Catalogue Connection: 25149

Concertato (2017) is British composer Lydia Kakabadse’s third CD release. Four of the six works on the CD—The Coachman’s Terror, Dance Sketches, Cantus Planus, and Recitativo Arioso + Variations—are scored for a string quartet that includes a double bass instead of a second violin. Kakabadse is a double bass player, and she believes that the instrument’s distinctive tone quality adds richness and color to the quartet’s sonority. The term concertato refers to the Italian Baroque style characterized by the contrast or interaction between two or more groups of instruments or voices, and this idea permeates the album generally.

Kakabadse draws on her multinational heritage (Russian/Georgian father and Greek/Austrian mother) as well as her love of early music. She has studied and taught Middle Eastern and Greek dancing, both of which influence the melodic scales, ornamentations, and rhythms in her work. Although the CD is primarily instrumental, much of her oeuvre is choral and vocal; her engagement with poetry and language is evident through the programmatic elements that drive the instrumental forms on this album.

The opening quartet, The Coachman’s Terror, is a five-movement programmatic piece based on Alexander Pushkin’s poem Devils (1830), which tells the story of a coachman led off the path by devils during a blizzard; he and his master become stranded and are tormented by evil spirits. The quartet, the longest on the CD, effectively creates the sense of ominous doom through the prominent use of the low register and legato playing, and it clearly depicts the natural elements such as the wind. The first movement, “snow storms gather,” sets up a dark atmosphere with deep, resonant layers of sound. A bass ostinato suggests the horse’s movements, while fast arpeggios and figurations in the higher register suggest the swirling snow. The melodic material throughout is lovely, and Kakabadse incorporates Arabic scales along with traditional Western harmony. The various movements, however, were difficult to differentiate from each other since they share so much of the same scalar and textural material and are not strongly contrasting in tempo or meter. By trying to structure the piece around the narrative of the poem, the composer was forced to craft separate movements, when the work might have been more effective as a continuous tone poem.

The second piece, Dance Sketches, includes three dances. The first, “Arabian Folk Dance,” features an Arabic scale (double-harmonic scale), melodic embellishments, and a bass pizzicato that creates an engaging syncopated pattern. The next, “Stately Court Dance,” appropriately uses a smooth legato motion, and the third, “Dance of the Clockwork Toys,” provides humor when the toys come to life; they stop dancing, however, when the music becomes too fast for them.

Concertato is a four-movement duet with virtuosic writing for both cello and double bass. Kakabadse explains her use of the title in the liner notes: Concertato “comes from the Latin concertare meaning ‘to fight’ or ‘contend with.’…Each instrument competes on equal terms, rather than in a master-servant relationship.” All four movements are andante, though with slight changes of tempo; therefore, while the melodies are beautiful and the sound of the two instruments together is resonant and lovely, the work, like the previous one, does not seem to have enough differentiation between the four movements. The duet, however, has many highlights in addition to the attractive melodies and rich sonorities such as the contrast between pizzicato and arco, the contrapuntal inter¬play between the two instruments, and the interesting imitative passages within the double-harmonic scale.

Two Chamber Songs, scored for the same string quartet plus mezzo soprano, include “Spellbound” (1837), on a text by Emily Brontë, and “Eldorado” (1849), on a text by Edgar Allan Poe. Both songs set the mood of the poems through use of bass ostinatos and register changes. In “Spellbound,” some of the text in verse three fits awkwardly into the primarily strophic melody, with the voice being obscured frequently by the strings due to their respective registers. “Eldorado” makes fascinating use of Arabic ornamentation and pizzicato textures. In her liner notes, Kakabadse emphasizes the programmatic nature of both settings, in which she uses certain instruments, registers, drones, and sequences for a somewhat literal textual painting. Mezzo soprano Jess Dandy has a rich, dark, well-tuned voice, but it is almost impossible to understand the words. Fortunately, the texts are included in the liner notes.

The three movements of Cantus Planus represent three canonical hours of prayer: “Matins” (the first canonical hour, during the night) is the darkest in tone; “Lauds” (the second canonical hour, at dawn) has a faster surface rhythm and engaging antiphonal play between the instruments; and “Vespers” (the seventh canonical hour, at evening) emphasizes the principal theme as it passes from instrument to instrument. The music is in the Aeolian mode and was inspired by medieval music and Greek orthodox music. Kakabadse composed the beautiful work around the time of her mother’s passing (liner notes).

Kakabadse writes that Recitativo Arioso + Variations was adapted, in part, from an earlier work with different instrumentation. It is primarily in C minor, with a few abrupt switches to the parallel major that sound jarring and out of context. Recitativo Arioso begins with a dramatic recitative with tremolos in the lower strings and proceeds to a statement of the first theme in the low register of the violin, which is followed by the simple folk-like second theme in the cello. The first variation is more energetic with staccato and fast passage work, while the second variation brings in some of the Arabic embellishments that are characteristic of her work.

Throughout the CD, Sound Collective’s performance is superb. The quality of the recording is excellent. Apart from the enunciation problems in the songs, the musical production is exemplary. In addition, the CD booklet is well-written and informative. It includes notes about each piece that help the listener understand the programmatic elements of the music, texts for songs, and information about the com¬poser and the performers. It also includes photos of the composer and performers, plus a photo of the recording session.

The CD demonstrates that Kakabadse has a strong command of writing for string instruments, as she draws on multiple stops, sul ponticello, shifts between arco and pizzicato, and the use of mutes. She also has a well-developed ability to integrate diverse elements such as Arabic and medieval scales, embellishments with tonal harmony, drones, ostinatos, and various textures. Her melodic material is very attractive, and the pieces are rich and resonant; my only criticism, as mentioned above, is that the movements, in two of the compositions, sound too similar.

Born in the UK (Southport) of Russian/Georgian and Greek/Austrian parentage, Lydia Kakabadse (b. 1955) writes music that speaks clearly of her (non-UK) roots. The music is approachable yet atmospheric. Divine Art has previously issued a disc of Kakabadze’s choral music, reviewed in Fanfare 40:1; there is also a mixed disc (including two narrated tales, The Mermaid and The Phantom Listeners, plus the Russian Tableaux for solo piano) on Naxos 8.572524.

Taking Pushkin’s poem “The Devils” as the inspiration, The Coachman’s Terror (2016) for violin, viola, cello, and double-bass paints in Richard Straussian-turned-Russian tones the cold of Winter and the movement of the horsedrawn coach. The coachman and his master are surrounded by evil spirits. Kakabadze provides a detailed program, the music depicting the bolting of the horses, the sounding of bells to indicate danger, the slow swirling of the snow (16th-note sextuplets in the second movement) as well as graphically implying the approach of the Spirits. Certainly spookiness is palpable in the central “Evil Spirits Gather Round,” and the desolation of the fourth movement (representing a “bleak and barren wilderness”) is expertly done, with the players incredibly sensitive to the harmonic tensions created. The performance here is fabulous; the recording is close, but that just enhances how involving the whole thing is. The fifth and final movement, entitled “Straying into the unknown,” links musically very obviously to the first.

Another piece for violin, viola, cello, and double-bass, Dance Sketches of 2013, sets three very different dances side by side. The first is an “Arabian Folk Dance,” its sinewy melodies underpinned by harmonies characteristic of that region. The viola line seems particularly evocative of the region in this performance. It stands in high contrast, then, to the “Stately Court Dance” that follows, slow and dignified, but it is the final “Dance of the Clockwork Toys” that is an utter delight. Staccato dominates the texture; the rhythms imply balletic movement. It is all great fun, and fetchingly performed here. Written in 2014, the Cantus planus for the same scoring zooms in on the Aeolian mode. Three movements depict canonical hours: Mains, Lauds and Vespers. The reflective calm of morning (“Matins”) is followed by “Lauds,” ostensibly more deeply devotional, but as the lines layer on top of each other the mood brightens and the rhythms begin to dance. The final, crepuscular “Vespers” brings a sense of contented repose and reflection.

The Recitativo arioso and Variations (2012, although based on earlier material), as its title implies, takes the idea of the expressive “Recitativo arioso” as its basis. There are only two, relatively extended, variations. The opening is as dramatic as anything on the disc, almost like a reduction from a string orchestra score. The arioso actually comprises two themes, one somewhat like a lullaby (perhaps a Russian one), the other rather more expansive. The first section actually traverses a wide emotional range, the two variations effortlessly exploring the material. The first variation has an easy gait, almost carefree while the second, with its use of canon, seems to want to interiorize the themes. This is a fascinating, intriguing piece.

Scored for only cello and double-bass, the Concertato of 2014 is a meeting of two equal players. While there is a plethora of effects (trills, fast runs, moves between arco and pizzicato), the effect is of a very concentrated argument. The constant movement at the opening of the second movement Andante legato perhaps invokes the shadow of Minimalism; the other Andante, an Andante con brio that follows, is clearly intrinsically related. The finale has energy to spare; moments of quasi-improvisation lighten the texture. Again, the harmonic language is dominated by the harmonic minor scales.

The mezzo-soprano Jess Dandy, a name new to me, has a fabulously rich voice. The first of the Two Chamber Songs presents a 2004 setting of a poem, “Spellbound,” by Emily Brontë. Unsurprisingly the imagery is vivid, and in fact concentrates on a kind of cold perhaps analogous to that of Russian winters. The second is a 2007 setting of Poe’s “Eldorado.” A depiction of the lessening strength and determination of a knight in search of the mythical city of Eldorado, the setting is shot through with sadness.

This is a most enjoyable disc of music, flavored with various folk musics and traditions.

I listened to this superb CD several times and each time I discovered something new and even better. This music is magnificent and goes straight to the heart. I was so enthralled I wasn’t able to move and I didn’t want the music to stop. I felt as if I’ve been transported to another dimension, outside this world. Whilst Kakabadse’s idea to use all 4 members of the string family – rather than the classical string quartet set up – could be deemed a risk, the high quality of her compositions coupled with the outstanding performance by sound collective eradicate such thinking.

All the tracks on this CD are excellent. I particularly feel that The Coachman’s Terror is first-rate in comparison with similar works of this century. Written in 5 movements, it’s full of Russian images, which take me back to Pushkin’s time and I just didn’t want it to end after 18 minutes. Images of immense musical beauty unfold thanks to the composer’s wonderful writing and they give the listener the opportunity to travel in a horse-drawn carriage of old through the vast snowbound landscape of the Russian steppe. An amazing closing movement leaves a sense of nostalgia that is rare when listening to modern works.

Eldorado is very impressive and the mezzo-soprano, Jess Dandy, interprets Poe’s verses extremely well. Also magical is the atmosphere created by the cello in Spellbound, based on Emily Bronte’s poem.

In Cantus Planus, made up of 3 movements and written in the Aeolian mode, there are elements of Greek Orthodox music. This has become one of my favourite pieces and Kakabadse’s talent at writing in this style is supreme.

Another outstanding work is Concertato with its exciting low-key dialogue between the cello and double bass. Here the composer has chosen minor scales throughout to unexpectedly reveal sound landscapes, where a dreamy atmosphere dominates.

All in all, an exceptional album of heavenly music. I highly recommend it as one of the best CD’s of the decade. I am awaiting with bated breath and interest the next recording of this dear composer.

Lydia Kakabadse is a contemporary composer of Russian and Greek ancestry whose music as portrayed here is entirely written in modal minor keys. Most of it is for violin, viola, cello & double bass—an interesting combination. The only pieces scored otherwise are the two songs, ‘Spellbound’ (text by Emily Bronte) and ‘Eldorado’ (Edgar Allen Poe). These are sung with beauty by Jess Dandy and accompanied by the quartet. Concertino is an 11-minute work for cello and bass viol in four movements lasting about 12 minutes.

All of this music was written between 2004 and 2015, though you wouldn’t guess that to hear it. It is distinctly influenced by styles of the Renaissance and seems almost totally modal. These musicians of the Sound Collec¬tive play it with beauty of tone and conviction. If the unvaried style attracts you, go for it! It attracted me at first, but it is too much in gloomy minor modes to keep my attention.

Contrary to what her name might suggest, composer Lydia Kakabadse was born in England, but of Russio-Georgian and Austro-Greek parentage. Admired and well known in her home country, she is practically unknown here [in Italy] so this recording, which collects together several of her chamber works, is a useful calling card to introduce her in our country.

The works here boast styles recalling the musical traditions of the Middle East and Greece, especially in regard to popular dances (such as Dance Sketches , which like most works here is for violin, viola, cello and double bass). However there are also occasional flashes of the minimalism of Steve Reich and Philip Glass, and they show great attention to spirituality that is explicit in Cantus Planus , and forms a sort of organic root. These works are relatively simple harmonically and melodically (and to a certain extent repetitive in nature) and are also suitable for enjoying as background.

There is nothing to criticize of the interpretation by the four members of Sound Collective or the mezzo-soprano Jess Dandy, given of course the ease of their approach and commitment.

The recording was made in the church (not cathedral) of St. Paul by Michael Ponder. Spatially, reproduction is good with an airy, fast sound for this deep quartet. Good dynamics, based largely on microdynamics as well as other audio parameters.

Overall technical quality 4

Some months ago, I reviewed Lydia Kakabadse’s Cantica Sacra (Divine Art 25135), which I described as ‘instantly enjoyable’. I therefore welcomed the opportunity to hear this CD. I mentioned then that Kakabadse was born in Southport, daughter of a Russian/Georgian father and Greek/Austrian mother, she is very much indebted to those origins. The present CD is interesting not least for its attention to timbres. All the pieces except Concertato (for cello and double bass), are for an ensemble of single violin, viola, cello and double bass, joined in the Two Chamber Songs by the mezzo-soprano, Jess Dandy. This unusual quartet immediately creates a distinctive sound world, with a rich, lower-string sound. The music instantly has an originality of tone, and there are moments of particular beauty.

The opening work, The Coachman’s Terror, is in five movements, and is based on the poem Devils by Pushkin. The title gives the essence of the poem, offering the possibilities for much atmospheric writing with a sense of imminent peril. The echoes of Russian music are strong throughout, and the sense of menace from unknown spirits is palpable in parts. It is music which is atmospheric and very tuneful. Dance Sketches is an interesting piece, again with strong contrasts. The three dances are, Arabian, a 17th century-inspired stately court dance and then a dance for clockwork toys. Each offers the opportunity for both display and a range of instrumental colour.

The title piece, Concertato, could be considered a study in andante style. Each of the four movements is andante, one espressione, one legato, one con brio and the finale, energico. Each is technically demanding with many demands of the players, but overall this is not an exercise in virtuosity but a thoughtful and sometimes very moving work. The two chamber songs, one based on a poem by Emily Brontë, the other a setting of Edgar Allan Poe’s Eldorado, are interesting pieces of word-setting, with a nice interplay between the singer and the four instruments. The inspiration for Cantus Planus is, like much of Kakabadse’s music, religious, with each of the three movements representing different prayers of the day, Matins, Lauds and Vespers. The influence of medieval music is evident throughout. The final work, Recitativo Arioso + Variations, with its two variations is lyrical yet varied in mood.

Performances throughout are admirable, and there is tremendous pleasure to be gained from this music. More, please!

Lydia Kakabadse is a British composer who combines her Greek/Russian heritage with strong contrapuntal technique, and a devout interest in Greek Orthodox and Russian Orthodox liturgy choral traditions. This CD’s works, composed from 2004 to 2016 utilize traditional harmonies and are melodic, tho’ mildly to moderately sad. The images depicted are well described in the booklet. The Coachman’s Terror is based on Pushkin’s poem “Devils.” Dance Sketches (2011) are three diverse pieces: Arabic, courtly, and a study in staccato. The Concertato (2014) is a duet that seeks confrontation between the cello and double bass. Two Chamber Songs (2004; 2007) for mezzo-soprano and string quartet are set to a poem by Emily Dickinson and Edgar Allan Poe, respectively. Cantus Planus (2011) is a plainsong whose three mvmts represent canonical hours of prayer. Recitativo Arioso + Variations (2012) is an adaptation of an earlier work, here set for the string quartet Kakabadse favors, with double bass. The piece displays the composer’s ability to create counterpoint and color treatment of her lyrical idea.

I listened to this superb CD several times and each time I discovered something new and even better. This music is magnificent and goes straight to the heart. I was so enthralled I wasn’t able to move and I didn’t want the music to stop. I felt as if I’ve been transported to another dimension, outside this world. Whilst Kakabadse’s idea to use all 4 members of the string family – rather than the classical string quartet set up – could be deemed a risk, the high quality of her compositions coupled with the outstanding performance by sound collective eradicate such thinking.

All the tracks on this CD are excellent. I particularly feel that The Coachman’s Terror is first-rate in comparison with similar works of this century. Written in 5 movements, it’s full of Russian images, which take me back to Pushkin’s time and I just didn’t want it to end after 18 minutes. Images of immense musical beauty unfold thanks to the composer’s wonderful writing and they give the listener the opportunity to travel in a horse-drawn carriage of old through the vast snowbound landscape of the Russian steppe. An amazing closing movement leaves a sense of nostalgia that is rare when listening to modern works.

Eldorado is very impressive and the mezzo-soprano, Jess Dandy, interprets Poe’s verses extremely well. Also magical is the atmosphere created by the cello in Spellbound , based on Emily Bronte’s poem.

In Cantus Planus , made up of 3 movements and written in the Aeolian mode, there are elements of Greek Orthodox music. This has become one of my favourite pieces and Kakabadse’s talent at writing in this style is supreme.

Another outstanding work is Concertato with its exciting low-key dialogue between the cello and double bass. Here the composer has chosen minor scales throughout to unexpectedly reveal sound landscapes, where a dreamy atmosphere dominates.

All in all, an exceptional album of heavenly music. I highly recommend it as one of the best CD’s of the decade. I am awaiting with bated breath and interest the next recording of this dear composer.

Lydia Kakabadse is a contemporary composer of Russian and Greek ancestry whose music as portrayed here is entirely written in modal minor keys. Most of it is for violin, viola, cello & double bass—an interesting combination. The only pieces scored otherwise are the two songs, ‘Spellbound’ (text by Emily Bronte) and ‘Eldorado’ (Edgar Allen Poe). These are sung with beauty by Jess Dandy and accompanied by the quartet. Concertino is an 11-minute work for cello and bass viol in four movements lasting about 12 minutes.

All of this music was written between 2004 and 2015, though you wouldn’t guess that to hear it. It is distinctly influenced by styles of the Renaissance and seems almost totally modal. These musicians of the Sound Collec­tive play it with beauty of tone and conviction. If the unvaried style attracts you, go for it! It attracted me at first, but it is too much in gloomy minor modes to keep my attention.

Lydia Kakabadse’s Russian/Georgian as well as Greek/Austrian descent, enriched by Arabian and medieval ideas, give birth to a an inspiring music mix. The Ensemble ‘sound collective’ as well as singer Jess Dandy prove committed and high-class performers.

In her quartet, the composer Lydia Kakabadse, who was born in England, replaced the second violin with a double bass. Overall, this deepest string instrument plays a special part in the program. The dark and substantial foundation of the sound opens up a special sound richness.

Another feature of her music is derived from her Russian / Georgian or Greek / Austrian ancestry, which she linked early in her life with both Greek and Russian Orthodox culture. Further cultural inspiration is derived from Arabic and medieval sources.

Five works are written for this string quartet with double bass, and there are two songs which also include a mezzo-soprano. The sixth piece is limited to the cello and double bass. It may be a guideline for this CD, since these two instruments have a concerted role in the baroque sense in all works. This rivalry of the largest and darkest strings will be described as a saber fight rather than as a light-footed fencer. The whole CD has a uniform soundscape, which results from the mixture of old sounds like Renaissance and baroque and oriental moods. Both dynamic highlights and unexpected developments are sparing. The composer finds her very own enveloping and relaxing tone, which is delightful, with a mixture of Hildegard von Bingen, Arvo Pärt and Sufimusik. Or in other words, the salon music is given a touch of Orientalism.

The instrumentalists who have joined together as ‘sound collective’ bring this music to the ear of the listener with passion, refinement and love. Also the solo passages of the “saber fencers” are playfully relaxed and charming. The singer Jess Dandy presents her short contribution with pleasant harmony, without any misdirected pathos. In short, the presentation is a pleasure overall.

This charming album is already one of our favourites — a close second to Ensemble Villancico’s
Tambalagumba, in fact, but where Tambalagumba is merry South American early music with percussion, Concertato is the sight of sad man weeping softly into his mug of beer as he surveys the world. Both are equally approachable, despite one being Christmas music from 16th century Peruvians and the other gloomy string quartets (a classical version of Kate Rusby, come to think).

Kakabadse is British but has roots in Greece, Austria, Russia and Georgia, and it’s the mixture of cultures that gives this its charm. We’re currently reading a book on the Holocaust and the opener is the kind of sad music with a Jewish/Russian feel that would accompany a documentary on the camp, with long shots of black of white photos of sad people. It’s actually called The Coachman’s Terror, scored for violin, viola, cello and double bass and inspired by Alexandr Pushkin’s poem Devils. It’s set in a Russian winter and tells of a coachman driving a horsedrawn carriage through blizzard conditions amid swirling howling snows, “where heaven and night are blurred into one and evil spirits gather round the hapless stranded pair,” according to the sleeve notes. Obviously, it doesn’t instil either the fear of a death camp or evil spirits in the listener, it’s just pleasingly sad music with exotic overtones, and this sad exotica is the flavour of much of the album.

Dance Sketches, scored for violin, viola, cello and double bass, is made up of three diverse dances, Arabian Folk Dance (harmonic bareness, syncopated rhythms); Stately Court Dance (dignified, 4/4 meter) and Dance Of The Clockwork Toys (staccato). There’s also a slight edginess about it all: the notes for the title track say Concertato originates from the Latin ‘concertator’ meaning ‘rival’ so while it’s no dueling banjos, it sees instruments playing against each other, as well as challenging the players.

There is some variation: Spellbound is a setting of the poem of that name by Emily Bronte while Cantus Planus (plainsong) is inspired by medieval style music and in part, Greek Orthodox Church music. We mentioned soundtracks above and much of this has the instant appeal of film music; Matins from Cantus Planus would be ideal for the scenes after a medieval battle, for example.

The music comes from Sound Collective, a group of musicians that works with composers, writers and educators to build new ways of appreciating and promoting chamber music. They’ve certainly succeeded with this.

These instantly accessible, genteel and well crafted works are inflected throughout by the composer’s diverse ethnic origins, especially Greece, Georgia and Russia. Most of the works make extensive use of the middle-Eastern sounding double harmonic scale – i.e. the one containing two augmented intervals. The string quartet lineup, while used conventionally, is afforded additional depth of timbre by the substitution of contrabass for second violin. The five movement suite after Pushkin is a good deal less action-packed than the original poem; more melancholy winter landscape studies than depictions of pursuing nightmares in a blizzard, though the pieces are very atmospheric. This air of sombre reflection, expressed in a melodic, neo-romantic vocabulary, pervades most of the works on the disc. Two works depart somewhat from this formula; the plainchant-evoking piece owes more to Greek Orthodox church music than the middle-eastern ‘arabic scale’, and the delightful Variations [sic – in fact Recitativo Arioso] sound like a transcription of a recitative and aria from a Mozart opera, with two ingeniously constructed variations. Minimalism puts in a brief appearance in one movement of Coachman, and Jazz in one of Concertato, but these are fleeting.