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OK 0038
Violin and Piano Recital: Ticciati, Hugo / Mawe, Henrik - PÄRT, A. / WEBERN, A. / MESSIAEN, O. / TAKEMITSU, T. (Sonic Philosophy: Colour and Affect)

Violin and Piano Recital: Ticciati, Hugo / Mawe, Henrik - PÄRT, A. / WEBERN, A. / MESSIAEN, O. / TAKEMITSU, T. (Sonic Philosophy: Colour and Affect)

The Classical Shop
release date: April 2014

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2014

Artists:

Hugo Ticciati

Soloist

Henrik Mawe

Soloist

Venue:

Wyastone Leys, Monmouthshire

Venue

Record Label
Orchid Classics

Genre:

Chamber


Classical

Total Time - 64:05
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Violin and Piano Recital: Ticciati, Hugo / Mawe, Henrik - PÄRT, A. / WEBERN, A. / MESSIAEN, O. / TAKEMITSU, T. (Sonic Philosophy: Colour and Affect)

     
Select Complete Single Disc for
 

ARVO PART

1 

Fratres (version for violin and piano)

10:45
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

OLIVIER MESSIAEN

2 

Theme and Variations

10:12
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

HUGO TICCIATI

3 

Improvisation No. 1 on A New Ground, Z. T682 by Henry Purcell

03:10
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

ANTON WEBERN

 

4 Pieces, Op. 7

 
4 No. 1. Sehr langsam 01:19
5 No. 2. Rasch 01:29
6 No. 3. Sehr langsam 01:51
7 No. 4. Bewegt 00:54
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

TORU TAKEMITSU

8 

Hika (Elegy)

04:35
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

HENRIK MAWE

9 

Improvisation No. 2 on A New Ground, Z. T682 by Henry Purcell

03:41
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

JOHANNES MARMEN

10 

Waiting

04:23
 Hugo Ticciati Soloist
     
 

CHARLES ECONOMOU

11 

Arjuna's Transfiguration

03:32
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

ALBERT SCHNELZER

 

Apollonian Dances

 
12 No. 1. The Birth of Apollo 06:14
13 No. 2. Adolescent Apollo 04:52
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

HUGO TICCIATI

14 

Improvisation No. 3 on A New Ground, Z. T682 by Henry Purcell

05:01
 Hugo Ticciati Soloist
 Henrik Mawe Soloist
     
 

HENRY PURCELL

15 

A New Ground in E Minor, Z. T682

02:07
 Henrik Mawe Soloist
     


 Colour and Affect: Introduction

 
The Romantics gave us the notion that instrumental or ‘absolute’ music was the art form able to speak most directly to the soul, affecting us immediately. Immanuel Kant, the Enlightenment philosopher, developed this idea from his precursors, distinguishing affects from passions. Affects are those ‘first’ impressions that give rise to feelings of strong emotion, preceding any kind of mental reflection, even rendering such reflection ‘impossible’. Literally, that which affects ‘does something to’ its subject (from the Latin ad ‘to’ and facere ‘do’).
 
During the Baroque and early Classical eras in particular, there was a revived interest in determining precisely how music was able to ‘make’ its listeners empathise. The terminology was borrowed from rhetoric, which had long since recognised that an audience is persuaded not so much by arguments themselves as by the manner in which arguments are expressed, in other words, by figures, tropes and ornamenting devices. In music, similar principles were found to apply. In order to sway the listeners, the tonal argument of the music of the seventeenth through nineteenth centuries was ‘covered’ or ‘coloured’ (the two words come from the same Latin stem) with a whole range of expressive devices, from an ornamental trill to an extended cadential trope. As the rhetoric of the tonal argument increasingly came under attack at the turn of the twentieth century, ‘colour’ in its broadest sense assumed an ever-greater prominence, even to the point of becoming the argument itself.
 
The present album is an exploration in a series of works for violin and piano of both the interdependence and internal antagonism between colour and affect. The relationship between the two is captured in the album cover image, Fulfilment, by the Japanese artist Toko Shinoda, whose one-hundredth birthday was celebrated in March 2013. Shinoda works in the tradition of sumi ink painting, combining its classical, minimalist brush strokes with elements of Western abstract Expressionism. Modern lithograph techniques allow her to capture the interdependence of affective spontaneity (the stroke of the brush, which cannot be repeated) as well as the deliberating ornament (the ‘accent’, here the thin diagonal streaks of gold paint which she hand-paints onto each individual copy). Like the practice of Zen Buddhism which is bound up with the development of sumi painting, Shinoda’s work shows this artistic embodiment of affect and colour taking place through a life-long habituation of attending to the reciprocity between the dynamic movement of affect and the anticipatory movement of colour.

                         Repertoire ****          Sound ****          Interpretation *****

Grünefeld - Ensemble magazine (Germany) - June/July 2014


"Dazzlingly wide-ranging recital played with captivating sensitivity, including three premiere recordings of music by Marmén,Economou and Schnelzer alongside Pärt’s bewitching Fratres.     *****

Julian Haylock - BBC Music magazine (Brief Notes Section) - May 2014




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