“The most groovy chamber music imaginable“ – All music by Florian Willeitner
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Florian Willeitner – violin & composition
Ivan Turkalj – Cello
Maria Radutu – Piano
The heart of this debut album comes in form of two multi-movement piano trios, framed by two other pieces, all written by violinist Florian Willeitner. The titles of each trio`s movements alone indicate a unusual musical experience. The opener “Irish Wedding in Bukarest“ deserves the award “most groovy chamber music imaginable“. The sounds transition seamlessly between catchy Irish Folk and post- modernism.
The list of movements of Piano Trio No. 2 reads as follows: Portrait/ Scherz- One for the Road/Song-Choral-Transformation of Hearts/Fuga in Odd. This juxtaposition of classical form and folk or jazz idioms is the essence of this music. NP3 showcases all this with striking authority: The stringend contrapunctual “Fuga in Odd“ merges baroque elegance and polyphony with fiery eastern rhythms. Meanwhile some of the slower movements like “Portrait“ seem to have been secretly kissed by the ghosts of Bartok and Ravel.
Throughout the entire range of such repertoire this trio takes you along a journey full of vivid images, subtle nuances, modern sonority, artfully virtuosity and touching moments of tender affection alike. But first and foremost you are hearing “the most groovy chamber music imaginable“.
A Classic(al) Revolution
New Piano Trio Turns Listening Expectations Upside Down with Debut Album
It would be better to not have to describe with words how this newly created music sounds. For every word leads to familiar thought terrain, rather than to this space where the many thoughts are thought as one, rather than being interlinked. Where classical music, jazz, pop, folk, Irish, Balkan, and Bach are not jerkily yanked in different directions. Where not crossover reigns, but rather a new and youthful quality of composing and making music, old and new, serious and easy-listening, counterpoint and improvisation, virtuosity and entertainment, are always construed as a oneness directly springing from the musician’s biography.
This could be music for the chamber music concert hall or for the main stage of the Burghausen Jazz Week. For the Passau Festspiele European Weeks, or for an open air rock concert that would truly like to offer something new. The right amount of chutzpah is contained in this music and in the aspiration of getting young people excited about contemporary classical music.
Passauer Neue Presse 2016 – Raimund Meisenberger