Péter Eötvös’ Octet is recorded here for the first time. In origin it is conceived to be performed along with Stravinsky’s Octet so the link with it is somehow strong.
The piece is constituted by numerous short sections each with his own character, with many thematic relations to give coherence to the whole piece. Eötvös is capable of obtaining a very wide variety of colors from the limited ensemble with the use of particular tonguing, positions and mutes, as well as with a writing in which there are aleatoric moments along with strictly structured rhythm sections.
Alessio Elia is an Italian composer resident in Budapest, he worked closely with Péter Eötvös who awarded him the first prize in the orchestral category of “UMZF 2013 Competition” and has since then gained a wide reputation in Europe. One of the main features of his style is related to the use of different intonation systems and complex rhythms.
In the piece here presented there are moments in which the instruments do use natural intonation and the rhythm is often composed by different layers that only occasionally join together in a traditional way. The result is very impressive, it creates a very personal perception of perspective and depth.
Rita Ueda is a Japanese Canadian composer whose poetic is often very delicate and introspective but at this time she decided to depict … the love of two Gargoyles! These mythological creatures are depicted while flying, hugging, kissing. The trombones are the instruments that are intended to imitate their sound while a kaleidoscope of effects like cawing of the ravens (bassoons) whistling of the wind (flute and clarinet) or the tinkling of Tibetan singing bowls (played alternately by the musicians of the ensemble ) creates a surrealistic ambience.
Albertas Navickas is a composer from Lithuania, he is also a Phd in biology and now lives in San Francisco where he is doing his post doctorate. His music is somehow soft, delicate: a leaf falling on a blanket of snow. This piece deals with an ephemeral nature of art and makes use of a Sonnet by William Shakespeare (the 30th) as a text recited by the flutist while he is playing his instrument. In this way, the text is fragmented and blended with the sound of the flute and the breathe of the flutist, becoming something new.
