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Author : Holger Sassmannshaus, J. Peter Close
Tags : Double bass solo
This collection is designed for young double bass players eager to begin public performances. It features 19 concert pieces that are both easy to rehearse and sonically appealing, drawn from the Baroque, Classical, and Romantic eras. Additionally, the edition includes newly composed works by Polish bassist Boguslaw Furtok, born in 1967.
"North American Ballads" and "Squares" comprise two collections of four solo piano pieces originally composed for Paul Jacobs, now performed by the composer himself. The ballads present remarkable variations on American folk and work songs. At times, they commence in a straightforward manner, only to develop into increasingly intricate variations; at other moments, the music begins in a state of ambiguity, as if striving toward a destination that ultimately reveals itself through a powerful thematic statement. Rzewski demonstrates a remarkable capacity to perform and compose with equal fervor, whether navigating lush melodic landscapes or venturing into more abstract realms. In his rendition of "Down by the Riverside," the listener cannot help but be captivated by the rich melody, which is appreciated both as a profound beauty in its own right and as a springboard for further exploration. However, it is in the concluding ballad, "Winnsboro Cotton Mill Blues," that Rzewski truly excels, crafting a masterpiece that evocatively recreates the harsh rhythmic and arrhythmic sounds of an industrial mill. This piece oscillates between being harrowing and mesmerizing, drawing the listener into a relentless vortex. When one is momentarily immersed in the folk-like theme, the reprieve is fleeting, as the relentless backdrop of the mill remains ever-present. This composition has become one of the most favored in his performance repertoire, and its appeal is evident: it showcases both a stunning display of technical prowess and a profound expression of passion and sorrow. The four brief pieces that constitute "Squares" exhibit a more explicitly modernist character, making brief allusions to song structures and jazz while predominantly exploring ambiguous tonalities and rhythms. They reflect Rzewski's own oscillation between populist-oriented works and compositions such as Antigone-Legend. As is often the case, Rzewski's exceptional skills as a pianist render any recordings of his performances essential, and this instance is no exception.
