Photo by Alexander Banck-Petersen - www.AlexBP.dk
Beginning with Magasinet Klassisk, the first mention was of Bent Sørensen’s piece ‘Tunnels de Lumiére’ which was described as: “one of the most beautiful music from his hand”. The review quickly turns to Rune Glerup’s ‘Piano Concert’ as a piece: “offering fiendish and rhythmical challenges” and “a fierce piece that offers recurring elements of noise, eventually attaching to individual notes and chords”. This particular edition was made for a smaller ensemble, and according to Magasinet Klassisk the concert was: “sharply cut”.
Islandic composer Bára Gísladóttir was also praised as her “three defined dream pictures” were: “very specific and on the same time fluent as a surrealistic dream”. Her tableaus were “delicately instrumented” and well performed as: “skilled craftsmanship and conducting managed to make it all come together”.
Lastly, Li-Ying Wu’s piece ‘Ritournelle Rondo alla L’abatro vermicolato’ wrapped up the concert, and is said to have been a piece: “that both musicians and audiences enjoyed,” which made the anniversary concert feel “like a festive celebration”. In her piece, the instrumentation is described as: “closely connected, like gears in a clockwork,” where the “shamanic” percussionist “controls the rhythmic patterns”. And the reviewer uses a simile of the piece: “As a great creature that pushes itself through the sand, jerking and bouncing, it was exciting, enchanting and fun …”.
Read the full review here.
In another review Danish newspaper, Information, points out the performance of Bent Sørensen’s piece as particular: “to celebrate with such a splendor and even so well done under the French conductor”. Already in the beginning, the reviewer was amused: “Here already one could sense the specific spatiality the title of the play suggests”. In a vivid description his sensory experience: “Music is vibrations, light is vibrations, people are absorbed in artistic communication which passes on vibration,” defining Bent Sørensen as “master in the art of the hint”.
War analogies were drawn to the beginning of Rune Glerup’s ‘Piano Concert’, but turns to make sense as the performance developed: “But out of chaos came clarification and establishment of a real power relation”. He continues: “the noise had cleaned the ears, and now one could listen”. The reviewer: “found it very appealing that the music was so simple,” where: “Just a single tone would turn out to be a flimsy nerve throughout the work, triggered by a recurring, dry game of staccato chord in the piano”.
In Information’s review Li-Ying Wu’s piece was also assessed as amusing: “It was a funny piece, playful and surprising in terms of rhythm and timbres,” pointing out the “exotic battery of percussion”.
Read Information’s review here.