Cellist Maya Fridman returns to NativeDSD with her 14th DSD release The Forest In April. The album features the music of composer Jan-Peter De Graff played by Fridman and the North Netherlands Symphony Orchestra conducted by Nicolo Foron (The Forest In April) and Sander Teepen (Concert No. 4 “Rimpelingen”).
Composer Jan-Peter De Graaff wrote “Rimpelingen” in 2017 for cellist Hans Woudenberg on his farewell to Asko|Schönberg This is a work that was received with joy by the trade press.
In 2020-2021, cellist Maya Fridman was artist in residence at the Utrecht-based Tivoli Vredenburg. Through the artistic leadership of this venue, contact was made with the composer and a new initiative came about, with support from the Fonds Podiumkunsten. De Graaff was commissioned to compose a new work for Fridman, which was later titled “Concerto no. 5, The Forest in April“.
In March 2021 “The Forest in April” had its premiere in Utrecht, performed by Maya Fridman and the North Netherlands Symphony Orchestra conducted by Nicolò Foron. Enthusiastically, De Volkskrant writes: “After a solo cadence that lasts for minutes, in which Fridman is allowed to indulge her qualities as a playing animal, a fierce battle ensues. Angular orchestral motifs alternate with the cello’s seething dissonance. Even here the composer mixes the timbres so skillfully that beauty lurks even in the discordant sounds.”
De Graaff says: “In the composition, the relationship between soloist and orchestra is central as a metaphor for the relationship between man and nature. In ‘The Forest in April’ you can hear how the cellist influences the orchestra and how the orchestra slowly mutates into a monstrosity that collapses under its own weight. The work ends with a ‘Requiem’, in which the orchestra blows itself up, as it were. Lonely the lament of the cello floats over the destruction of the orchestra. A deeply emotional moment.”
In June 2021, the North Netherlands Symphony Orchestra additionally recorded Concert no.4 “Rimpelingen”. This time under the direction of conductor Sander Teepen, with another starring role for cellist Maya Fridman. In Vrije Geluiden, De Graaff told us that he was inspired by pebbles crunching on the water: “Then I zoom in on the ripples on the surface of the water and on what’s happening underneath, that’s the ensemble. That’s where a complete world emerges, which eventually fades out.”
This album was recorded on March 10-12, 2021 (The Forest in April) and on June 18, 2021 (Rimpelingen) at De Oosterpoort (Grote Zaal) in Groningen, The Netherlands.
Maya Fridman, Cello
North Netherlands Symphony Orchestra
Nicolo Foron, Conductor (The Forest In April)
Sander Teepen, Conductor (Concert No. 4 “Rimpelingen”)
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 00:51:01
Additional information
| Label | |
|---|---|
| SKU | TTK0076 |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
| Channels | |
| Artists | Maya Fridman, North Netherlands Symphony Orchestra, Sander Teepen |
| Composers | |
| Genres | |
| Acoustics Engineer | Ben van Leliveld |
| Mastering Engineer | Brendon Heinst |
| Instruments | |
| Original Recording Format | |
| Producers | Brandon Heist, Hans Erblich (Co-Producer) |
| Recording Engineer | Brendon Heinst, Antal van Nie & Bart Koop (Assistant Engineers) |
| Recording Location | This album was recorded on March 10-12, 2021 (The Forest in April) and on June 18, 2021 (Rimpelingen) at De Oosterpoort (Grote Zaal) in Groningen, The Netherlands. |
| Release Date | November 26, 2021 |
Press reviews
MusicWeb International
[…] In any case, regardless of whether or not either of these terrific works takes off, it’s difficult to imagine they could be performed with deeper engagement by soloist and orchestra alike, or recorded with greater clarity.
Positive Feedback
TRPTK delivers to us another amazing recording with Maya Fridman, a cellist whose musical sensibilities and skill never cease to enthrall me, performing two outstanding works for cello and orchestra by Jan-Peter De Graaff. The works are challenging and the performances by Maya Fridman are compelling. If you are at all sympathetic to contemporary music, these are works that I encourage you to hear. In listening to this recording, Maya is completely invested in both works.
The composer and the performing artist are of one mind about this musical content. This is evident from what they say about working with each other and what we hear so clearly in the compelling delivery by Maya Fridman. She simply owns these works, in the best sense possible.
Brendon Heinst, founder, and chief recording engineer for TRPTK, creates a terrific recording in this, one of his infrequent symphony orchestra recordings. It offers excellent stereo imaging, consummate resolution, and detail, and it captures nicely the warm naturally reverberant acoustic space of the Concert Hall, De Oosterpoort Groningen.
De Volkskrant
After a solo cadence that lasts for minutes, in which Fridman is allowed to indulge her qualities as a playing animal, a fierce battle ensues. Angular orchestral motifs alternate with the cello’s seething dissonance. Even here the composer mixes the timbres so skillfully that beauty lurks even in the discordant sounds.
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