contrastes trío musicalis
Cat. No.: IBS42019/ DPL GR 22-2019
total time 76:53
Recording venue: Conservatorio de Getafe 2-4 Julio 2018
Music Producer: Paco Moya
Sound engineer: Cheluis Salmerón
Mixing & Mastering: Iberia Studio
Photography:
Michal Novak, Ion Fernandez de las Heras
Illustrations and design: Ion Fernandez de las Heras
Producer: IBS Artist
The pieces that conform to this album are more than the result of ten years of joint work by the Trío Musicalis: they are the assumption of a Mayan song, tackling the five fundamental works of the repertoire for clarinet, violin and piano. Five great names of the music of the XX century, five radically distinct styles, all composed in just twenty years — between 1919 and 1938, the period of interwars — which resulted in a splendid revival of the history of art during that convulsive era.
Igor Stravinsky — La Historia del Soldado (1919) Suite composed by Stravinsky himself from his homonymous work for three actors and six instruments. Of the fáustico argument and composed in «the worst stage» of his life, he exemplifies the perfection of his style: continuous rhythmic changes and combinations of popular melodies —tangos, rag-times, valses— with his own aesthetic plans. The story: the true translation of the original set to trio, taking on the absence of timbres as characteristic as the percusión or the trumpet.
Alban Berg — Adagio (1925) Arreglo del segundo movimiento del Concierto de Cámara de Berg. The themes occur in the original order until the end of the song and in retrograde form, forming a brilliant twelve-tone musical palíndrome. Achieving that the eye has this symmetry is one of the great challenges of interpretation.
Aram Khachaturian — Trío (1932) A work of enormous expressive force that has its roots in folklore to transcend it: Armenian melody with arabesque counterpoint, and an Uzbekistan theme developed in new variations. The network aims to build a version that, from a Western education, respects the multiculturalism of Georgia, Armenia, Uzbekistan and Azerbaijan.
Darius Milhaud — Suite para trío (1936) Conceived as incidental music for Le voyageur sans bagage by Jean Anouilh, this Suite has a singular history: on foreign theater it could not be realized with the music of Milhaud —due to its musical origin— and was replaced by the music of Poulenc. The work of the Trio tries to give on apparent simplicity all the meaning that it implies in an implicit form.
Béla Bartók — Contrastes (1938) La obra cumbre del programa, escrita para Szigeti, Bartók y Benny Goodman. Los contrastes están presentes en todos los niveles: danzas militares frente a danzas populares, ritmos frenéticos frente a momentos sin tempo, virtuosismo extremo frente a delicada expresión musical.
Before the enormous variety of existing versions of this monument of classical music, the Trío Musicalis dedicated to it the total practice of its trajectory as a group, seeking to bring its own aesthetic foundation to all its possible uses: the true interpretation of the writing in the score, the interpretation of what the author wants to create, and the subjective and personal interpretation of the trio as a combination of individuals that make up a whole greater than the sum of the parts. For this reason, also, take the name of this album.
Illustrations: Ion Fernández de las Heras
