Campanelli
After two ear-opening volumes of spellbinding works made between 1987-1991 introduced on Shukai in the early 2020s, ‘Campanelli’ brings us right up to date with conservatoire deviant Valentina Goncharova on her first suite of contemporary work issued since the early ‘90s - huge RIYL Svetlana Nianio, Oleksandr Yurchenko, Laura Cannell, Teresa Winter.
As revealed in her archival editions, Goncharova has long been deft and boldly confident in transmuting her classical background into expressive sonification without bounds. Now ‘Campanelli’ brings us as close as possible to her current practice with 11 quietly stunning recordings made between 2023-24 in Tallinn, Estonia, and naturally transcending borders of tradition and innovation. In a procession from shimmering new age arabesques for bells and strings, to pastoral folk mediations, and breathtaking swarms of tape diffused strings, we hear a lifetime immersed in her paradigm emerging in ways arguably more naturally compelling, evocative, than any voice could literally tell.
The 11 pieces lead on from the 2022 edition of ‘Ocean - Symphony For Electric violin and Other Instruments In 10+ Parts’, which presented a mix of work recorded mostly in 1988, with a leap forward into the depths of Goncharova’s imagination. What ensues is akin to a vintage fantasy animation soundtrack or as much as an intimate exploration of the artist’s inner life and inscape. If we’re not mistaken, her voice features a few times, notably as a purring siren on the centrepiece ‘Up To Beauty’ amid the most frighteningly beautiful frissons of consonant/dissonant strings and tape textures, sharply contrasting what we detect as her voice more tightly entwined with the strings on the restive wail of ‘Passion’.
For the most, however, the Ukrainian’s strings are the main character, voicing a range of emotions form the world-weary but robust declaration of ‘I Am Here And Now’ at the fore, thru the voluminous symphonic crest of tension to ‘Halloween’, drawing us right down to an intimate, isolated stillness with ‘Hut In The Mountains’, a gut-grabbing highlight sure to leave nobody unsure to the power of her music. Factor in her ability to evoke the natural world in the stormy clamour of ‘The Rain’ and syncretise far flung styles, as in the mix of Euro and Far eastern themes to a closing ‘Campanelli Pt. 3’ and you have one of 2025’s most striking additions to the experimental/new age classical realm.
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After two ear-opening volumes of spellbinding works made between 1987-1991 introduced on Shukai in the early 2020s, ‘Campanelli’ brings us right up to date with conservatoire deviant Valentina Goncharova on her first suite of contemporary work issued since the early ‘90s - huge RIYL Svetlana Nianio, Oleksandr Yurchenko, Laura Cannell, Teresa Winter.
As revealed in her archival editions, Goncharova has long been deft and boldly confident in transmuting her classical background into expressive sonification without bounds. Now ‘Campanelli’ brings us as close as possible to her current practice with 11 quietly stunning recordings made between 2023-24 in Tallinn, Estonia, and naturally transcending borders of tradition and innovation. In a procession from shimmering new age arabesques for bells and strings, to pastoral folk mediations, and breathtaking swarms of tape diffused strings, we hear a lifetime immersed in her paradigm emerging in ways arguably more naturally compelling, evocative, than any voice could literally tell.
The 11 pieces lead on from the 2022 edition of ‘Ocean - Symphony For Electric violin and Other Instruments In 10+ Parts’, which presented a mix of work recorded mostly in 1988, with a leap forward into the depths of Goncharova’s imagination. What ensues is akin to a vintage fantasy animation soundtrack or as much as an intimate exploration of the artist’s inner life and inscape. If we’re not mistaken, her voice features a few times, notably as a purring siren on the centrepiece ‘Up To Beauty’ amid the most frighteningly beautiful frissons of consonant/dissonant strings and tape textures, sharply contrasting what we detect as her voice more tightly entwined with the strings on the restive wail of ‘Passion’.
For the most, however, the Ukrainian’s strings are the main character, voicing a range of emotions form the world-weary but robust declaration of ‘I Am Here And Now’ at the fore, thru the voluminous symphonic crest of tension to ‘Halloween’, drawing us right down to an intimate, isolated stillness with ‘Hut In The Mountains’, a gut-grabbing highlight sure to leave nobody unsure to the power of her music. Factor in her ability to evoke the natural world in the stormy clamour of ‘The Rain’ and syncretise far flung styles, as in the mix of Euro and Far eastern themes to a closing ‘Campanelli Pt. 3’ and you have one of 2025’s most striking additions to the experimental/new age classical realm.