The Most Beautiful Sounds Next to Silence

Few present-day soloists have worked more intently to expand their repertoire than viola-player Kim Kashkashian, and this latest disc is a fine (albeit partial) demonstration of her sympathies. The title of Betty Olivero’s piece translates as “Rivers, Rivers”, and while taking in references to a flood of tears and ray of light, she places the instrument in a context of harmonically interweaving strings that beget a soulful accordion melody which the soloist joins in eloquent duet – though the introduction (on tape) of folksingers fails to integrate accordingly, while oblique allusions to Monteverdi evoke only generalised pathos.

The viola as embodying aspects of the human voice is common to the other two main works. In Three Arias, Tigran Mansurian has produced a concerto at least in spirit: witness the deceptively understated cadenza that emerges from the chaconne-like unfolding of the first aria, with the wistful lilt of the second finding a resting-point in the poignant and ravishingly scored third. In Eitan Steinberg’s “Favour of Favours” the viola is, in part, the direct transcription of a vocal line; one which emerges out of and back into ethereal textures from the string quartet while taking in more tangible emotions – along with a measure of vibrant, semi-improvised playing during its course.

Two affecting arrangements by Mansurian – including a serene piano transcription of a song by his totemic predecessor Komitas – round off this collection. Finely recorded and annotated, it offers gentle rewards such as only the most hair-shirted of sceptics would deny.

(https://www.gramophone.co.uk)