Search - Valentin Silvestrov, Christoph Poppen, Münchener Kammerorchester :: Valentin Silvestrov: Bagatellen und Serenaden

The still waters of time...

Larry L. Looney | Austin, Texas USA | 10/16/2007

(5 out of 5 stars)

"In his notes to the 2004 ECM release of Ukrainian composer Valentin Silvestrov's REQUIEM FOR LASRISSA (dedicated to his wife, Larissa Bondarenko, who died in 1996), music critic Paul Griffiths makes a statement that cuts to the heart of Silvestrov's art : `Time in Valentin Silvestrov's music is a black lake. The water barely moves, the past refuses to slide away, and the slow, irregular stirrings of an oar remain in place.' This sense of `stopped time' pervades many of the composer's works - it seems to me a bit of an aural equivalent of what the great Russian film director Andrei Tarkovsky did in his cinematic masterpieces. Tarkovsky called it `sculpting in time'. In Silvestrov's music, time seems to stand still to the point of disorientation - some of his larger, longer works seem to give the impression of constantly `ending', only to continue. He calls his music `post-symphonic', and the titles of several of his works reflect this: `Postludium' and `Postlude' appear here and there. The listener is left with a sense of déjà vu - has this music been experienced before, perhaps in another lifetime? In one of his pieces from the mid-70s, `Kitsch music for piano', there's a movement entitled `A metaphor for Schubert and Chopin', leaving the listener with the impression that this music must have been written by a composer centuries ago - exactly the effect for which Silvestrov was reaching. I think perhaps it's not so much that Silvestrov is trying to `stop time' - it's more like he's setting the listener afloat in that `lake', where the present and the past touch and interact. Memory becomes as tangible as present existence - tenses merge and blur. Herbert Glossner, in the booklet accompanying the ECM release of Silvestrov's SYMPHONY NO. 6, appropriately quotes Marcel Proust (from REMEMBRANCE OF THINGS PAST) : `And all at once the memory returned.' Memory, in the music of Valentin Silvestrov, is as much a physical dimension as space.



After the obvious starting point in the composer's mind, Silvestrov's compositions begin on the piano. Over the years, I have found that the brief tastes of the composer himself at the keyboard that have been offered on three releases - `Four songs after Osip Mandelstam', for baritone and piano, recorded in 1986 and released WITH SILENT SONGS by both Megadisc and ECM; `Unsnaya musika 1 & 2', included with the song cycle STUFEN, recorded in 1999 and released by Magadisc; and `Hymne 2001', which appears on LEGGIERO, PESANTE, recorded in 2001 and released by ECM - to be some of the most moving music I've ever heard. Thus it was with great anticipation that I awaited the release of BAGATELLEN UND SERENADEN, ECM's newest offering of his works - over half of the album features the composer at the piano, alone, performing some of his most intimate, moving works...many of which he says have never been written down on paper. According to the notes, the composer often works on compositions in this manner, holding snippets of melody in his mind for long periods of time before putting it in writing - thus the pieces are allowed to find their own voice naturally, over time. The sense of physically plucking memories out of time is therefore strengthened by the very process through which the pieces come into being. His music has been described as `a dialogue with silence' - each note, each phrase is given a life of its own and allowed to move and breathe naturally, without artifice. More than any composer I've ever heard, living or not, Silvestrov combines elements of the avant-garde (the school in which he matured) and the neo-romantic - he does it seamlessly and without pretension, holding the melody above all else, even in the most dense and dissonant passages of his larger works. The music has a living flow unlike that of any other composer.



I'm by no means a classical music scholar - and what I'm expressing here is intended to be more on an emotional response level than anything so exacting or analytical. Hearing these piano pieces directly from the hands of the composer is a very moving experience for me - it's extremely personal and conversational, as if he's speaking through the keyboard and my soul is responding.



The other half of this CD is comprised of works for chamber orchestra, two of which - `Der Bote' (1996) and `Zwei Dialog emit Nachwort' (2001-02) feature the wonderful playing of Alexei Lubimov, long a fine, sensitive interpreter of Silvestrov's keyboard compositions. The orchestra is the Münchener Kammerorchester, under the able direction of Christoph Poppen. These are pieces of aching beauty - but one shouldn't take that to indicate that they are `fluff' by any means. Silvestrov's works are always of strong substance and intellectual depth - every note does its part to complete the effect of the whole, and nothing is left to chance or done without consideration.



As one might expect, the production on this release is superb - ECM has long been known for the highest level of audio quality. In the case of the solo piano pieces presented here, they've outdone themselves. Rather than `placing' the listener in close proximity to the performer (some engineers seem to think the listener should practically be inside the piano). Sound engineer Stephan Schellmann and producer Manfred Eicher have achieved a sonic miracle - when I listen to this recording, it's as if I'm sitting about halfway back in the recording space. The element of memory and the feeling of experiencing this music over a `quiet distance', seemingly intangible and untouchable qualities, are brilliantly conveyed by the recording.



This disc presents some of the most important and moving work by a composer whom Arvo Pärt has called `one of the greatest composers of our time' - no small bit of praise. I can heartily recommend any the ECM releases that showcase his work - and especially Bagatellen und Serenade. As an introduction to an important composer, it's a great place to start exploring.

"

Sublime

Yoselovich Boris | 10/13/2007

(5 out of 5 stars)

"Having in my collection seven CDs by Valentin Silvestrov I was eager to get this one as well.It hasn't proved to be wrong.You can't go wrong with Silvestrov because the man creates some of the most beautiful pieces in modern classical music.It is all about Beauty Lost,with only silent remote whispers to remind us of its once existence and then falling into silence.

About 35 minutes of the disc is solo piano pieces performed by the composer himself.Another half is quiet chamber music dedicated to Arvo Part,Manfred Eicher and composer's wife L.Bondarenko. Essential!"

Moving and Hypnotic

Karl W. Nehring | Ostrander, OH USA | 07/07/2009

(5 out of 5 stars)

"To listen to Valentin Silvestrov play his Bagatelles is an utterly spellbinding experience, made even more compelling by the soft and distant sound. According to the liner notes, Silvestrov sat down to play early in the morning without being scheduled to record, but producer Manfred Eicher had the mikes on--they had been set up to record Lubimov and the Munich Chamber Orchestra in one of the prices for piano and orchestra. The piano thus has a distant perspective, with the introspective nature of the music being magnified by the softness of the sound. The end result is moving and hypnotic--and incredibly beautiful. This CD would be worth the price were the Bagatelles the only music to be found thereon.



But wait--there's much, much more! Beautiful music for strings and beautiful music for piano and chamber orchestra. Silvestrov, who will turn 72 in September 2009, is one of the most compelling composers of the present day. This recording is an ideal place to start if you have not heard his music before; if you have heard his music before, you will no doubt want to add Bagatellen und Serenaden to your Silvestrov collection. What a wonderful, marvelous, heavenly scented recording!"