Jan Reetze

Jan Garbarek is, of course, one of ECM’s longest standing composers and saxophonists, yet he is first and foremost a spectacular improviser who often manages to reach farther than (I imagine) even his own expectations in touching new melodic concepts. Paired with the Spheres-like church organ of Kjell Johnsen, he plumbs the depths of spiritual and physical awareness in a way that few of his albums have since. Here more than anywhere else, he shapes reverberation into its own spiritualism, exploring every curve of his surrounding architecture, every carved piece of wood and masonry.

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise - he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come.

The first question to ask must be: how could it possibly come about that certain essential works by a composer which display no flaw or failure in musical conception or compositional execution stayed dormant in libraries for well over two hundred years and had to wait so long for publication and audience attention?

A more eclectic release than his preceding releases, Jan Garbarek's I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen's "Gula Gula," made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part "Molde Canticle," which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise - he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come.

German Cellist Jan Vogler's new album features two modern cello concertos. The first is the world premiere recording of the cello concerto "Three Continents" by Nico Muhly (*1981), Sven Helbig (*1968) and Zhou Long (*1953). Three Continents Cello Concerto is a unique collaborative work celebrating the sheer diversity of three composers from three different continents (USA, Germany, China) and almost three different generations. Each movement of the concerto takes a different view of the role of the soloist: Muhly's Cello Cycles uses the large orchestra to striking effect to create a soundscape full of color.

…Jan Panenka makes an honest reading of Schumann Op conferring it of serene poise and distinguished phrasing. Ancerl underlines magnificently the orchestral details to make at least a listenable version. But the jewel of the crown was the radiant and original reading of this battlehorse piece so many listened. Gilels' approach is very attractive, progressively he gets to imbue us around this Russian taste implicit in Tchaikovsky's first Symphony better known as "Winter dreams" . The Second Movement (in the 5:23) Ancerl makes a memorable rubato that really engaged me. Additionally, Gilels with his notable trills, provides the dreamlike atmosphere so typical from Tchaikovsky's ballets. The Final movement is lively and remarkably exciting.