Kritike

IL PICCOLO
14.januar 2008
recenzija CD plošče »Riflessi mitteleuropei«
Tatjana Kaučič, klavir
»Riflessi mitteleuropei« s klavirjem Tržičana Riccarda Fabrisa

»Riflessi mitteleuropei« je zgoščenka z glasbo Riccarda Fabrisa, ki je izšla pred kratkim pri založbi Pizzicato. Naslov hkrati označuje stilske namere programa, ki je enostavno prepoznaven, zaradi vplivov v osrednjeevropskem področju, na katerega se eksplicitno sklicuje. To so odsevi nemške dediščine, ki se stapljajo s čisto italijansko ekstravertiranostjo. Povezavo je čutiti tudi na simbolnem nivoju, in sicer, srečanju onstran meja, ki jih ni več: med italijanskim avtorjem in slovensko pianistko Tatjano Kaučič.
Tržiški skladatelj, učenec klavirja v razredu Luciana Ganteja in kompozicije Luigija A. Giganteja, se tokrat predstavlja s tremi deli iz leta 2005 kot pianist, ki piše za lasten inštrument. Uvertura je zaupana spevni naravi, ekstravertirana in sentimentalna Suita za klavir, odlomek, s katerim se je začelo sodelovanje v letu 2006 med Fabrisom in Kaučičevo, kot njegovo prvo izvajalko na Edinburg Fringe Festivalu. Strastni toni označujejo tudi zadnja stavka tridelne PalinodijeII, ki zaključujeta lirični in zamišljeni Larghetto. Palinodija I živi rapsodično razpoloženje, ki podoživlja odmeve antičnega kontrapunkta, tke stisnjene dialoge med glasovi in poslušalcem, v tesnobi pripovedujoč površinske občutke.
Gre za glasbo brez vonja inovacije, natančne strukturalne in stilistične refleksije novoromantika, ki je asimiliral ekspresionistične lekcije, in ne zavrača impresionističnih uklonov, da bi dal življenje svojemu osebnemu jeziku, ki spaja različne izkušnje.
Senzibilna ljubljanska pianistka giblje fraziranje ekspresivno, odlaša z umerjenostjo, poglablja obliko, se osredotoči na ekspresivnost vsebine partiture, v njej skrbno raziskuje komunikativno željo, odločno in natančno poudarja pomembnost ritmičnega elementa, in na koncu razsvetli z neko globinsko čistostjo glasu, jasno avtorjevo ekspresivnost.
Zapisi libreta z vodičem za poslušanje so izpod peresa Claudia Gherbitza.

Dnevnik
(29.septembra 2007)
Franc Križnar
»Tatjana Kaučič igra Riccarda Fabrisa: Riflessi Mitteleuropei/Srednjeevropski odsevi«
Pizzicato Verlag Helvetia, 2007

Slovenski pianistki mlajše generacije, Tatjani Kaučič je uspel »veliki met«. Potem, ko je s klarinetistom Dušanom Sodjo posnela in izdala dvoje cedejk v njunem »znamenitem« klarinetno-klavirskem duu, se odslej lahko ponaša tudi z novo povsem solistično ploščo. Tokrat je posnela glasbo italijanskega skladatelja aktualne ustvarjalne generacije Riccarda Fabrisa. Gre za njeno igro treh aktualnih del, ki so vsa po vrsti nastala leta 2005, torej hkrati tudi za sodobni in aktualni italijanski klavirski opus: Suita, Palinodia I in II. Vsa tri dela oblikovno omejuje »klasična« in kontrastna tristavčnost, zvočnost njegove glasbe pa ni zaznamovana nacionalno italijansko, pač pa univerzalno; zato verjetno tudi naslov plošče s tremi deli, ki skladatelja Fabrisa in izvajalko Kaučičevo uvrščajo v »srednjeevropske odseve«. Njena klena, suverena in bravurozna, zdaj že povsem značilna klavirska igra pa vedno bolj izzveneva z domačih, slovenskih glasbenih odrov in zapisov v ta, srednjeevropski prostor.
Ocena: 5

Delo
(4. avgust 2006)
Jure Dobovišek
Kritika koncerta na ljubljanskem Festivalu
S kancem družinskega vzdušja

Koncert Dušana Sodje in Tatjane Kaučič v okviru ljubljanskega poletnega festivala je bil zaznamovan s kancem nekakšnega inspirativnega družinskega ozračja, ki sicer gotovo ni nikogar izključevalo (prav nasprotno), je pa nekoliko spominjalo na meščansko tradicijo muziciranja v krogu posvečenih in bilo prepojeno z zavezništvom s posamičnimi ustvarjajočimi. Sodja in Kaučičeva sta po dvanajstih letih delovanja predvsem-cenjena: duo, ki mu posveča skladbe nekaj slovenskih avtorjev zvenečih imen in ki ima v avditoriju glasbenike in glasbene poznavalce, za (pianistkinega) obračalca not pa kar skladatelja (Iva Petrića).
Program je bil tehtna in pestra osvetlitev moderneje usmerjenega skladateljskega izraza, z Brahmsovo skladbo vred. Ta se je dvigala iz osredja večera kakor kak spomenik. Sonata za klarinet in klavir v f-molu iz poznega opusa 120 je primer radikalnega brahmsovskega spoja med strnjenostjo motivičnega dela in čudežno, včasih pa tudi že kar čudno, zaletavajočo se osvobojenostjo v harmonskem razvoju stavka. Izvedba prvega stavka je v svoji detajlirani osredotočenosti tako delovala nekoliko raztrgano; krhko lep je bil klarinetistov napev v drugem stavku. Če sem zapisal, da se je skladba dvigala, sem imel v mislih tudi rastoči interpretativni lok, speljan od začetne mrakobnosti do smelo plesno akcentuiranega rondoja.

Klarinetist in njegova partnerka vstopata v skladbe notranje uglašena med sabo, z energetsko ekonomiko tona in predvsem z akribijo, takšno, ki je zmožna zadihati. Trpkost v Sonatini Uroša Kreka je nedoločna, obotavljaje se izvija iz dinamične pritajenosti, ki je bila uvodoma ozvočena skorajda breztelesno; »kapriciozni« značajski potencial hitrega stavka (s pozorno izdelanimi kontrapuntskimi relacijami) pa ni bil docela izkoriščen.
Dušan Sodja je gibek, linearno skrben, rad prisluškuje lastnemu tonu; Tatjana Kaučič teži k transparenci sozvočij, njena igra je naravno (nikoli rezko) izklesana. Z Dance Preludes, ciklom iz »folklornega« stadija Witolda Lutoslavskega, sta poustvarila kontrastne, nadrobne podobe. Mislim, da sta bili tudi preostali interpretaciji zelo dobri. Slišali smo novo miniaturno skladbo Janeza Matičiča Canto rapsodico. Vztrajajoča »usodna« klavirska figura, nemiren oz. latentno vzburjen spev, trepetljanja; asketsko, jedrnato. No, Sonata Leonarda Bernsteina - skladateljevo zgodnje delo - je daljša, nemara predolga. To ni velika glasba. Je pa skladba zanimiva kot lonec, v katerem najdemo že celotnega skladateljskega Bernesteina (od bartókovskih pobud do jazzovskega in revialnega dotika).

The Clarinet
December 2005
CD review from Julia Heinen
Album: Srečanja (Encounters)
Works by Firšt, Krek, Paterson, Petrić, Pucihar and Ramovš

Clarinetist Dusan Sodja and pianist Tatiana Kaucic have completed their second compact disc collaboration. Their first CD, Legends, was completed in 2000 and features several standard works for clarinet and piano. Their second CD, Encounters, features all new music by Slovenian composers, with all but one of the works written specifically for this duo. This compact disc was recorded in the Concert Hall of Slovenian Philharmony, which Sodja is a member, with one microphone in DVD quality and then squeezed to CD format. Sodja played Selmer clarinets for this recording and the piano was a Steinway D-model.
Uros Krek’s Saraband for Natasha was written in 1994, the year this duo joined forces. Kaucic states in her program notes that she and Sodja wanted to record this as a reminder of the their tenth anniversary of music-making. This is a hauntingly beautiful work in a single movement which is quite impressionistic in nature. The clarinet and piano intertwine with a touch of melancholy expressing dark emotions in beautiful melodic gestures which leave us wanting more.
The second work is Ivo Pertric’s “Autumn Encounters” for which this compact disc is titled. This piece was written in 1999 and first performed in April of 2000. Kaucic states in her program notes that “Autumn represents the composer’s maturity in comparison with our youth.” This work has five short movements which feature intricate ensemble playing coupled with rhythmic independence. The performance is stunning, highlighting a perfect balance between these two wonderful musicians.
Uros Krek’s Sonatina is a significant work in three movements. It is a rhythmically driving and filled with wonderful sounds and fascinating mood changes. The last movement is delightful with its intricate use of rhythmic interest and light-hearted motives. While this is the only work on this compact disc not written specifically for this duo, Sodja states “He (Krek) remains out “Lieblingskomponist” as you can hear it in the Sarabande which we play practically on every concert.”
Primoz Ramovs composed “D-S” for Sodja and it was premiered by the duo at his graduation concert in 1995. It is a true virtuoso work for both clarinet and piano. These two musicians meet every challenge with remarkable fluidity It is an exquisite composition and one which deserves to be a staple in the clarinet repertoire.

Nenad First’s “Diary” was written in 2000 and is a “tour de force” for this formidable duo. An exceptionally large palate of sounds is demanded by this substantial work. Again, these two are up to the task, not only technically but sonically and expressively as well.
Jaka Puchihar is the youngest composer represented on this recording having been born in 1976. This work, written in 2002, is lighter in nature and was composed at the request of the duo for a work with which to end their concert programs. It incorporates many fascinating compositional elements including several from the jazz idiom. It also has a significant cadenza for clarinet which is played with driving excitement by Sodja.
The last work is Scottish composer Wilma Paterson’s “I Dreamed I was in the Forest of Badenoch.” Kaucic states, “The composition was written at our request, since at the concert in Tomintoul, where Wilma lived at that time, we wished to play a work composed by a native.” The work is a wonderful Scottish ballad and after a very rhapsodic opening, features a darkly beautiful melody played by the clarinet. This is a wonderful piece and one which explores the full capacities of both instrumentalists.
This recording is definitely a significant CD and is an important addition to the recorded works for clarinet and piano. It brings to light many new works by some of Slovnia’s most notable contemporary composers. Sodja’s playing incorporates a wide variety of beautiful and haunting sounds. His dynamic range is wide and he expresses his deep emotions with a multi-faceted use of tone color. His exquisite playing reveals flawless intonation, total technical control of the instrument and most importantly, a deep-felt musicality which connects with the listener. Kaucic’s pianism is formidable. She is an insightful musician and one who knows exactly how to perform as a collaborative artist. Their performance is stunning and the ensemble beyond reproach. It is apparent through this recording that this is a world-class duo from which we hope to hear many years of music making.

From The Clarinet
(December 2001)
CD review by David Niethamer
Legende. Dusan Sodja, clarinet; Tatjana Kaucic, piano.
Claude Pascal: Three Legends; Malcolm Arnold: Sonatina, Op. 29; Ivo Petric: Sonata;
Leonard Bernstein: Sonata; Francis Poulenc: Sonata; Joseph Horovitz: Sonatina.
CORONA CCX 196. Total time 72:21.

Dusan Sodja is a clarinetist in the Slovenian Philharmonic. His studies have been in Slovenia and at the Salzburg Mozarteum. Sodja plays with a beautiful sound, good intonation, a wide dynamic range, and very expressive phrasing.
This disc contains six works for clarinet and piano from France, America, England and Slovenia. The title of the disc derives from the only work on the CD not entitled Sonata or Sonatina, Claude Pascal's Three Legends for clarinet and piano.
The disc opens with Pascal's work, which was written for Ulysse Delecluse in 1964. This is a new work to me. It serves as a wonderful introduction to the CD, and would make a good recital opener as well. It is in three movements, each with an evocative title. Dusan Sodja plays with colors and moods which beautifully match the music. This piece deserves wider exposure, and this performance alone is a good reason to acquire this CD.
Another less well-known work is the Sonata (1956/57) by Slovenian composer Ivo Petric, who also wrote the notes for this CD. According to Petric's own notes, during the 1950s he embarked on a project to write sonatas for many of the wind and brass instruments, much like Hindemith. This sonata owes a large debt to Hindemith in terms of the harmonic language and the lyrical use of the clarinet. Still it is an appealing work, a good alternative to the Hindemith for recital programs. Sodja's playing is idiomatic, with a beautiful sound and good intonation.

The English contribution to the repertoire for this disc is Malcolm Arnold's Sonatina, which dates from 1951, and Joseph Horovitz's Sonatina (1981), another infrequently played work which is rarely found on recordings. Horovitz's Sonatina is very conservative in tonality and the melodic use of the clarinet, and treads the line between popular and concert music. It is very beautifully performed by Sodja, as it plays to his strengths of beautiful tone and careful attention to intonation. In the Arnold, in the more rhythmic and articulated passages, I found myself wanting more "bite" in the articulation, and more incisive rhythm in the playing, but that's a small point in this recording.
The remainder of the disc is devoted to two chestnuts of the repertoire, the sonatas of Leonard Bernstein and Francis Poulenc. Both are performed ably.
The pianist on this CD, Tatjana Kaucic, is always very accomplished. She is a strong player technically―those of us who have played the Bernstein will remember the "impossible" parts of the first movement, which are here played with ease―and a sensitive and equal sonata partner. Kaucic and Sodja have performed together since 1994, and it shows in their excellent ensemble playing.

From BBC Music Magazine
(November 2001)
Album: LEGENDS
Works by Arnold, Bernstein, Horovitz, Pascal, Petrić & Pascal
Dušan Sodja, clarinet
Tatjana Kaučič, piano
Corona CCX 196

Although only two of the works in their programme fall outside the mainstream repertoire, this new recording by a young Slovenian duo is most welcome for its refreshingly different interpretations. Using considerably more rubato than is customary, they make a compelling case for Poulenc's well-known Sonata, including a ravishing reading of the beautiful slow movement. Dušan Sodja is an extremely assured player with a prodigious technique but these qualities never overshadow the more elusive ability to play long cantabile lines with real depth. His rendition of the gorgeous central movement of Horovitz's Sonatina is outstanding and represents one of the highlights of the disc.

Of the two lesser-known pieces, Claude Pascal's Three Legends proves a revelation with its vivid, strikingly presented characterisations given by this partnership. The Sonatina by Malcolm Arnold, a work very familiar to clarinettists of all standards, is seen here from a different perspective and the unusual approach to phrasing and articulation should make interesting listening for those with preconceived ideas. Throughout their recital, both players give sparkling, uncontrived performances which convey a genuine passion fro the music, thereby ensuring that this disc can be highly recommended.
Tim Payne

PERFORMANCE ***** (EXCELLENT)
SOUND **** (VERY GOOD)