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| It is with great shrewdness that Uroš Rojko has almost maxed out the unusual juxtapositions of an accordion with a viola and a piano, respectively. His fondness for the accordion may have its roots in his folk music past. On the present recording, however, these roots are not in evidence. Even the Tangos speak a language of their own, which Rojko creates by juggling characteristic fragments of tango, thereby reducing them to their essence. Even the first bars of his pieces exhibit the corresponding musical nucleus, be it a dynamic proportion, a gestural rhythm, or a particular pattern of repetition such as the beginning of Molitve (prayers), which represents the cadences of heartfelt prayer. In the tragic piece Elegia per Hugo, on the other hand, low-pitched sustained sounds gradually fading away and tiny motivic islands form the foundation upon which the composition rests. And in his Bagatellen, which, having been composed in the tradition of Beethoven and Webern, carry too much weight to be considered mere trivialities, Rojko brings together diametrically opposed planes of sound to that point of “complete fusion” so important to him. |
1CD | Contemporary | Special Offers |
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| Recommendation |
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"The energie of the insub-ordinate": In akkor(d/t)anz, romantic piano music seethes with monumental chords while pop tunes suddenly pop in Songbook # 0–11.  |
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| “Its eyes are wide open, its mouth is agape, and its wings are stretched out. The angel of history must look like this. It has turned its face toward the past…“ |
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| “The Raft of Piano Keys”: Hans Werner Henze’s complete works for piano, between Mediterranean impromptus and the search for lost time. |
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