Peteris Vasks: Concerto No. 2 for Cello and String Orchestra / 1
Peteris Vasks: Concerto No. 2 for Cello and String Orchestra / 2
Peteris Vasks: Concerto No. 2 for Cello and String Orchestra / 3
Peteris Vasks: Musique du Soir pour Violoncelle et Orgue
Peteris Vasks: Gramata cellam; I
Peteris Vasks: Gramata cellam; II
Sol Gabetta :
SOL GABETTA PERFORMS WORKS BY PĒTERIS VASKS FOR HER NEW ALBUM
Vasks: Presence Available January 8, 2016
For her latest album Vasks: Presence (Sony Classical) - available January 8 - cellist Sol Gabetta has recorded works by one of her friends, the contemporary Latvian composer Pēteris Vasks.
At the heart of album is the world-premiere recording of the composer's Second Cello Concerto, Klātbūtne – Presence, a lyrically cantabile and tonally sensuous work that is dedicated to the cellist, which she premiered in 2012 with the Amsterdam Sinfonietta under Candida Thompson. In this three-movement work, the cello accompanies a human voice that tells of various prospects in life. "For me," admits Pēteris Vasks, "the cello feels like my own inner voice." As its title suggests, the concerto deals with the self's attempts to achieve a state of harmony with the world – the hope that the individual may find peace and purification in a conflict-ridden here and now. It explains why the score includes a part for the human voice, which is here sung by the cellist. This is a device with which Vasks had already experimented in 1978 in Grāmata Čellam – The Book for Solo Cello. This piece, also included on the new album, was the first work by the composer that the then eighteen-year-old Sol Gabetta ever heard. It was the start of an inspirational encounter.
Musique du Soir is scored for cello and organ, and for the new recording Sol Gabetta is joined by her mother Irène Timacheff-Gabetta. The piece was originally written in the late 1980s for hand horn and organ, but was revised by the composer for the Usedom Music Festival and rescored for cello and organ. This is the version that has been recorded here. As the cellist explains, "the organ brings a new dimension to the album with its polyphony, something I find hugely appealing." This expansion of the music's sonorities to include a polyphonic element also helps to forge a link with the use of the human voice in the other works. Here too listeners will find what Sol Gabetta terms "a new dimension."