program:
Peter Ruzicka (* 1948)
[01] LOOP (2017) 16:13
for trumpet (flugelhorn), piccolo trumpet and orchestra
Commissioned by musica viva / Bayerischer Rundfunk
premiere
[02] … ISLANDS, RIMLESS… . 23:48
for violin, chamber choir and orchestra
FIVE FRAGMENTS (1984-1987) 12:48
For orchestra
[03] No. 1 02:18
[04] No. 2 02:00
[05] No. 3 03:18
[06] No. 4 03:16
[07] No. 5 01:56
ESCAPE (2014) 17:18
Six passages for orchestra
[08] passage 1 02:26
[09] passage 2 02:44
[10] passage 3 03:30
[11] passage 4 03:34
[12] passage 5 02:18
[13] passage 6 02:46
Total playing time: 71:00
Carolin Widmann, violin
Sergei Nakariakov, trumpet
Giuliano Sommerhalder, piccolo trumpet
Vocal Consort Berlin
Preparation by Ralf Sochaczewsky
Symphony Orchestra of Bayerischen Rundfunks
under the direction of Peter Ruzicka
Press:
On October 21, 2019 Paco Yáñez wrote:
[...]
Las tomas de sonido, como ya hemos avanzado a lo largo de esta reseña, son estupendas, de una calidad impresionante por su naturalidad, details en la captación de los rangos dinámicos de cada instrumento y espacialización, además de que se recupera (como en buena parte de la serie Ruzicka en NEOS) in the format dual SACD/CD. La edición es, en esta ocasión, más parca en materiales gráficos, centrándose en las notas, nuevamente, a cargo del experto ruzickiano Habakuk Traber, además de en las biografías de los intertérpretes aquí reunidos, incorporando, a mayores, el poema de Paul Celan en el que se basa … ISLANDS, RIMLESS…
Dirk Wieschollek wrote in the October 2019 issue:
[…] The 33rd musica viva episode documents a brilliantly played concert with outstanding recent and older orchestral works, with Ruzicka himself at the podium. It includes the premiere of “Loop” (2017), a seemingly routine double concerto for trumpet and piccolo trumpet, which is characterized by restlessly moving movements. No comparison to the exciting complexity of “… Insel, Randlos …” (1994/95), here with a fabulous Carolin Widmann. The different sound spheres of the solo violin, choir and orchestra penetrate each other sublimely or violently repel each other in a wide variety of colors and stylistic idioms. The furious “Five Fragments” (1984/97) also contains profound reflections on tradition, which not only bring Gustav Mahler to the fore in the adagio tone of the third piece. […]