Zweige cs497

 

 

 

 

 

 

 

 

O disco “Zweige” junta um improvável sexteto, onde um quinteto de cordas conta com a companhia da percussão. Participam aqui Harald Kimmig (violino), Ernesto Rodrigues (viola), Miguel Mira (do Motion Trio, violoncelo), Guilherme Rodrigues (violoncelo), Alvaro Rosso (contrabaixo) e Vasco Trilla (percussão). Apesar da configuração presumir uma vertente de música de câmara, raras vezes o grupo evoca momentos de puro classicismo. Ao longo de dois temas o sexteto improvisa livremente tentando procurar caminhos comuns, a partir de pontas soltas, ideias que vão surgindo, comunicação e conflito, respostas e desafios. Numa mescla de sons diversos das cordas, entre as cordas graves e agudas, entre os sons prolongados com o arco e o pizzicato, vai crescendo uma massa sonora comum, complementada com os apontamentos subtis da percussão. Nuno Catarino (Bodyspace.net)

Continuing the estaethics of the wonderful "Blattwerk", Vasco recorded two more percussion plus strings albums owth the Guilherme and Ernesto Rodrigues et
consortes. "Zweige" in fact are recorded with a nearly the same personnel, except that the double bass is added.
The album contains two tracks: "Zweige I" and "Zweige II". "Zweige I" combines a lot of pizzicato work with bowing, but is also very varying in moods. After ten minutes bowing over helms the tune, keeping, however, the very meditative and peaceful climates. Vasco himself "bows", but around the 15th minute starts to employ genuine drumming. This is actually the most interesting part of the track for me  quiet, minimalist and tranquil, but extremely tense and beautiful. "Zwiege II" have more bowing, but also more drumming. The mood, however, is similar, very meditative and silent. On the whole record the interactions of the violin, viola and two cellos are actually amazing. the result has nothing to do with a tranditional, or even traditional contamporary string quartet. After the tenth minute of "Zweige II" an explosion of sounds take place, nishing with the return to the land of ultraslow meditation. The role of Vasco and Alvaro, although discrete, is here absolutely crucial. Maciej Lewenstein

Zweige I. Struny poddawane procesowi intensywnego ostrzenia. Rezonans na talerzach. Krok za krokiem, czar urywanych fraz, pomruki kontrabasu, dzwonki. A? g?sto od d?wi?ków. Odrobina uzasadnionego drummingu Trilli. Narracja jest delikatna akustycznie, ale pe?na emocji i niezb?dnej dynamiki. Struny pozostaj? w permanentnym dialogu. Swobodnie improwizowana kameralistyka z pewn? doz? abstrakcyjnej psychodelii. Ju? w 5 minucie szóstka muzyków udaje si? w szumi?ce szuwary, z cisz? u progu, w atmosferze mi?sistej polerki. Akcenty rytmoidalne na suchym werblu. Molekularny taniec ze szczypt? intryguj?cej sonorystyki (zw?aszcza ze strony mniejszych strunowców). Akustycznie urocze, dramaturgicznie b?yskotliwe! – notuje recenzent w pierwszej fazie ekstazy. Od 8 minuty improwizacja zdaje si? systematycznie narasta? (kierunek eskalacja?), ale po?ród instrumentalistów nie ma na to pe?nej zgody. Wybór zej?cia do krypty, wydaje si? dalece s?usznym rozwi?zaniem. Cisza na gryfach, pó?mrok, kto? uderza w struny i raczej nie jest to Vasco. Ten ostatni bowiem dr?y i szele?ci. Zapasy z dramaturgicznym zaniechaniem, zawieszaniem narracji. Pi?kna muzyka (13-14 min.)! Rezonanse i mezalianse! Doom dark micro sonore! Focus on one sound! Pi?? strunowców i ten szósty te? jakby strunowiec – nierozpoznawalne ?ród?a pojedynczych d?wi?ków! Wspaniale! Wybrzmiewanie w kolektywnym rezonansie!

Zweige II. Muzycy pozostaj? w krypcie. Szum wiatru pomi?dzy strunami i w arsenale Trilli. Ci?ciwy ?uków napinaj? si?. W oddali stuprocentowo akustyczny dark ambient. Jakby kolejny stopie? muzycznego wtajemniczenia. Mroczne d?wi?ki dronizuj? si?. To zapewne okrwawiony smyczek na gryfie kontrabasu. Vasco stawia zasieki, wiolonczele p?tl? si?, brn? w kierunku skowytu. Altówka i skrzypce czyni? podobnie. Ca?y sekstet pl?sa po zroszonej ciep?ym napalmem wiosennej ??ce. Dzwonki zapraszaj? na celebracj? chwili. Improwizacyjne wyniesienie?! Cho? na studyjnej scenie raczej … t?umienie emocji. Niektóre struny dr??, inne rezonuj? i buduj? separatywne drony. 10 minuta, to wzrost aktywno?ci, wi?cej dynamiki, narracja robi si? g?sta, jak na pocz?tku p?yty. Muzycy popadaj? wr?cz w galop! More than one drum! I jak?e b?yskotliwy stop! Dzwonki, echa potu na strunach. Doom ambient! Pi?knie! Znów umiar wygrywa z nadmiarem, czyni?c ca?? p?yt? naprawd? wyj?tkow?. S?ycha?, jak struny oddychaj?, a przestrze? wokó? nich pulsuje cisz?. Andrzej Nowak (Trybuna Muzyki Spontanicznej)

Turning to some other recent releases from Creative Sources, specifically ensembles featuring bowed strings, Zweige presents a natural successor to Blattwerk, as discussed here in June. Indeed, Zweige was recorded (in Lisbon, last February) the day after Blattwerk, and augments the quintet of the latter (Harald Kimmig, Ernesto & Guilherme Rodrigues, Miguel Mira & Vasco Trilla) with Alvaro Rosso on bass, making for a string quintet (with two cellos) plus percussion. It even, likewise, features two similar length tracks. (Zweige also predates the Lisbon String Trio series, at least as documented so far, in which Ernesto Rodrigues & Mira are joined by Rosso, by a couple of weeks.) These combinations continue to fascinate, and not only does Zweige augment the quintet on Blattwerk, but it's mixed (by Carlos Santos) to have rather more presence: High end to low end to various quiet scrapings & subtle percussive rattles, it's all easier to hear. Describing Zweige as a "natural successor" was not merely a turn of phrase either, as naturalistic themes maintain — thus appearing to retain continuity with Kimmig's album Raw (on Leo, discussed here January 2017) — including those sometimes frustrating interrogations of audibility. (And I do further wish that these various words deriving from "nature" weren't already so fraught with other meanings, from nudism to anti-immigrant politics. That makes it difficult to be succinct, but the reference here is generally to biology & ecology.) Various origins & inspirations for sound blend, but continue to suggest trees & forests & their inhabitants, living & otherwise. (And I feel sheepish for not having understood the title on Blattwerk as an explicit reference in this regard. This is not the first time I've approached a compound German word via its two parts, rather than realizing that it was already a well-known term: I've come to anticipate neologisms, I guess, including, as in this case, inappropriately.) As a sequel from the next day, it's hard to say that Zweige breaks new ground, but I do find it easier to hear, and therefore appreciate — hence furthering exploration of these string-based ensembles: Some of the background creaking might even present as some sort of wind instrument, for instance, as all manner of subtle sounds are coaxed from the strings & rubbed percussion. (The notion of a flat tapestry, varying in waves, also continues to apply here, as the interaction never becomes terribly layered despite its shifts.) [...] 13 March 2018. Todd McComb's Jazz Thoughts