Nehring

In the late 1960s, the composer Michael Nyman coined the term “minimalism” to describe a new musical aesthetic characterized by a certain simplicity and economy of means. One of the composers associated with this movement, La Monte Young, embraced the term with enthusiasm, while others like Steve Reich and Philip Glass nuanced it with terms such as “music without intention” or “music with a repetitive structure”. The term “hypnotic music” might also be appropriate for some works by Simeon ten Holt or Arvo Pärt, provided we are attuned to the monotonous hum of rain, have a fondness for grey—the languid greys of overcast days—or appreciate a certain suspension of the world.

In the late 1960s, the composer Michael Nyman coined the term “minimalism” to describe a new musical aesthetic characterized by a certain simplicity and economy of means. One of the composers associated with this movement, La Monte Young, embraced the term with enthusiasm, while others like Steve Reich and Philip Glass nuanced it with terms such as “music without intention” or “music with a repetitive structure”. The term “hypnotic music” might also be appropriate for some works by Simeon ten Holt or Arvo Pärt, provided we are attuned to the monotonous hum of rain, have a fondness for grey—the languid greys of overcast days—or appreciate a certain suspension of the world.

It is a great pleasure for Le Palais des Dugustateurs to produce Trio Arc’s first recording (featuring Irina Chkourindina on piano, and Ardina and Jan Nehring on strings). This programming of this recording is very cleverly though out, featuring three trios, including Beethoven’s famous trio, “The Spirits,” Frank Martin’s Trio on Irish melodies, and Brahms’ Second Trio. You will be sensitive to the sincerity of musicians who do not force, and do not fall into any easy excesses. You will be convinced by their sober interpretation, without chatter, very precise and which remains always musical.