Κριτική του Θ. Ταμβάκου για το 3ο και εξαιρετικό δισκογράφημα της Λυδίας
Κακαμπάντζε, (Lydia Kakabadse) ελληνικής καταγωγής συνθέτριας που ζει στο Ηνωμ. Βασίλειο
(γενν. 1955, Southport) με τίτλο "CONCERTATO". Δημοσιεύεται στην ιστοσελίδα της συνθέτριας
LYDIA KAKABADSE: Concertatosound collectiveDivine Art dda 25149 (68:43)
I listened to this superb CD several times and each time I discovered
something new and even better. This music is magnificent and goes
straight to the heart. I was so enthralled I wasn’t able to move and I
didn’t want the music to stop. I felt as if I’ve been transported to
another dimension, outside this world. Whilst Kakabadse’s idea to use
all 4 members of the string family – rather than the classical string
quartet set up – could be deemed a risk, the high quality of her
compositions coupled with the outstanding performance by sound collective eradicate such thinking.
All the tracks on this CD are excellent. I particularly feel that The Coachman’s Terror is
first-rate in comparison with similar works of this century. Written
in 5 movements, it’s full of Russian images, which take me back to
Pushkin’s time and I just didn’t want it to end after 18 minutes. Images
of immense musical beauty unfold thanks to the composer’s wonderful
writing and they give the listener the opportunity to travel in a
horse-drawn carriage of old through the vast snowbound landscape of the
Russian steppe. An amazing closing movement leaves a sense of nostalgia
that is rare when listening to modern works.
Eldorado is very impressive and the
mezzo-soprano, Jess Dandy, interprets Poe’s verses extremely well.
Also magical is the atmosphere created by the cello in Spellbound, based on Emily Bronte’s poem.
In Cantus Planus, made up of 3 movements
and written in the Aeolian mode, there are elements of Greek Orthodox
music. This has become one of my favourite pieces and Kakabadse’s
talent at writing in this style is supreme.
Another outstanding work is Concertato with
its exciting low-key dialogue between the cello and double bass. Here
the composer has chosen minor scales throughout to unexpectedly reveal
sound landscapes, where a dreamy atmosphere dominates.
All in all, an exceptional album of heavenly music. I highly
recommend it as one of the best CD’s of the decade. I am awaiting with
bated breath and interest the next recording of this dear composer.
Thomas Tamvakos (June 2017)
Music critic – writer – researcher – archivist
Emeritus member of ‘Greek Composers Union’