Elogio per un'ombra
A programme of works united by the Italian connection yet well differentiated through Makarski’s subtly varied approach
View record and artist detailsRecord and Artist Details
Composer or Director: Elliott (Cook) Carter, Luciano Berio, Luigi Dallapiccola, Giuseppe Tartini, Goffredo Petrassi, Anonymous
Label: ECM New Series
Magazine Review Date: 2/2001
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: 465 337-2
Tracks:
Composition | Artist Credit |
---|---|
(2) Pezzi |
Luciano Berio, Composer
Luciano Berio, Composer Michelle Makarski, Violin Thomas Larcher, Piano |
Riconoscenza per Goffredo Petrassi |
Elliott (Cook) Carter, Composer
Elliott (Cook) Carter, Composer Michelle Makarski, Violin |
(2) Studi |
Luigi Dallapiccola, Composer
Luigi Dallapiccola, Composer Michelle Makarski, Violin Thomas Larcher, Piano |
Elogia per un'ombra |
Goffredo Petrassi, Composer
Goffredo Petrassi, Composer Michelle Makarski, Violin |
Sonata No. 7 |
Giuseppe Tartini, Composer
Giuseppe Tartini, Composer Michelle Makarski, Violin |
Lamento di Tristan |
Anonymous, Composer
Anonymous, Composer Michelle Makarski, Violin |
Author: Fabrice Fitch
Makarski varies her playing styles deftly; that is one of the principal challenges of this sort of recital. In the Tartini she is fluid and unobtrusively virtuosic; the second of Dallapiccola’s studies has the grandiloquent weight that the fugal ‘subject’ seems to demand (though I confess that the overall effect of the piece is not to my taste). The three modernist pieces are well controlled (with Thomas Larcher a secure accompanist in the Dallapiccola and Berio pieces), the harmonics nicely in place (try the first of Berio’s Due pezzi after the four-minute mark), intonation and tone quality appropriately varied; Rochberg’s neo-romanticism elicits the requisite warmth and contrasts well with the vielle-like whiteness and straight tone in the concluding Lamento. In that sense (and quite apart from any ideological considerations) the recital offers a variety which a stylistically uniform programme might struggle to achieve. Indeed, the unlikely juxtapositions tell us something about the continuity of string-playing down the ages, and puts the modern pieces (dare I say it) in a rather conservative light! Very clear sound-recording and strong presence.'
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