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| It is with great shrewdness that Uroš Rojko has almost maxed out the unusual juxtapositions of an accordion with a viola and a piano, respectively. His fondness for the accordion may have its roots in his folk music past. On the present recording, however, these roots are not in evidence. Even the Tangos speak a language of their own, which Rojko creates by juggling characteristic fragments of tango, thereby reducing them to their essence. Even the first bars of his pieces exhibit the corresponding musical nucleus, be it a dynamic proportion, a gestural rhythm, or a particular pattern of repetition such as the beginning of Molitve (prayers), which represents the cadences of heartfelt prayer. In the tragic piece Elegia per Hugo, on the other hand, low-pitched sustained sounds gradually fading away and tiny motivic islands form the foundation upon which the composition rests. And in his Bagatellen, which, having been composed in the tradition of Beethoven and Webern, carry too much weight to be considered mere trivialities, Rojko brings together diametrically opposed planes of sound to that point of “complete fusion” so important to him. |
1CD | Contemporary | Special Offers |
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In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight.  |
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| The conrabass is the stepchild of the string section. Stefano Scodanibbio manages to produce sounds -- new and unheard so far! |
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| Kabbala, oratorio in Hebrew, originally composed for the „Mittelfest“ in Cividale del Friuli/Italy and first released by col legno in 1993, has been re-released. |
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