Tag: Violin

Symmetria Pario: Creation “My immediate reaction was to stand and cheer”

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When you take contemporary compositions from nine different composers (six of which were commissioned for your recital), and you add the brilliant artistry of Pekka Kuusisto and Joonas Ahonen, and you record it in a world class, acoustically magnificent music hall using some of the best microphones and recording equipment available, and you then mix it all together with the musical sensibilities of recording engineer and producer Bob Attiyeh… YOU GET MAGIC! After listening through this album for the first time, my immediate reaction was to stand and cheer.  Bob Attiyeh had told me that he thought this might be the best sounding recording Yarlung has yet released. I thought to myself, “Naw…, this is just your most recent child and you love it because of that.” But no. Bob is right. Sonically, this album is a masterpiece. Musically it is equally compelling.  Executive producer Russell Ward generously underwrote six Continue Reading →

Jacob Heilbrunn writes about “Absolutely Astounding New LPs From Yarlung Records”

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–Jacob Heilbrunn Tracking Angle VIOLINIST PETTER IIVONEN AND MEZZO-SOPRANO SASHA COOKE EACH DELIVER MESMERIZING PERFORMANCES Everything about Yarlung Records’ new album featuring the violinist Petteri Iivonen, the concertmaster of the Paris Opera, screams retro. The cover, a closeup photo of Iivonen, is in black-and-white, the violin is a 1767 Ferdinandus Gagliano, and the performance itself was recorded with an AKG-C-24 microphone with the original brass surround CK12 tube. But the LP itself could not sound more contemporary—deathly quiet, transparent and lucid. My 45rpm pressing had nary a tick or pop when I played it on my TechDAS Air Force Zero turntable. All the virtues of digital without any of its nasty artifacts, in other words, are present. The result is a humdinger of a recording of Bach’s Partita No. 2 in D minor. Bach wrote the Sonatas and Partitas for solo violin in 1720, when he was thirty-five-years-old and court Continue Reading →

James Matheson Review: Stephen Greenbank, MusicWeb International, United Kingdom

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This is my first encounter with the music of James Matheson, an American composer whose music is both colourful and accessible. What better introduction could there be – a concerto, a string quartet and a song-cycle. The recording was sponsored by J and Helen Schlichting of California, who also commissioned the String Quartet. At 18 minutes the Quartet’s opening movement is the most substantial and ambitious. It begins with a swirling coruscation of sound, persistently driven and underpinned by motoric rhythms. There’s a feel of forward momentum and purposeful direction. In the central section, where the music is more relaxed, each instrument is given the opportunity to state its case. Then the energy returns in the form of declamatory sweeps. The slow movement is intensely lyrical, but the emotion is tinged with melancholy and sadness. At one point it reaches a passionate climax. The finale is, as it states on Continue Reading →