La boutique des nouvelles musiques

Ana Sokolović: Short Stories Quatuor Bozzini

Sokolović proves to be a composer of very intense and dynamic music with influences of (Balkan) folk music and theatre. In the hands of Quatuor Bozzini her compositions come in a very inspired and concentrated performance. Vital, Pays-Bas

[…] all performed with typical brio and sensitivity by the Bozzinis. Bandcamp Daily, ÉU

Dans la majorité des œuvres d’Ana Sokolović, un élément extramusical sert de source d’inspiration. Cette caractéristique de création est intimement liée à l’importance que prend, chez Sokolović, le principe de «pluralité»: diversité des approches et décloisonnement des formes d’arts abordées. Short Stories du Quatuor Bozzini, collaborateurs de longue date de la compositrice, offre l’occasion d’écouter le résultat d’une rencontre entre la sensibilité artistique d’Ana Sokolović, et quatre de ses sources d’inspiration. Parmi les arts visuels on découvre les liens qui unissent la compositrice avec la sculpture: Ghost 1 et Ghost 2 furent composées en s’inspirant des œuvres Enzo’s Tumpkin et Scetch II de Verina Baxter et Klaus Duschat. Le thème et variations Blanc dominant, né d’une contemplation de l’univers pictural de Guido Molinari, propose une correspondance sonore avec des peintures de l’artiste; un hommage en musique, le «compte-rendu d’une fascination». Avec Troisième page après le soleil, on découvre Sokolović dans l’univers d’un court-métrage de Theodore Ushev, frénétique tableau en mouvement où la musique, interprétée par le Quatuor Bozzini, prend des airs de narrateur. Enfin, la Commedia dell’arte est une œuvre-fresque en trois volets, dont un a été commandé par le Quatuor Bozzini. Les personnages qui y prennent vie et leurs personnalités archétypales fascinent Sokolović depuis l’enfance. Cette théâtralité de la Commedia résonne encore, et on ne peut plus vivement, avec l’ensemble de la production musicale de la compositrice: un discours direct et intelligible, une musique à la fois riche, complexe, et abordant des archétypes qui peuvent être compris et transposés à toute époque. — Emanuelle Majeau-Bettez

  • Collection QB
  • CQB 1925 / 2019
  • UPC/EAN 771028372522
  • Durée totale: 62:20

Stéréo

  • 44,1 kHz, 16 bits
  • Collection QB
  • CQB 1925_NUM / 2019
  • UPC/EAN 771028372584
  • Durée totale: 62:20

Stéréo

  • 96 kHz, 24 bits

• MP3 • OGG • FLAC

Ana Sokolović: Short Stories

Quatuor Bozzini

Ana Sokolović

Quelques articles recommandés

La presse en parle

Review

Dolf Mulder, Vital, 30 mars 2020

Quatuor Bozzini is a very enterprising and focused quartet operating since 1999. Members are: Clemens Merkel (violin), Alissa Cheung (violin), Stéphanie Bozzini (viola) and Isabelle Bozzini (cello). Most of their challenging projects concern modern experimental composers as you may know from earlier reviews. This time they concentrate on some compositions by Ana Sokolović. She is a composer from Belgrade, Serbia. She studied at the University of Novi Sad, Belgrade and Montréal where she is settled since two decades. She has composed for orchestra, solo piano, chamber music ensemble and theatre. The quartet choose following compositions to perform: Ghost 1 (2015), Commedia dell ‘arte I-II-III (2010-2013), Ghost 2 (2015), Blanc dominant (1988) and Troisième page après le soleil (2013). Commedia dell’ arte is the central work, on this release, a composition in 10 parts, inspired on this old Italian theatre tradition. Each one with its own characteristics. But all are very lively and dramatic with dominant elements that are playful and accessible. The composition is preceded and followed by two other ultra short compositions: Ghost I and Ghost II, the first one being very up tempo, while the second one in contrast is a very meditative and reflective piece. Blanc Dominant is inspired on another art form, contemplating the abstract paintings of Guido Molinari. Sokolović proves to be a composer of very intense and dynamic music with influences of (Balkan) folk music and theatre. In the hands of Quatuor Bozzini her compositions come in a very inspired and concentrated performance.

Sokolović proves to be a composer of very intense and dynamic music with influences of (Balkan) folk music and theatre. In the hands of Quatuor Bozzini her compositions come in a very inspired and concentrated performance.

Best of Bandcamp Contemporary Classical: February 2020

Peter Margasak, Bandcamp Daily, 3 mars 2020

As the global reputation, reach, and repertoire of Montréal’s Quatuor Bozzini has grown over the last two decades, one thing that hasn’t changed is the peerless string quartet’s dedication to performing the work of composers from its Canadian homeland. The Serbian-born Ana Sokolović has lived in Québec since 1992, and this collection underlines her unique sensibility, deriving ideas from her engagement with theater, ballet, and folk music.

The centerpiece of the album is her three-part Commedia dell’arte, with each three-movement work named for and inspired by different characters of the Italian theatrical tradition, privileging evocation provided by extended and percussive techniques over traditional structures. Capitano, the first movement from the first part, is wonderfully strident and a bit unreliable, reflecting the titular character’s boastful yet cowardly personality, while Zanni conveys a trickster persona in its jagged, shape-shifting design. Yet the entire work succeeds even without knowing such references. Even two miniatures — Ghost 1 and Ghost 2 — are marked by a quirky, sonically imaginative construction, arranging disparate notions in dynamic, visceral patterns, all performed by with typical brio and sensitivity by the Bozzinis.

[…] all performed with typical brio and sensitivity by the Bozzinis.

En poursuivant votre navigation, vous acceptez l’utilisation de cookies qui permettent l’analyse d’audience.