LMIC radio

Kremerata Baltica. Marģeris Zariņš

Izpildītāji

Kremerata Baltica
Ieva Parša - mecosoprāns
Aigars Reinis - ērģeles
Andris Veismanis - diriģents

Sērija

Latvijas komponisti

Ieraksts

2021

Izdošanas datums

19.11.2021

Skaņdarbi

Marģeris Zariņš

"Partita baroka stilā"

Marģeris Zariņš

"Carmina antica"

Marģeris Zariņš

Pirmais koncerts ērģelēm un kamerorķestrim "Concerto innocente"

Marģeris Zariņš

Otrais koncerts ērģelēm un kamerorķestrim "Concerto triptichon"

Marģeris Zariņš Kristaps Pētersons

"Četras japāņu miniatūras" (Marģeris Zariņš, Kristaps Pētersons)

Apraksts

LMIC 128
Tātad – komponista mūzikas vitalitāte un konsekventā polistilistika nebūt neizslēdz arī visnopietnāko emociju spektru. Marģeris Zariņš ir jautrs, atraktīvs, viegli ironisks, asprātīgs. Un tajā pašā laikā viņš ir arī izaicinošs. Groteskie pavērsieni atsedz cilvēciskas pieredzes drāmu un norāda uz realitāti, kura ir skarba, neparedzama, antihumāna. Atcerēsimies Entonija Bērdžesa (vai tikpat labi Hannas Ārentes) uzdoto jautājumu par varmācības ģenēzi: “Kas jums visiem lēcies? Mēs studējam šo problēmu, sasodīts, esam noņēmušies ar to jau gandrīz veselu gadsimtu, jā, tomēr netiekam ne no vietas”. Atcerēsimies Staņislava Lema solāristikas pētnieku nepatīkamo pārsteigumu, atklājot, ka saprātīgais Okeāns izdomājis paeksperimentēt ar viņiem pašiem.

Armands Znotiņš

Kritika

While comprising only a small portion of the European geographical landscape, the Baltic countries have contributed a disproportionately significant number of composers whose works are truly remarkable and impactful. Such is the case with Marģeris Zariņš, the 20th-century Latvian composer and author who wrote a wide range of musical material for an equally diverse range of instruments and ensembles. 

The two largest-scale works on this disc are both organ concertos, composed for organ and chamber orchestra and augmented with two electric guitars, a jazz percussion set and harpsichord. While the use of such instruments might sound eccentric, the results are undeniably spectacular, successfully blending genres and producing an utterly unique sonic effect. 

Both concertos, Concerto Innocente and Concerto Triptichon, cross numerous stylistic boundaries: Innocente begins with a forceful and driving first movement and ends with a playful, carnival-esque finale; Triptichon, although less childlike, is no less energetic, and the first movement’s classical/jazz hybridization is inexplicable through prose – it must be heard to be believed!

While these two concertos form the bulk of this disc’s material, Zariņš’ compositional virtuosity is displayed and reinforced through three additional works: Four Japanese Miniatures, which combine 20th-century Orientalism with atonality to great effect; the Partita in Baroque Style, which is amusingly “Baroque” the same way that Prokofiev’s First Symphony is “Classical”; and Carmina Antica, which takes ancient themes, both musical and topical, and reveals them in a modernized vernacular.

From electric guitars and jazz to atonality, Zariņš wrote it all, and there really is something here for everyone. But even the most ingenious music cannot exist without interpreters, and Zariņš’ works receive expert treatment from the renowned international orchestra Kremerata Baltica, their conductor Andris Veismanis and soloists Ieva Parša and Aigars Reinis.

Matthew Whitfield
www.thewholenote.com

kritika ŠEIT