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B.A. Zimmermann: Presence / Perspectives / Intercomunicazione / Monologues

Bernd Alois Zimmermann , Siegfried Palm , Saschko Gawriloff , Aloys Kontarsky , Alfons Kontarsky Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Product Details

  • Performer: Siegfried Palm, Saschko Gawriloff, Aloys Kontarsky, Alfons Kontarsky
  • Composer: Bernd Alois Zimmermann
  • Audio CD (October 12, 1993)
  • Number of Discs: 1
  • Label: Polygram Records
  • ASIN: B000001GIM
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #444,772 in Music (See Top 100 in Music)

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3 of 3 people found the following review helpful
Format:Audio CD|Verified Purchase
It has taken repeated listening for this set of chamber music by Bernd Alois Zimmerman (1918-1970) to grow on me. Zimmerman has a whimsical approach here (far from the somber tone of Die Soldaten!), and with great avant interpreters, these four pieces are positively delightful.

"Presence" (1961 -- 25'48) is a "ballet in five scenes" for violin, cello, and piano. It is here performed by Saschko Gawriloff on violin, Siegfried Palm on cello, and Aloys Kontarsky on piano. The recording is from May, 1969 in Munich. The element that is less than obvious here but would presumably be apparent in the choreographed version, first staged in 1968, is that each instrument represents a fictional character. The violin is Don Quixote, the cello is James Joyce's Molly Bloom, and the piano is Alfred Jarry's Ubu Roi. Each instrument has its own unique time pattern (as in Elliott Carter). Zimmerman employs his "pluralistic" musical conception quoting from various sources including Strauss, Prokofiev, Stockhausen, and Debussy.

Perhaps the strongest piece on a uniformly strong album is "Intercommunicazione" for cello and piano (1967 -- 21'01), performed by Siegfried Palm on cello and Aloys Kontarsky on piano. The cello was one of Zimmerman's favorite instruments, and he devised new techniques for it here, including new pizzicato methods and remote harmonics. But technical innovation and virtuosity aside, it is a stunning tour de force which pulls the listener effortlessly along, with relatively sparse piano. The piece is dedicated to Palm, and he and Kontarsky premiered the work in Cologne at the WDR in 1967. This recording was made in Munich in 1969.
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