Kathrin Salzwedel

Compositions from both East and West here bring together the powerful voices of six women composers from contrasting cultures. Their music ranges from the Romantic period via Impressionism and Neoclassicism to the present. Vivid impressions alternate with absolute music, strict sonata forms with free forms full of delicate musical poetry.

This collection is one with which a love/hate relationship is nearly inevitable. To really listen to this music requires energic concentration - you'll be emotionally exhausted. On the other hand, other than the first piece "In croce", you may put the music on and continue about your other work - treating it almost as ambience. While Gubaidulina has obviously been influence by chromaticism, and her choice of instruments, bayan, reflects her background Turkic Russian, she writes with a firm independence. The cello, bayan and strings are used in a way that make you think this is exactly the correct instrumentation - even after reading that "In croce" originally used an organ.

Opus 1: Listen to me, here I am! As a Firstling, I want to go public, I want to be printed, played, understood and appreciated. What came before me no longer counts. I lead a life of my own and stand at the beginning of my further development. After its first performance, Opus 1 attracts more than academic interest. Most of the time, it already has considerable artistic value, like the works by eight female composers from six countries that are brought together here.