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████. ▄ ░░░░▒██▒████████████ ███▒▒░░ ░▒█ █▓▓▒ ▀▓▀ ▄ ■ ████
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████. ░██░░▒███░░░░░█ ░░░░░ ▄ ▀ ■ ▀▓▀ ▀▀█▄ ■████
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████ · ▄▓███▓ OPEN MUSiC ASSOCiATiON ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ Midori - Bach & Bartok - Violin Sonatas ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ARTiST..[ Midori ▓▓▓▓█
█▓▓▓▓ TiTLE...[ Bach & Bartok - Violin Sonatas ▓▓▓▓█
████ GENRE...[ Classical GRABBER.[ EAC ████
████ LABEL...[ Sony ENCODER.[ Lame 3.97 ████
████ YEAR....[ 2007 QUALiTY.[ avg. 161kbps ████
████ SOURCE..[ CDDA MODE....[ Joint-Stereo ████
████ PLAYTIME[ 59:04 min REL.DATE[ 12.19.2009 ████
████ TRACKS..[ 07 RiPPER..[ TEAM OMA ████
████ SiZE....[ 70,7 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
█▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
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████ 01 Sonata No. 2 in A minor for Unaccompanied 05:33 ████
████ Violin, BWV 1003-Grave ████
████ 02 Sonata No. 2 in A minor for Unaccompanied 06:59 ████
████ Violin, BWV 1003-Fuga ████
████ 03 Sonata No. 2 in A minor for Unaccompanied 06:36 ████
████ Violin, BWV 1003-Andante ████
████ 04 Sonata No. 2 in A minor for Unaccompanied 05:08 ████
████ Violin, BWV 1003-Allegro ████
████ 05 Sonata No. 1 for Violin and Piano, Sz. 75, BB 84 13:30 ████
████ (Op. 21)-I. Allegro appassionato ████
████ 06 Sonata No. 1 for Violin and Piano, Sz. 75, BB 84 11:07 ████
████ (Op. 21)-II. Adagio ████
████ 07 Sonata No. 1 for Violin and Piano, Sz. 75, BB 84 10:11 ████
████ (Op. 21)-III. Allegro ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 59:04 ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ▓▓▓▓█
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████ It is a cliched review opening that five years ████
████ are like an eternity in pop and rock, but why ████
████ should things be all that different with ████
████ classical music? MidoriÆs last CD dates back ████
████ to 2003 and even though she has probably never ████
████ been busier in the semi-decade which lay ████
████ between her rendition of ████
████ Mendelssohn-BartholdyÆs Violin Concerto and ████
████ this album - engaging in humanitarian work, ████
████ educational programs, taking up her position ████
████ as Chair of the Strings Department at the ████
████ University of Southern California and touring ████
████ incessantly - anyone watching from the ████
████ sidelines must have come to the conclusion ████
████ that her media representation has waned of ████
████ lately. So, in a sense, it would not be ████
████ entirely unjustified classifying her new ████
████ record as a comeback. ████
████ ████
████ On the other hand, thereÆs quite obviously a ████
████ snag to that. While the Bach-ôSonata No. 2 for ████
████ Unaccompanied Violinö was at least taped ████
████ within armÆs length of today, BartokÆs ôSonata ████
████ No. 1 for Violin and Pianoö stems from a ████
████ session at WorcesterÆs Mechanical Hall in ████
████ 1999. The last time, the word ôrecordingö even ████
████ comes up in her regularly updated online blog, ████
████ was in September of 2005. She may have ████
████ returned to the limelight with this record, ████
████ but Midori is still not entirely ôbackö. ████
████ ████
████ Not that thereÆs anything wrong with that. As ████
████ always, there are two approaches to releasing ████
████ material, one of them regarding a recording as ████
████ catching a particular, spontaneous moment in ████
████ oneÆs life and the other trying to distill the ████
████ essence of a piece into sacred forms forever. ████
████ Without openly touching on the subject, Midori ████
████ has made the implicit statement that the ████
████ latter applies both to her and the works on ████
████ this album, correctly dubbed ôlandmarksö in ████
████ Eric WenÆs linernotes, solidifying the ████
████ impression that she is not interested in ████
████ anything but universal classics. ████
████ ████
████ Of course, the inclusion of Bach also closes a ████
████ noticeable gap in her long and winding ████
████ recording career. She has certainly made use ████
████ of the years well and presents the Sonata in ████
████ an unmistakable fashion. Her performance is ████
████ one of straight lines, of fluency even in ████
████ pronouncedly edgey rhythmic passages, of great ████
████ warmth and analytical clarity. The technical ████
████ demands are relegated to second tier, as she ████
████ seems to approach the piece as a formal ████
████ experiment, which requires the direct ████
████ emotional imput of the instrumentalist to ████
████ blossom. Her assessment that this is one of ████
████ BachÆs most extrovert pieces may be correct, ████
████ but it is also a performance-related ████
████ judgement, brought about by attaching an ████
████ unfettered tristesse to the opening ôGraveö ████
████ and an elated flow to the closing ôAllegroö. ████
████ ████
████ Her best decision for BartokÆs Sonata for ████
████ Violin and Piano, meanwhile, was taken before ████
████ the first note was even struck. Robert ████
████ McDonald on Piano plays with an impressionist ████
████ coolness, never demonstratively oblique, but ████
████ always with a great deal of fey allusions. His ████
████ lucid onomatopoeia forms a natural contrast to ████
████ Midori, who is far more moody and breakable ████
████ here than in her Bach. Her expressive modes ████
████ range from fine threads of harmonics in the ████
████ second movement to fiery erruptions in the ████
████ finale and the duo finds a collaborational ████
████ technique, which is complimentary and solitary ████
████ at the same time. It is an interpretation ████
████ which makes sense both on a personal and a ████
████ historical level and which, with the exception ████
████ of the third movement, occasionally ████
████ anticipates the nocturnal side of Jazz. ████
████ ████
████ Thanks to this methodical openness, the album ████
████ is infused by a friendly avantgardistic touch. ████
████ In her performances, this music, up to 300 ████
████ years of age, regains its visionary character ████
████ again, without even once sounding ethereal, ████
████ detached or opaque. She may not have entered a ████
████ studio for three years now, but MidoriÆs ████
████ presence on the recording market is surely ████
████ making itself felt again. ████
████ ████
████ By Tobias Fischer ████
████ ████
████ ████
████ URL: http://gotomidori.com ████
████ ████
████ ████
████ ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ MAiL: oma@never-ever.com ▓ │▀▀▀█▓▄▄ █████
█▀ ▀██▓▀ ▀ ▀ ▀▓██▀ ▀█
██▄██▀ ▀██▄██
████▀ The only thing that really matters is music!!! ▀████
▀██▓ ▓██▀
▀██▓▄ ▄▓██▀
.▀ │ ▀▀██▄▓▄ .···. G R E E T S .···. ▄▓▄██▀▀ │ ▀
. ▄▓▓▄ │ ▀▀▀█▄▄ ▄▄█▀▀▀ │ ▄▓▓▄ .
▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀
▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀
▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .