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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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“Music expresses that which cannot be said and on which it is impossible to be silent.” (Victor Hugo)  |
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| “The immediacy of sounding eruptions”: Gran Torso and Salut für Caudwell in exemplary recordings by the famous Berner Streichquartett, and the guitar duo Bruck/Ross. |
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| Resonance and motion take center stage in Allegro Sostenuto. Lachenmann’s “idea of a musique concrčte” bears remarkable fruit in Pression and Dal niente. |
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