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Dacapo - Danmarks Nationale Musikantologi

Format:  CD

Katalognummer:  8.226090

Stregkode:  636943609026

Udgivelsesmåned:  Mar 2016

Periode:  21. århundrede, 21. århundrede, Romantik


HANS ABRAHAMSEN Værker for Blæserkvintet

29 August 2016  Gramophone
Andrew Mellor

The Ophelia of Hans Abrahamsen's let me tell you (2013), the contemporary `work of the moment´, surrenders to the deadly whiteness of snow. Here's some useful context to where that whiteness came from. With Landscapes (1972) Abrahamsen was clearing the decks. In directing the musicians of his wind quintet to play senza espressivo and not stray from each if the three movement's specified dynamics, the effect is of a resounding, inviting neutrality.

With those decks cleared, Abrahamsen could deliver Walden (1978), a piece of `meticulously detailed minimalism´, to quote Jens Cornelius's booklet-note, that imposes rigorous but organic procedures upon a narrow range tonal material. Those procedures result in music that reflects the changes and chances - the predictable unpredictable - of what you might see if you sat in a forest looking in one direction in a long time. Here and in Landscapes, the perfamnces have space and purity to match (far more so, in the case of the latter, than Dacapo's 2001 version).

At the end of the '80s, when Abrahamsen felt his brand of New Simplicity was spiralling into complexity, he stopped original music and focused on transcriptions. In his 205 rewrite of Schumann's Kinderszenen you immediately miss a piano's improvisatory push and pull. But there are payoffs aplenty in the capering oom-pah suggestions of `Hasche-Mann´, the wistfulness of Tomasso Lonquich's clarinet in `Träumerei´ and the ensemble-borne lilt of `Kind im Einschlummen´.

Even more relevant is an underlining of the childish in music where much of the sense of sophistication comes from naturally urbane piano renditions. That's apparent, too, in Abrahamsen's quintet arrangement of the orchestrated movement of Ravel's Le tombeau de Couperin. You can't quite hear the twisting tune of the Forlane in this performance, but elsewhere all the score's curious mixture of bite and nostalgia is absolutely and deliciously conveyed.

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