cikada piano trio
Cikada Piano Trio consists of Kenneth Karlsson (pno), Odd Hannisdal (vln) and Torun Stavseng (vlc).
As a chamber ensemble, the piano trio is firmly rooted in the Wiener-classical and romantic traditions, and has since been a staple of chamber music performances. Therefore, Cikada Piano Trio is consciously and constantly exploring the format, challenging each instrument’s traditional role.
Scroll down for a description of the trio’s program Dream Images.
Eivind Buene – Landscape in Ruins (2007) 17’
Laurence Crane – Simon 10 Holt 50 (2007) 3’
Georges Crumb – Dream Images II (1976) 17’
Francesco Filidei – Corde Voute (2010) 8’
Georg Friedrich Haas – ins Licht (2007) 3’
Georg Friedrich Haas – Tombeau [Fragmente aus dem Fragment KV 616a] (2013) 3’
Klaus Lang – dangerous foxes are illusions (2006) 10’
Klaus Lang – The Robot in Red (2014) 5’
Arvo Pärt – Mozart–Adagio (1992) 6’
Gérard Pesson – Bruissant divisé (vln, vlc) (1998) 5’
Gérard Pesson – La vita è come l'albero di Natale (vln, pno) (1992) 2’
Gérard Pesson – Ne pas oublier coq rouge dans le jour craquelé (2010) 12’
Gérard Pesson – Vexierbilder II (pno) (2003) 13’
Bent Sørensen – Phantasmagoria (2007) 14’
Francesco Filidei - Corde Voute 8’
Eivind Buene - Landscape in Ruins 17’
Georges Crumb - Dream Images II 17’
Gérard Pesson - Ne pas oublier coq rouge dans le jour craquelé 12’
This concert is kind of a fairytale in the night. It begins almost inaudibly, but beautifully with Filidei, before it breaks into a virtuosic adventure with Buene’s Landscape in Ruins. In Dream Images II a glass harmonica provides a steady drone in background, and it all ends at daybreak with Pesson’s red cock.
All four composers are among today’s internationally leading composers.
About the works:
Francesco Filidei’s work has been given the telling title Corde Vuote, which in Italian means ‘open strings’. Large parts of this piece are played on open strings, inviting the listener to become aware of the rich nuances the string instruments still command, coloured by the piano’s delicately undulating crescendos and diminuendos.
“Traversing a city lets you meditate on construction and decay, on human ingenuity and the inevitable forces of time. Apparent chaos suddenly reveals a beautiful logic. Seemingly random patterns turn out to be networks of human interaction. And underneath the solid surfaces there's always nature, waiting to take over, to obliterate our structures with organic growth.”
Dream Sequence (Images II) appears to be an attempt to capture the elusiveness of dream. While nearly all music is linear, with a melodic line moving in a perceptible flow across time, this work is not. What melodies there are just float, seemingly disconnected from time. The music hangs in one place rather than moving. George Crumb's reputation as a composer of hauntingly beautiful scores has made him one of the most frequently performed composers in today's musical world.
Ne pas oublier coq rouge dans jour craquelé (moments Proust) (Do not forget red cock in cracked day) consists of several musical moments inspired by Marcel Proust’s note books. The work is a tribute to Vinteuil, a fictional composer in In Search of Lost Time, as well as a meditation over other mysteries in Proust. The phrase making up the title is a memento Proust had written et the back of page 45 in volume 4 (1914–1917), and is both linked to a painting by Bruegel and the glowing septet of Vinteuil’s last opus.