WINTER TALES

 

WINTER TALES

 

MAX RICHTER Voices

VOICES

Mari Samuelsen MARI

MARI by Mari Samuelsen explores our longing to feel grounded, to escape into nature, and how that sits with the modern notion of global citizens and the busy, fulfilling lives we wish to lead. “This contrast is something we’ll see more and more of”, says Mari. “The urge to live slow is going to become more important in order to keep yourself, your life and your mind in balance. But when you are conscious of these two, contrasting worlds, one can experience ‘a moment of flow’, where you are able reconcile these opposites, if only fleetingly.”

MARI was conceived over the course of a year and a half, a process that was constantly evolving. Mindful of the power music has to transport people back in time or to certain places, Mari sought out pieces and composers that were evocative of dreams and a childlike innocence, as well as the contrast inherent in our perceptions of modern living and culture. “Things that are beautiful but not tangible” was one criterion; “places and memories that are pure and untouched” another.

“…MARI is just one step in the direction that I will continue in for years to come; it’s the beginning of a journey, and I’m constantly exploring new ideas and widening my musical horizon.” – Mari Samuelsen

Mari Samuelsen / Håkon Samuelsen JAMES HORNER Pas de Deux

Pas de Deux is not a James Horner score for an unknown film but a freestanding composition, being billed as his first foray into classical music since the 1980s. Leaving aside the question of whether film scores qualify as classical music, it seems pretty clear that those who like Horner in general will like this work. Here and elsewhere, he does one thing well -- lush romanticism -- and does it very, very well. His economy of gesture, which makes one wonder why neutral arpeggios are having such an emotional impact, is fully in evidence here, and the configuration of forces, with lots to do for the two soloists, produces film score-like textures. The Norwegian violin-and-cello duo of Mari and Håkon Samuelson commissioned Pas de Deux, and though it is being promoted as the first major double concerto for violin and cello since Brahms, Horner himself has described the piece as a composition for violin and cello with orchestral accompaniment rather than as a true concerto. For all that, Pas de Deux does not really resemble Horner's film scores musically. It has elements that suggests what might have happened had Vaughan Williams somehow lived long enough to become enamored of minimalism, and it shows that Horner has been keenly aware of contemporary crossover directions. The work is performed here by the Samuelsens and the Royal Liverpool Philharmonic under Vasily Petrenko, the forces that premiered the work in 2014, and it's safe to say that their work reflects the composer's intentions. The album is filled out with works by Arvo Pärt (the protean Fratres), Giovanni Sollima, and Ludovico Einaudi, whose Divenire also features the violin-cello combination. Horner can hold his own with any of them, and listeners who imagine sun-drenched meadows while listening to Pas de Deux will have a very good time with it. (James Manheim)