Duo “In-Temporalis”. Discography. “Own View”. Polina Fradkina, piano; Yoel Gonsales, persussions
“Mariinsky theater”, # 5-6, 2009, article by Svetlana Makhlina
New DVD “Own View” by St-Petersburg duo In-Temporalis was presented to the public in Grand Hotel Europe. This disk was recorded at the concert of Polina Fradkina and Yoel Gonsales, duo participants, which took place in Smolny Cathedral on June 11, 2009. The compositions of Bach, Beethoven, Grig, Musorgsky, Ravel, Rossini and De Falya were performed there. This disk is issued by the famous St.-Petersburg recording company “Bomba Piter”.
The visitors could see disk demonstration on a big screen and attend press-conference where the duo participants and Oleg Grabko, head of “Bomba Piter”, were celebrating the second anniversary of the duo. Two musicians have “accidentally” met, being the representatives of absolutely different cultural traditions: on the one hand, Polina Fradkina, the classic pianist, who actually was leading to the new “shores” for a long time, following Musorgsky’s saying, and, on the other hand, Yoel Gonsales, Cuban percussionist who settled in Russia long time ago and was well known in jazz and ethnic music circles. The risky idea of building the bridge over the abyss between aesthetic and psychological worlds arose. The artistic experiment captured both musicians and public. Ravel’s “Pavane”, Beethoven’s Piano Sonata No. 17 final, Bach’s Fugue in B flat minor from the first volume of “Well-tempered clavier”, “Montecchi and Capuleti” from Prokofiev’s “Romeo and Juliet” ballet and “Aase’s death” from Grig’s “Peer Gynt” on encore were introduced to the public on presentation out of large and various program, and all of them in author’s arrangements.
We all know many transcriptions of academic music compositions, being interpreted in many music styles such as jazz, rock and ethnic music. These transcriptions often aim to make academic music closer to the mass audience. “In-Temporalis” duo has an opposite goal – to create new sound reality, combine two different civilizations: classic European and Afro-Cuban, having its own fundamental cultural tradition, into one mutual sound space. Claude Levi-Strauss had an idea that culture was willing to become “hot”, that is why modern avant-garde art through the “game” of traditional classic forms, through stylization, variations, masterpieces arrangements, staying far away in time and space, come to the results required by the audience.
The compositions themselves, taken by the duo “In-Temporalis”, do not lose their deep sense and value in new interpretation due to the measure and taste sense of musicians. Polina Fradkina, the graduate of Saint-Petersburg music conservatory (class of professor E. Shishko) and Tel-Aviv music academy (class of professor V. Derevyanko), managed to state herself as a serious and bright interpreter of classic and music avant-garde. Yoel Gonsales who graduated from International Arts School in Havana and worked with most famous representatives of jazz and music scene shows excellent knowledge of different percussions.
Every composition was performed with some extremely special influence and strength and showed new unfamiliar “face” of well known classic music. And it was done intellectually, artistically and emotionally.
Bach’s prelude sounded flawlessly. Albert Schweitzer compared this prelude with Christ’s ascension to Calvary. Uncompromising even rhythmic Bach’s pattern turns in duo’s interpretation and transcription into motion with impulsive, nervous breakdowns and yells which does not contradict to the idea of ascension to Calvary.
The rough pressure of Prokofiev’s “Knights’ dance” was “broken” by rhythms play. Approaching to recapitulation musicians used rhythms of African ritual dance of Yoruba tribe that gave frantic and delirious tempo to music, and at culmination the iron pace of Prokofiev’s music appeared.
Experience offered to the audience by Polina Fradkova and Yoel Gonsales’s duo is the bright and brave evidence of new view to the world and culture. Musicians’ view is turned to the future, yet unknown but quite visible. Their album is not accidentally called “Own View”.
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