program:
Peter Ruzicka (* 1948)
[01] LOOP (2017) 16:13
for trumpet (flugelhorn), piccolo trumpet and orchestra
Commissioned by musica viva / Bayerischer Rundfunk
premiere
[02] … ISLANDS, RIMLESS… . 23:48
for violin, chamber choir and orchestra
FIVE FRAGMENTS (1984-1987) 12:48
For orchestra
[03] No. 1 02:18
[04] No. 2 02:00
[05] No. 3 03:18
[06] No. 4 03:16
[07] No. 5 01:56
ESCAPE (2014) 17:18
Six passages for orchestra
[08] passage 1 02:26
[09] passage 2 02:44
[10] passage 3 03:30
[11] passage 4 03:34
[12] passage 5 02:18
[13] passage 6 02:46
Total playing time: 71:00
Carolin Widmann, violin
Sergei Nakariakov, trumpet
Giuliano Sommerhalder, piccolo trumpet
Vocal Consort Berlin
Preparation by Ralf Sochaczewsky
Symphony Orchestra of Bayerischen Rundfunks
under the direction of Peter Ruzicka
Press:
On October 21, 2019 Paco Yáñez wrote:
[...]
Las tomas de sonido, como ya hemos avanzado a lo largo de esta reseña, son estupendas, de una calidad impresionante por su naturalidad, details en la captación de los rangos dinámicos de cada instrumento y espacialización, además de que se recupera (como en buena parte de la serie Ruzicka en NEOS) in the format dual SACD/CD. La edición es, en esta ocasión, más parca en materiales gráficos, centrándose en las notas, nuevamente, a cargo del experto ruzickiano Habakuk Traber, además de en las biografías de los intertérpretes aquí reunidos, incorporando, a mayores, el poema de Paul Celan en el que se basa … ISLANDS, RIMLESS…
Dirk Wieschollek wrote in the October 2019 issue:
[…] The 33rd musica viva episode documents a brilliantly played concert with outstanding orchestral works of recent and older dates, with Ruzicka himself at the podium. It includes the world premiere of “Loop” (2017), a double concerto for trumpet and piccolo trumpet that seems latently routine and is characterized by restlessly propelling movements. No comparison to the exciting complexity of "... islands, rimless ..." (1994/95), here with a fabulous Carolin Widmann. The different tonal spheres of solo violin, choir and orchestra penetrate sublimely or violently repel each other in the most varied of colors and stylistic idioms. In the furious “Fünf Bruchstücken” (1984/97), too, there are abysmal reflections on tradition, which not only call Gustav Mahler into action in the adagio tone of the third piece. [...]