(Emanem)

Against the pestilential self-contradictions of many and one duets that I often happen to watch on the classical music channel, where the search for a standing ovation is in direct proportion with amplitude of gestural pomp and musical vacuity, here come Malcolm Goldstein’s visceral playing of a violin that often crackles and vibrates under his intensity, in conjunction with the piano of Masashi Harada, who frequently can’t contain the energies which animate his system during these fervent conversations, therefore he releases them through guttural utterances and far-from-formal chanting. Diabolically contorted but – in many cases – desperately lyrical in their melting of any preconceived significance, these fourteen improvisations reconcile with our barely disguised indiscipline, which is now free to champion these artists as an example of seriousness of intents and indiscrimination between what sounds “good” and what instead would be instantly eliminated from the above mentioned contexts, which sure enough sounds even better to yours truly’s callous ears.

Advertisements