Ivan Ilić: The Transcendentalist
View record and artist detailsRecord and Artist Details
Composer or Director: Alexander Scriabin, John Cage, Morton Feldman, Scott Wollschleger
Genre:
Instrumental
Label: Heresy
Magazine Review Date: 09/2014
Media Format: CD or Download
Media Runtime: 64
Mastering:
DDD
Catalogue Number: HERESY015
Tracks:
Composition | Artist Credit |
---|---|
(5) Preludes, Movement: No. 1 in B |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
(24) Preludes, Movement: B flat |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
Dream |
John Cage, Composer
Ivan Ilic, Piano John Cage, Composer |
(2) Danses, Movement: Guirlande |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
(4) Preludes, Movement: D flat/C |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
(4) Preludes, Movement: G |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
(5) Preludes, Movement: No. 4 in E |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
Music Without Metaphor |
Scott Wollschleger, Composer
Ivan Ilic, Piano Scott Wollschleger, Composer |
(3) Pieces, Movement: No. 3, Rêverie in C |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
(3) Pieces, Movement: No. 3, Poème languide in B |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Ivan Ilic, Piano |
In a Landscape |
John Cage, Composer
Ivan Ilic, Piano John Cage, Composer |
Palais de Mari, 'for Francesco Clemente' |
Morton Feldman, Composer
Ivan Ilic, Piano Morton Feldman, Composer |
Author: Bryce Morrison
With great skill he surely answers the latter part of Stravinsky’s bewildered question about the older Russian composer (see page 79). For Ilic´ there are unmistakable lines of continuity rather than division. Arguably the roots of the future began with Liszt, whose experimental, dark-hued final utterances dealing with obsessive patterning, harmonic ambiguity and unresolved endings must surely have influenced Scriabin beyond Chopin, the key influence of his early years. Ilic´ makes his case with unfaltering poise; and if you feel that his offerings of works by John Cage, Scott Wollschleger and Morton Feldman hardly reach a sense of the transcendental in the same sense as, say, Fauré’s late song-cycle L’horizon chimérique (literally ‘the mystical, transcendental beyond’), his theory, one that remembers the endless repetitions of Satie’s Vexations, finally leads to silence, the negation of sound itself. Ilic´ is well recorded and will prompt even the most enterprising musicians to think again.
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