Patrick Ozzard-Low: In Opposition Andrew Zolinsky & Elisabeth Smalt

• Patrick Ozzard-Low (b. 1958): Piano Sonata No. 2:
• 1 Piano Sonata No. 2: I. — 09:01
• 2 Piano Sonata No. 2: II. — 05:02
• 3 Piano Sonata No. 2: III. — 00:46
• 4 Piano Sonata No. 2: IV. — 06:54
• 5 Piano Sonata No. 2: V. — 11:13
• Viola Sonata "In Opposition":
• 6 Viola Sonata "In Opposition": I. Alpha 09:26
• 7 Viola Sonata "In Opposition": II. Beta 04:23
• 8 Viola Sonata "In Opposition": III. Gamma 03:02
• 9 Viola Sonata "In Opposition": IV. Delta 06:20
• 10 Viola Sonata "In Opposition": V. Epsilon 04:06
• 11 Viola Sonata "In Opposition": VI. Zeta 06:42
• Total Runtime 01:06:55

Info zu Patrick Ozzard-Low: In Opposition

Behind the mask: the music of Patrick Ozzard-Low: The first thing to note about the music of Patrick Ozzard-Low is that if we let it, it will take us to some unusual imaginative regions. Initially we seem to find ourselves in the world of high modernism, but as we beome accustomed to the air this impression quickly dissolves. In both of the two substantial sonatas on this disk, the clearest sign of this occurs in the relationships between the movements. The first movement of each sonata presents a late echo of modernism, the next is something else: what? A reaction, a balance, a retreat, a criticism, of what came before? Something is being said here, but what is it? For me, the initial surface impression is not an illusion, but a mask for other, deeper, more humane concerns. Masks, although static and unchanging, are definite presences. More importantly they enable sensitivities too raw to be exposed directly (nakedly), to be expressed. In this case the mask hints at areas of delicate and fragile feeling, intense and passionate belief, a fervent sensuality and certainly a personal romanticism, but all of these have to be approached tangentially as they struggle with the equally compelling but opposing desire for order, rationality, structure and moral responsibility.

The piano has been Ozzard-Low’s predominant medium of choice and he has a sophisticated understanding of pianistic touch and technique that is rare amongst composers today. At the same time he has been at the forefront of research into the development of 21st century orchestral instruments, indeed has written an authoritative book in which he advocates new designs for classical instruments to meet the increasing microtonal demands of contemporary composition. To some extent he might be described as a Janus faced modernist, essentially forward seeking yet pursuing these aims through large serious pieces with very traditional titles such as “sonata”, string quartet, concerto. ...

Andrew Zolinsky, piano (on tracks 1-5)
Elisabeth Smalt, viola (on tracks 6-11)

Keine Biografie vorhanden.

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