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Katja Tchemberchji
chamber music |
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Sonata for Clarinet and Piano - I |
03:17 |
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| 2 |
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- II |
06:30 |
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| 3 |
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- III |
06:31 |
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| 4 |
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Atem und Puls |
10:09 |
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| 5 |
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Trio for Clarinet, Violoncello, and Piano - I |
01:30 |
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| 6 |
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- II |
02:06 |
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| 7 |
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- III |
02:28 |
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| 8 |
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- IV |
07:49 |
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| 9 |
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Tag und Nacht |
12:33 |
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| 10 |
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Widmung |
08:43 |
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Total Time |
01:01:36 |
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| Digital Booklet - only with album |
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| In her chamber music, which defies easy stylistic categorization, Katia Tchemberdji draws on many sources for inspiration. Her composition style, which was only marginally influenced by fellow students of Edison Denisov and Alfred Schnittke, has always retained its authentic character: I cannot name a style or school which served as my model because I shy away from stylistic categorization.
. Music ought to touch and move its listener. In this regard, experiments are possible as well. But the authentic character of music cannot change. The present CD recording pits two instruments against one another: a clarinet which soars up from dense piano clusters of the first piece, the Sonata fόr Klarinette und Klavier (1990), and a cello which slowly emerges from sharp piano sounds of the second piece, Atem und Puls (2000). Katia Tchemberdji may have found a kindred soul in M.C. Escher, whose geometrical fantasies are the basis for her homage to Escher, the 1995 piece Tag und Nacht. What really counts are proportions, not theories. Pieces grow and change on their way to becoming finished compositions.
I always want to get straight to the point. |
1CD | Contemporary | Special Offers |
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| Recommendation |
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The sound as the center of being: grown from silence, Feldman reaches the bounds of comprehensibility in Triadic Memories.  |
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| As fascinating as ever: Cerha’s monumental opus Spiegel, in which he "investigates fundamental phenomena of musical creation." |
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| Music on music on music: in his play with reminiscences superimposed many times over, the Spanish composer Alfredo Aracil surpasses himself. |
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