black box BBM1068) interested me enormously for its technical innovation - one to nine cellos multi-tracked by Barley himself from live takes, achieving a gorgeous range of timbres and registers, with matched articulation, vibrato, sound colour and textures. The secret is a "voice count" technique which allows for identity of ritardandi, accelerandi and all marks of expression. The only reservation is the almost entirely slow and meditative repertoire, soothing easy listening music, short classic favourites and newer Britten, Stravinsky etc punctuated by half a dozen Bach chorales. The longest are the least successful. Allegri's Miserere doesn't banish memories of the exquisite soaring of the boy treble in the familiar original version, and the inescapable Fratres is far more palatable in the version for Kremer included in the recital and Barley's Reminding CD. BMIC Cutting Edge 2005:
The composers' notes were mostly unhelpful for 'ordinary listeners' or else flippanjt - "I think I wrote it in 1996, but I'm not sure" & "I think it needs personality, so I called it Archie ". There were 11 items, so various in idiom and aesthetic that it is inconceivable that many in the packed, knowing audience enjoyed them all, but they were applauded politely and fairly equally. Occasional old fashioned 'new music booing' countered bystanding ovations would liven the scene? I liked best Sciarrino's Piano Trio - high energy with coruscating piano textures sometimes embracing harp-like flourishes against more austere strings mostly offering harmonics, and Furrer's trio which brought to mind Webern and Lachenmann, riveting audience attention. Harvey's early (1971) trio was impressive, although less ingratiating than his later music. I departed before the items sourced from Led Zeppelin and the Beatles, which will have brightened the atmosphere, no doubt. |
This confirmed the positive impression of his being a true original formed from hearing his string quartets. 
Salvatore Sciarrino - Piano Trio No 1 (UKP)