... 1 2 3 ...
News/Special Offers
Artists
Catalogue/Shop
Tours
Links
About ECM

Kim Kashkashian
Betty Olivero
Tigran Mansurian
Eitan Steinberg
Neharót

Kim Kashkashian viola
Münchener Kammerorchester
Alexander Liebreich conductor
Boston Modern Orchestra Project
Gil Rose conductor
Kuss Quartett
 
Neharót Neharót (for viola, accordion, percussion, two string ensembles and tape)

Tagh for the Funeral of the Lord (for viola and percussion)

Oror (for piano)

Three Arias (Sung out the window facing Mount Ararat)
I. Andante, ma non troppo
II. Tranquillo, poco libero
III. Lento, ma non troppo

Rava Deravin (for viola and string quartet)

Recorded between January 2006 and March 2008

ECM New Series 2065
 
Background
Pressreactions

Order CD

Kim Kashkashian’s new album following her Spanish and Argentinian songs on „Asturiana“ is a carefully composed prgramme addressing fascinating connections between three contemporary composers from Israel and Armenia. With five pieces respectively based on traditional laments of the Near East, Armenian chant and Hasidic melody, the focus is again on essentially vocal expressivenss. “What we hear in this music touches off resonances below the level of our acquired expeience”, writes Paul Griffiths in his liner notes. “Singing these songs, in a hybrid register that embraces male and female, Kashkashian’s viola sings for us all.” Betty Olivero started work on “Neharót Neharót” under the impression of the suffering and pain caused by the war in Lebanon in 2006. Olivero’s hypnotic lament for viola, accordion, percussion, two string ensembles and tape draws on allusions to Kurdish and north African songs, traditional oriental music and Monteverdi. The instrument’s singing abilities come even more to the fore in Tigran Mansurian’s “Three Arias (Sung out the window facing Mount Ararat)” which articulate the Armenian people’s longing for the holy mountain beyond the border. “Rava Deravin” by Israeli Eitan Steinberg is based on a melody for a poem by one of the greatest traditional kabbalists and was first conceived in a version for voice and instrumental ensemble. According to the composer, Kashkashian “manages to cry the prayer from within the strings, to murmur the sacred text with no words”.