Golijov: Yiddishbbuk
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Category: Music CD
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Music CD Cover
Edition: Music CDCD Release Date: 2007-01-08
Music Label: EMI Classics
Soundtracks:
- Last Round: Movido, urgente-Macho, cool and dangerous
- Last Round: Lentissimo
- Lullaby And Doina: Lullaby
- Lullaby And Doina: Doina
- Lullaby And Doina: Gallop
- Yiddishbbuk: I
- Yissishbbuk: II
- Yiddishbbuk: III
- The Dreams And Prayers Of Isaac The Blind: Prelude: Calmo, sospeso
- The Dreams And Prayers Of Isaac The Blind: Agitato-Con
- The Dreams And Prayers Of Isaac The Blind: Teneramente-Ruvido-Presto
- The Dreams And Prayers Of Isaac The Blind: Calmo, sospeso-Allegro
- The Dreams And Prayers Of Isaac The Blind: Postlude: Lento,
Free Music Notes for Golijov: Yiddishbbuk
Free Music Review: It's All About Sound, Isn't It?
Hit: 5 Stars
It's extraordinarily hard to comprehend what other people "hear" when they listen to music, or to guess what they expect to hear when they listen to new music. The reviews of this CD are dramatically polarized and confrontational. Okay, I should have expected as much, since Golijov, like many contemporary composers, takes a confrontational stance toward his audience. Golijov DOES make his Jewish musical identity/heritage as assertive as he can, even though most goyim around the world have no listening experience of klezmer clarinet to reference. Golijov, like Schnittke, makes the modern composer's interface with musical memories - the presence of the past - a matter of shared confrontation; "in an era of access by recording to all the history of music," he seems to say, "we can't help hearing fragments of everything old in everything new." So we listeners have to share that confrontation with him. And of course there's the huge confrontation of European music, in all its elaborate imperial self-assurance, with the music of "others".
With so many options of confrontation, perhaps the smallest ensemble offers the best vehicle for the composer to make the biggest statement about "sound". For these relatively small compositions, Golijov uses only the expanded string quartet. Of course, for a contemporary to write a string quartet is already a confrontation with 250 years of great music. Then to write a clarinet into the quartet format is inherently to take on the memories we sophisticated Euro-musicians have of Mozart and Brahms. Well, so be it: music exists in the memory, both short-term and long. The instant of sound is made significant by the memory of the phrase. To make an analogy: you can't read one word at a time; you need to remember enough words long enough to constitute a thought. Golijov formulates thoughts in his music; he composes in phrases, and that's what I like.
Attention to simple sonority is also relevant in listening to Golijov. The use he makes of the double bass in Last Round is "profound" in two senses. The clarinet parts in Lullaby and in Dreams and Prayers would be immense fun to play! (Even if you don't play a clarinet, or any instrument, don't you get much of your pleasure in music from "playing along"? I certainly do.) By the sometimes abstruse canons of modern music, the works of Golijov are accessible, offering pleasures on the first listening. But there are also depths which I have heard only on later listenings.
Other reviewers have suggested this CD as a "starting place" for hearing Golijov. I'd go a bit farther. I'd say this CD represents Golijov at his best and most musically focused. More than a starting place, it's an end in itself.
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