{"id":1032,"date":"2012-10-12T18:13:45","date_gmt":"2012-10-12T16:13:45","guid":{"rendered":"http:\/\/qngblog.99grad.de\/?p=1032"},"modified":"2013-01-04T23:30:08","modified_gmt":"2013-01-04T21:30:08","slug":"eine-aktuelle-rezension-unserer-neuen-cd","status":"publish","type":"post","link":"https:\/\/blog.quartetnewgeneration.com\/?p=1032","title":{"rendered":"Eine aktuelle Rezension unserer neuen CD !"},"content":{"rendered":"

Hans-Dieter Gr\u00fcnefeld<\/span><\/a><\/p>\n

Review<\/strong> of QNG\u2019s CD \u201cFantasy \u2018n\u2019 Symmetry\u201d<\/span><\/span><\/span>in <\/span><\/span><\/span>Ensemble<\/strong><\/em><\/span><\/span><\/span> magazine<\/strong> (D\u00fcsseldorf), October \/ November 2012<\/span><\/span><\/span><\/p>\n

FUGUE MODELS<\/strong><\/span><\/p>\n

Changing the subject\u2019s location and transforming it according to the rules of counterpoint, while at the same time applying \u201csymmetry and fantasy\u201d \u2013 that is how fugues were written in the Baroque period. Following that architectural approach to sound, the same musical motions have now been admirably adapted for four recorders by the Quartet New Generation. In Bach\u2019s \u201cArt of Fugue\u201d and Handel\u2019s \u201cFugues Nos. IV and VI\u201d, the ensemble\u2019s vibratoless, pure intonation helps the listener locate the music\u2019s structural underpinnings. The same qualities are used to great advantage in a modern fugue, highlighting the elegiac lyricism of Shostakovich\u2019s dark timbres in \u201cFugue No. 1\u201d. Closer to our present day, closely woven threads emerge through the scintillating alternation of hoquetus echoes in M. E. Childs\u2019 \u201cParterre\u201d. A further degree of abstraction is reached when percussive playing techniques and rhythmic breathing noises cross paths with motivic fragments in W. Blecharz\u2019s \u201cAirlines\u201d. Then the Quartet New Generation leads the procession \u201cTo the Promised Land\u201d (E. Reiter), establishing a dialogue between electronic patterns and periodically emerging particles of sound. The genre of fugue reaches a final state of stasis amidst multiphonics in V. Pasovsky\u2019s \u201cPessel\u201d (Sculpture), a work dedicated to the ensemble. Thus, by presenting a series of daring arrangements alongside original works, this magnificent programme for recorder ensemble has now pushed the general historical tendency of symmetry towards fantasy into entirely innovative repertorial dimensions. <\/span><\/span><\/span><\/p>\n

Hans-Dieter Gr\u00fcnefeld<\/span><\/span><\/span><\/p>\n

Repertoire value <\/span><\/span><\/span>\u2735\u2735\u2735\u2735\u2735<\/span><\/span><\/span><\/p>\n

Sound <\/span><\/span><\/span>\u2735\u2735\u2735\u2735<\/span><\/span><\/span> <\/span><\/span><\/span><\/p>\n

Interpretation <\/span><\/span><\/span>\u2735\u2735\u2735\u2735\u2735<\/span><\/span><\/span><\/p>\n

Hier findet ihr die deutsche Fassung: <\/span><\/span><\/span>CD Rezension<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Hans-Dieter Gr\u00fcnefeld Review of QNG\u2019s CD \u201cFantasy \u2018n\u2019 Symmetry\u201din Ensemble magazine (D\u00fcsseldorf), October \/ November 2012 FUGUE MODELS Changing the subject\u2019s location and transforming it according to the rules of counterpoint, while at the same time applying \u201csymmetry and fantasy\u201d \u2013 that is how fugues were written in the Baroque period. Following that architectural approach […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/posts\/1032"}],"collection":[{"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1032"}],"version-history":[{"count":7,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/posts\/1032\/revisions"}],"predecessor-version":[{"id":1129,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=\/wp\/v2\/posts\/1032\/revisions\/1129"}],"wp:attachment":[{"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.quartetnewgeneration.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}