Berg Chamber Music with Piano
Chamber works by Denmark’s serialist pioneer
View record and artist detailsRecord and Artist Details
Composer or Director: Gunnar (Johnsen) Berg
Genre:
Chamber
Label: Dacapo
Magazine Review Date: 06/2012
Media Format: CD or Download
Media Runtime: 61
Mastering:
Stereo
DDD
Catalogue Number: 8226547
Tracks:
Composition | Artist Credit |
---|---|
Truncated (Tronqué) |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer Soren Monrad, Percussion |
Thaw (Tøbrud) |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer Kenneth Larsen, Bass clarinet Signe Asmussen, Mezzo soprano |
'...pour violin et piano' |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer |
'...pour deux violincelles et piano', version 2 |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer John Ehde, Cello Niels Ullner, Cello |
Prosthesis |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer Torben Snekkestad, Saxophone |
Pièce |
Gunnar (Johnsen) Berg, Composer
Erik Kaltoft, Piano Gunnar (Johnsen) Berg, Composer Per Morten Bye, Trumpet |
Author: Peter Quantrill
On this disc of chamber music, the choice of running order, in reverse chronology, perhaps reflects Berg’s own uncompromising nature. Only after a while did I discover that if I played the tracks back to front, as it were, I could start to unpick and take pleasure from what is by any standards an austere personal aesthetic. We might expect chamber music to disclose multiple personalities, or facets of that voice, but the restless iteration and periodic exchange of ideas creates a paradoxical and sometimes (especially the pieces for violin and cellos with piano) self-defeating unanimity of thought. The melodic contours rather defy you to grasp their shape but, like a mid-Atlantic wave, they are full of potential energy, their origin and direction being harder to plot.
The mood of each work is governed less by the notes than their instrumentation. The jazzy counterpoint of the 1949 Pièce for trumpet, violin and piano is answered by unmistakably bluesy saxophone slides in Prosthesis (1954). Liberation arrives with the vocal line in Tøbrud (‘Thaw’, 1961), a setting of the poet Ivan Malinovski (a Danish René Char in idiom), which is the only music here that doesn’t sound composed at the piano. Finally, the elements of Tronqué (1964) may or may not be less predetermined (I haven’t seen the scores), but their interplay and points of rest at least suggest some more relaxed accommodation between principles and technique. Dacapo may have had a point in saving the best until first.
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
SubscribeGramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.