Chaya Czernowin - The Quiet: Works for Orchestra
£13.25
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Label: Wergo
Cat No: WER73192
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 2nd September 2016
Contents
Works
At the Fringe of Our Gaze for orchestra and concertino groupEsh for orchestra with countertenor
The Quiet for large orchestra
White Wind Waiting for guitar and orchestra
Zohar Iver (Blind Radiance) for ensemble and orchestra
Artists
Kai Wessel (countertenor)Stephan Schmidt (guitar)
Symphonieorchester des Bayerischen Rundfunks
Ensemble Nikel
Berner Symphonieorchester
Philharmonisches Orchester des Staatstheaters Cottbus
SWR Sinfonieorchester Baden-Baden und Freiburg
West- Eastern Divan Orchestra
Conductors
Brad LubmanMario Venzago
Evan Christ
Francois-Xavier Roth
Daniel Barenboim
Works
At the Fringe of Our Gaze for orchestra and concertino groupEsh for orchestra with countertenor
The Quiet for large orchestra
White Wind Waiting for guitar and orchestra
Zohar Iver (Blind Radiance) for ensemble and orchestra
Artists
Kai Wessel (countertenor)Stephan Schmidt (guitar)
Symphonieorchester des Bayerischen Rundfunks
Ensemble Nikel
Berner Symphonieorchester
Philharmonisches Orchester des Staatstheaters Cottbus
SWR Sinfonieorchester Baden-Baden und Freiburg
West- Eastern Divan Orchestra
Conductors
Brad LubmanMario Venzago
Evan Christ
Francois-Xavier Roth
Daniel Barenboim
About
The Quiet, Zohar Iver, and Esh [the Hebrew word for “fire”] form a group of works which Chaya Czernowin calls The Crescendo Trilogy, because in all three pieces different kinds of crescendos play a central role: in The Quiet, an exponential increase in volume ends the piece, while in Zohar Iver, the crescendo is interrupted with the entrance of the pedal point before the end.
At the fringe of our gaze, for orchestra and a concertino group, was written in response to a commission from Daniel Barenboim’s West-Eastern Divan Orchestra. It is music consisting of highly differentiated layers of sound, which rise from the depths and ascend to the highest heights. The work – with which Chaya Czernowin wanted to introduce her music to the orchestra’s young musicians – is intended to focus on border areas of perception.
As diverse as Chaya Czernowin’s individual creative phases are, there has always been in her musical language a distinctive way of working with the characteristics of individual sounds, developed with the most refined rhythmic, coloristic, and sound nuances; there is also a deliberate search for emotional extremes, which always give the pieces a physical and existential power.
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