The music of Peteris Vasks neatly synthesizes Baltic minimalist mysticism and neo-Romanticism in varied ways. Vasks' star has been rising, and all three of these works have been recorded before. Violinist Gidon Kremer was a champion of the Violin Concerto ("Distant Light"), but Vadim Gluzman gives muscular performances that can stand with the earlier ones. Perhaps the biggest draw here is the chance to hear several Vasks works together: he has a consistent style, but he realizes his goals in different ways. The most ...
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The music of Peteris Vasks neatly synthesizes Baltic minimalist mysticism and neo-Romanticism in varied ways. Vasks' star has been rising, and all three of these works have been recorded before. Violinist Gidon Kremer was a champion of the Violin Concerto ("Distant Light"), but Vadim Gluzman gives muscular performances that can stand with the earlier ones. Perhaps the biggest draw here is the chance to hear several Vasks works together: he has a consistent style, but he realizes his goals in different ways. The most interesting work here may be the Quartet for strings and piano, which immediately gives one an idea of what Vasks is about: Arvo Pärt didn't write any piano quartets. Without disturbing the basic minimalist hypertonal stability, Vasks introduced increasingly unexpected effects: weird harmonics, cadenza-like violin passages, and even a passacaglia. Cadenzas also feature in the violin concerto, where they introduce a stirring contrast with the calm main movements, and Gluzman, with the...
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