Gidon Kremer at

A beautifully-recorded album from master violinist Gidon Kremer and his Kremerata, Baltica, spanning a wide range of music, all of it performed with conviction. Hungarian composer and pianist Stevan Kovacs Tickmayer from the Serbian province of Vojvodina has written eight hymns in commemoration of the film director Andrei Tarkovsky, an artist he has called a homo moralis whose remarkable visions cast a small but significant light on the tragic world of the previous century. Georgian composer Giya Kancheli contributes a silent prayer for two of his most important musical associates: the cellist and conductor Mstislav Rostropovich and the violinist Gidon Kremer. The contemplative intensity of the hymns and the ascetic tranquility of the prayer are offset by César Franck‘s Piano Quintet in F minor like a premonition of Beethoven’s Appassionata, whose second movement, marked Lento, molto sentimento, in turn takes up the mood of the other two works. This programmatic combination underlines an intrinsic principle Paul Klee developed in his theory of harmony in the visual arts: any compositional harmony will gain character through dissonances, with the balance being restored by counterweights. ...

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A beautifully-recorded album from master violinist Gidon Kremer and his Kremerata, Baltica, spanning a wide range of music, all of it performed with conviction. Hungarian composer and pianist Stevan Kovacs Tickmayer from the Serbian province of Vojvodina has written eight hymns in commemoration of the film director Andrei Tarkovsky, an artist he has called a homo moralis whose remarkable visions cast a small but significant light on the tragic world of the previous century. Georgian composer Giya Kancheli contributes a silent prayer for two of his most important musical associates: the cellist and conductor Mstislav Rostropovich and the violinist Gidon Kremer. The contemplative intensity of the hymns and the ascetic tranquility of the prayer are offset by César Franck‘s Piano Quintet in F minor like a premonition of Beethoven’s Appassionata, whose second movement, marked Lento, molto sentimento, in turn takes up the mood of the other two works. This programmatic combination underlines an intrinsic principle Paul Klee developed in his theory of harmony in the visual arts: any compositional harmony will gain character through dissonances, with the balance being restored by counterweights.

http://www.nonesuch.com/artists/gidon-kremer

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