Under the Sign of Scorpio |
The esteemed bayanist, Friedrich Lips, is featured with The New Russian Quartet in the Efrem Podgaits “Ex animo” (from the heart) (2004) (duration 26:08 minutes) for bayan and string quartet. Julia Igonina, 1
Violin, Jelena
Charitonova, 2
nd
Violin, Alexander Galkovski, Viola, and Aleksey Steblyov, Violoncello, are the outstanding
musicians in the quartet. The piece is an attractive addition to the growing list of important chamber music
compositions which include the bayan. It has repeated rhythmic patterns after periods of “unrest” with clusters of
sound, and reflective, wistful melodies offering stunning repose. The piece is almost hypnotic in some sections and
is often punctuated with pizzicato strings. There is a perfect blending of the strings with the reeds of the bayan,
another tribute to the musicians. The composer, born in 1949 and honored with many awards both in Russia and
abroad, has again written a significantly important composition which includes the bayan in a substantial manner,
which, according to my count, now numbers at least fifteen, and undoubtedly due to the influence of Friedrich Lips!
The next piece (24 minutes) on this phenomenal recording is Under the Sign of Scorpio-Variations on Six
Hexachords for Bayan and Large Orchestra (2003) written by Sofia Gubaidulina (born 1931). It is a truly
monumental work featuring Friedrich Lips with The BBC Symphony Orchestra, Michail Agrest, conductor, and was
recorded during a live performance in London’s Barbican Hall on January 14th
, 2007. The sound of the orchestra is
huge but the bayan is never lost, something for which the sound engineers must also receive accolades!
Gubaidulina, of course, is world famous and has written several pieces either for the bayan as a solo instrument or
included with others, but this composition seems to demand the attention of the listener even more so than some
others. The sweeping waves of chordal sounds from the bayan, alone and with the orchestra, the remarkable “sighs” from the musicians’ instruments, the tremendous range of dynamic contrasts, the somewhat ominous timpani
patterns, and even the glissandi make one’s imagination soar. Often, for me, it was like observing the great
pulsations of color emanating from the displays of the wondrous Northern Lights at their peak, only I was hearing
these colorful sounds! Perhaps that is one of the reasons why I described this recording as “phenomenal.”
It is difficult to believe that any composer could know the multitude of strengths and possibilities of the bayan any
more so than Sofia Gubaidulina … or than Friedrich Lips. Just as an artist must “know” his instrument,
Gubaidulina, the composer, must also know hers. There can be no doubt that Sofia Gubaidulina knows the bayan!
Friedrich Lips proves he knows his instrument with every sound he produces! From the extreme lows throughout
the extreme highs, he coaxes the reeds to respond, even when the two hands are required to produce total disparate
technical passages such as heard so remarkably in this composition, or in making even the “wooosh” of the air
button such an arresting musical contribution to the entirety of the piece.
The text notes are very fine in explaining how the specific possibilities of the instrument were used…such as the
free bass and standard bass, how both the major and chord buttons could be depressed at the same ti mes, in the use
of resulting hexachords, the structural aspects of the piece, the alternation of the same keys on both keyboards, and
the zodiacal sign of Scorpio and the vorticose passages of the bayan in the end of this work…all of which is quite
illuminating and interesting to the reader.
Every instrument needs new repertoire evolving from each period of its existence but this is not possible without
having performers who will encourage composers to write for it. They must not only encourage the writing of these
pieces; they must also perform the pieces. Luckily for the musicians interested in the growth and musical progress
of the bayan/accordion, Friedrich Lips has continued to do this throughout his professional life, inspiring some of
the most influential composers, and then following through with a multitude of performances and recordings. It is
becoming ever more apparent that these contributions will have a lasting effect on the world history of the bayan
(accordion) when it is written.
If you are interested in such historical contributions, then you should have this recording in your collection. Indeed,
if you enjoy listening to serious music written and performed exceedingly well by some of the world’s great
musicians, then you, too, should have this recording. And, as I have recommended in other reviews at various times,
this CD would be an excellent one to give to libraries, conductors and presenters of concerts as an appropriate
introduction to the instrument and its possibilities. It is a way in which all of us could help publicize the bayan
and/or the accordion, its repertoire, and its greatest performers.
*
UNDER THE SIGN OF SCORPIO is LIPS CD 024, Produced by: Dr. Herbert & Johannes Scheibenreif. CD Text
by Friedrich Lips. For information: www.accordion-cd.co.at or Herbert@accordion-cd.co.at
Reviewed by Joan Cochran Sommers – September 13, 2012. |
