The composer here, Mihailo Trandafilovski, is probably best known as a violinist with the Kreutzer String Quartet, an enterprising ensemble with particular affinity for contemporary works of living composers A fair amount of Trandafilovski’s music has previously been reviewed by Fanfare: an Innova disc in Fanfare 39:4, a Lorelt disc in 36:1, a Divine Art disc in 42:2, and a Metier disc in 42:1.

Hailing from Skopje, the capital of North Macedonia (not to be confused with Greek Macedonia), Trandafilovski studied in Michigan and at London’s Royal College of Music, where he received his doctorate. His Chaconne for Solo Violin was written in 2022 for the present performer, Peter Sheppard Skærved. Inspired by a concert given by Skærved at Goldsmiths, University of London, entitled “Chaconne”, Trandafilovski’s piece also took over some of the intensity of Iang Yun’s 1978 Kömigliches Theme, which was played at that concert. The range of sounds Skærved gets from his instrument is remarkable. At times it sounds like there are multiple players as the composer ratchets up the intensity. The composer has stated a deep interest in instrumental color, and indeed the title of the disc is that of one of the pieces, Polychromy (Poly as in many and chroma as in color). We hear a careening spiral of violinistic color in Chaconne; at one point the music ascends upwards, as if heralding a close, but after a pregnant pause, spread pizzicatos usher in a whispered final section that brings the music full circle, returning to the original theme (albeit augmented and in retrograde).

Again written for the present performer, Sandglass for B flat clarinet is given a simply beautiful performance by Roger Heaton, whose ability to create the most silken legato (measures 12-14) is a major contributing factor to this recording’s success. Silences are absolutely pregnant with meaning, while Heaton’s control of multiphonics is beyond anything I have previously heard. The piece moves in a sort of arc, from sparse, long notes to more active and back again, inspired by Horaţiu Rădulescu’s piece The Inner Time, a piece that so intrigued Heaton that he wrote a scholarly article on it (and Rădulescu) in the journal Music & Practice (the article is freely available online). As the music moves on, Trandafilovski makes more and more use of the clarinet’s registral extremes before the music moves to a place of peace. The composer talks in his booklet notes of his love for the clarinet, and it shows in his writing, which is both expert and, in its use of the quieter dynamics, even affectionate.

Pronounced “Sharenilo,” the title Šarenilo (2016) means “colorfulness,” an aspect that manifests here in the medium of two violins, closely miked. I mention that because after Heaton’s exquisite sonic disappearance into nothing at the end of Sandglass, suddenly a violin is right in front of you. Written for Skærved and himself to perform at an event curated by the British Museum, it takes an exhibit (Large Plate of Mosaic Glass, c. 225-200 BC) as a starting point. There are two movements, Mosaic, and Nitki (Macedonian for “threads”), and each represents a different angle of perception of the object. Again, instrumental control is the key to the success of these performances, plus the clear link that exists between these two performers (who are, after all, the two violins of a professional string quartet). If the first movement is technically challenging and gleans much of its excitement from that, the second is its reverse, a silvery, peaceful plateau. Sound is taken down to an absolute slither.

Written in 2017-18 again for the present performers, Weaxan is scored for B flat clarinet, violin and piano. While the harmonic field is shared (and includes equal temperament, quarter tones, just intervals, and harmonic series), each instrument has its own “world” that arises from the instrument’s own intrinsic characteristics. The piece grows organically, though, hence the title: “weaxan” is Old English for to wax, or to grow. The level of detail of this performance is wonderful. The clarinet’s opening sustained note is marked senza vibrato, and Merrick plays it absolutely straight; Skærved’s gradations of vibrato and juxtapositions of vibrato/senza vibrato as indicated in the score are perfect. Rarely has following a score given me so much pleasure; to see such detailed realization is a joy indeed. Skaerved’s violin sings with an almost Messiaen-like ecstasy at times, while Roderick Chadwick controls clusters perfectly. Color is there in the score instructions (“shine/glisten” for sul ponticello violin, for example) and in the resultant ensemble sonorities (there is the aural equivalent of an image juddering out of focus and almost shifting into something else around seven minutes in). The clarinet gets the last word, moving between extreme high notes and lower registers.

When it comes to the 2020 solo cello piece Polychromy, performed here by the Kreutzer Quartet’s cellist, Neil Heyde, we find the most extreme work on the disc in terms of extended technique (although the composer argues that this term is misleading as implying a “norm,” and prefers to think of the techniques as “part of a continuum”). Australian cellist Heyde is a true virtuoso, a true master of his instrument. The ability to project and control ultra-high tones is remarkable, while Trandafilovski’s imagination to create this recognizable but nevertheless new soundscape is utterly remarkable. At times, one is minded of Xenakis’s string writing, but Trandafilovski’s emotive range is greater.

The 2020 guitar duo String Dune(s) was written for Hugh Milligan and Saki Kato, the two players who comprise the Miyabi Guitar Duo performing here. The title refers to the shape of the piece (dune) within which there nestle smaller, similar shapes (hence the parenthesized “s”). Again, there are virtuoso requirements, all met with aplomb by the two players here, including using the guitar itself as a percussion instrument. When we do hear something approaching a dance rhythm (between seven and eight minutes in), it comes as quite the shock. The relatively close recording adds to the sense of involvement. This is a fine performance of a compelling piece.

Finally, there comes Grain—Song of 2021-22, with the composite title giving the individual titles of each of the two movements. The composer talks in terms of “sparse modules” in the first movement, Grain, and it is easy to hear what he means: This is gestural music that often nestles on the edge of audibility, almost as if inviting the ensuing silences to be part of the music. The other piece, Song, lives up to its name in its inherent lyricism. Melodies (for such they are) seem to have a loneliness about them; perhaps this is a lament.

The recordings, taken from three separate venues, are uniformly excellent (the difference in venues and times might explain that sudden change in perspective between Sandglass and Šarenilo). This is fascinating, compelling music, brilliantly realized; I look forward to hearing more.

The classical music of Macedonia is a mystery to me – and I presume for the composer Mihailo Trandafilovski that is a common thing he hears. However, when I first saw this album was due to be released in November, I knew I had to get my ears exploring.

The album consists of various chamber works, with the title composition Polychromy being a work for solo cello, and as the title suggests chroma/colour is a central concern within all the works featured.

Šarenilo for two violins stood out for its energy which grabbed my attention from the opening gesture, and Sandglass was a mesmerising and hypnotic work for solo clarinet.

Overall, there is a really personal and curious musical voice. As an introduction to music from the small Balkan nation, this music is truly inviting, and I will explore more from the composer and nation with great intrigue.

This very interesting disc features the music of a composer that I had not heard of before – Mihailo Trandafilovski (born 1974) – and some very accomplished performers for whom this music was written. It was a challenging, but fascinating experience, and one that was rewarding, as it is always a delight to hear new composers – to me at least – and new works, and it always leaves me enriched – even if the work does not immediately reveal its charms. The title for this recording, Polychromy, means ‘many colours’ and is certainly apt.

The first work, Chaconne, is performed by Peter Sheppard Skærved, and is of about thirteen minutes in duration. This form, which has been widely used since the seventeenth century, starts with a seven bar theme. Over the course of the work, this theme goes through many changes, and the performer is called on to employ a wide variety of techniques to achieve this ever shifting soundscape. There is a seriousness and intensity to this work, that never descends into mere gimmicks, and the piece ends quietly, as it began, with a modified return to the theme, in a retrograde, augmented and modified form.

The next work, Sandglass, performed by Roger Heaton, starts expansively and ends the same way. The silence between notes is as important as the notes themselves. The work becomes infinitely more concentrated and dense towards the middle before finally relaxing as it goes out – therefore the concept of the hourglass shape. The sonic capabilities of the clarinet are fully explored – glissando, double trills, multiphonics, harmonics, flutter-tonguing and changing the colour of notes by adding extra keys, as well as exploring the extreme compass of the instrument’s range. Roger Heaton is exceptionally good at this, and one is astounded at this man’s virtuosity. I do not know that much about extended techniques, as far as performing them, as it is not something that appeals to me personally, but I was amazed at what could be achieved.

Šarenilo (pronounced ‘Sharenilo’ – Macedonian for ‘colourfulness’) is a violin duo involving Peter Sheppard Skærved and the composer, and the programme notes go fully into what he is portraying in the two movements. I find this work is particularly effective, and it may be the work on the disc that has the widest appeal. The two movements, just over four minutes each, are reflective and have a beauty about them. I think one would have to be in an almost meditative state to bring this off.

Weaxan was written for and performed by clarinettist Linda Merrick, pianist Roderick Chadwick and violinist Peter Sheppard Skærved. The title of the work is in Old English and means to wax or grow. The composer, who has written the programme notes for the disc, explains his concept and that whilst the three instruments are treated as separate entities, there is a lot that is shared, and after the ‘Waxing’ there comes a slight waning where no further rise occurs. The growth, almost imperceptible at first, is not constant. There is a pause before the final growth is reached, before the work rapidly subsides and is left with a high clarinet note at the end.

Polychromy, for solo cello, performed by dedicatee Neil Heyde, certainly lives up to its name, and is a fantastic work which presents the wide range of sounds that extended techniques for the instrument can employ. However it is far more than a collection of effects and sounds, and is a compelling and satisfying work. The control needed by the player to bring this off is very demanding, and I was certainly most impressed by this piece.

String Dune(s) for guitar duo, is played by Hugh Millington and Saki Kato. The composer, in his notes, talks about how he researches and collaborates before writing for instruments he does not play, and whilst his pieces will push upon the boundaries of what is playable, the end results are very effective. Trandafilovski states: ‘The title of the piece refers to the overall shape – a “dune” – within which there are smaller dunes, developing throughout the composition – and reflecting the waves / vibration of strings.’

Grain-Song, in two parts, is performed by Peter Sheppard Skærved. The first piece, ‘Grain’, is ‘elemental’, somewhat sparse in nature, and one in which the silence between notes is important.

The section section, ‘Song’, is more lyrical, using more traditional techniques. The composer describes it as ‘perhaps more human’. Its development, for the casual listener, is perhaps easier to comprehend, and I find it a satisfying way to end this disc.

This is a very interesting and impressive album. The recording engineering is sound, the music interesting, the performers are outstanding, and very clear and explanatory programme notes make this a disc to have, if you want the challenge of hearing something new. Please listen with an open mind because I feel this is a very worthwhile and creative disc.

Macedonian composer and violinist Mihailo Trandafilovski is not a new visitor to MusicWeb International. A Lorelt disc was reviewed here in 2011. He is also a member of the Kreutzer Quartet alongside Peter Sheppard Skærved and that quartet is amongst the performers heard here.

The two movement Diptych (Violin Concerto No. 2) comprises Dance-Ascent and Song-Rotation. The first buzzes and hums with loud passionate intensity. Skærved’s foregrounded violin leaves honed blade trails in the textures explored. The music is like Vivaldi but piled to the ceiling with volatility, scorch-marks and danger. This cannot go on indefinitely and gradually the tapestry of sound becomes more subdued. A silence asserts itself from which emerges Song-Rotation. A little like Gubaidulina in this movement, Trandafilovski majors in introspection but it cannot be termed “relaxing”. The composer keeps probing the music’s breaking-strain but, exhausted, finds an almost self-effacing peace with which to end niente. Longbow is the middle-sized string orchestra providing the angry or quiet backdrop to Skærved’s dazzling solos in this diptych.

We then get to hear the composer’s numbered Duos for violin and piano. In Duo 1 the composer mercilessly piles high the dissonance and harsh hammered-out atonality. The central episode and epilogue have chiming piano notes that serve to clear the air of hysteria. Duo 2 is in seven little movements without titles other than numbers. They range between 2:12 and 3:57 in duration. This is more accessible music than Duo 1 with upscaled defiant nobility, display, resonant bell-towers and gentle reflection all in evidence. That the final ‘panel’ ends in long silences separated by pecked notes on the piano is typical of Trandafilovski. The writing reminded me of the music of Richard Pantcheff. I would not have said that of the other pieces here. Duo 3 is in a single dissonant movement rotating between harsh impacts on the piano and modernistic “gypsying” from the violin.

The single movement Fibers AND Coils for string quartet buzzes with activity. This is pitched at a whisper or slightly above. It has a duration almost as long as the Violin Concerto No. 2. There is an awesome strength behind this playing which again essays no easy ingratiation with the listener: why should it? This is music that is toweringly confident in the avant-garde trails it lays. Hectically jet-propelled sandstorms of sound leave the listener in awe but Tradafilovski also leads the supplicant listener down a gradient to otherworldly peace. Pianissimo confidences are vouchsafed by the violins.

The Metier booklet sets out in English only and across 16 pages what Skærved and the composer want us to know about this music and its performers.

The recording is staggeringly complicit in what Trandafilovski has to say and the musicians (who include the composer) seem completely in touch with the music.

Во „Часови“ на композиторот Михаило Трандафиловски чувме сосема нова музичка естетика исполнета со интензивна ритмичност и експлозивен израз. Минималистичка структура збогатена со интересна звучна структура која преку акценти и различни динамички нијанси ја полни со интензитет содржината на композицијата. Делото го отсликуваше авангардниот и современ израз типичен за авторскиот опус на Трандафиловски чие творештво се базира на различниот приод во дефинирањето на бојата/звукот на инструментите, нивната конструкција и начин на произведување на звук преку разнобојни хармонски мрежи.

Ангелина Димовска – СОКОМ

Trandafilovski is familiar in his guise as a violinist in the Kreutzer Quartet which is featured here in two works, Magnets, Lava, Crystals, a captivating clarinet quintet, and Chetiri (Four), a set of haikus by Macedonian compatriot Vladimir Martinovski. As mentioned in the notes, Scelsi and Radulescu are strong influences. We also hear the spectralist preoccupation with widely spaced chords. Arc-en-ciel is a glinting duet for two violins, a new companion to Scelsi’s composition of the same name, except the tessitura is broader and Trandafilovski has no fear of extended techniques and noise effects.

(S)Pacing might be a graduated set of cello duos. Increased techniques suggest pedagogical aims or a progression (difficulty or enlightenment?). Ripple Effect explores the piano’s innate resonance with reverberating chords varying in spacing and range. The instrument is familiar, yet the way the soundboard rings is not. Chetiri (Four) is an atypical chorus plus quartet piece. The strings edge close to noise, bruising tremolo, altogether unexpected harshness. The chorus brings purity with consonant intervals, but sometimes the two dozen masses to suggest the chaos and power of a crowd. The poems explore the four elements, Air, Water, Earth and Fire, reflecting Trandafilovski’s search and discovery of a fundamental, invigorating language.

Трандафиловски создава извонреден спој на боја и драма, која е невозможно да се класифицира во рамките на постоечките правци и “школи“. Поздравени со громогласен аплауз и овации, Трандафиловски, Новиот Лондонски Камерен Хор, Клемент Пауер и Кројцер Квартетот се потврдија како извонредни амбасадори на македонската современа музика, во еден од центрите на светската музичка култура.

ЧЕТИРИ — Панде Шахов, Музика

Trandafilovski is also a violinist – but that is about all that he has in common with Carr – apart from the record label. He is part of the Kreutzer Quartet from London, specialising in recording and performing modern string music (e.g. by Gloria Coates, Simon Bainbridge and others) but also classical composers such as Czech Anton Reicha. Again the theme of Covid: in 2020 Trandafilovski started recording a variety of ‘non standard’ (whatever you want to call ‘standard’, as he says himself) violin techniques via Zoom. At a later date cataloguing this material and adding improvisation, he discovered he could arrange all this into musical pieces, for the first time making use of a ‘studio’ environment with panning, echo and other sound manipulation. The result is an attractive CD of improvised sounding music. On Steppe(s) Trandafilovski offers three tracks of solo violin. They all clock in at around 10 minutes and with the titles Orbit, Wave, Shore and a cover that implies a water surface (although I believe it is a CGI) bring the association of the play of water, an ebbing and flowing. The sound comes and goes and these pieces are a far cry from the constant rhythm accompanying some of Carr’s pieces. Trandafilovski uses echos and over-dubs to create a multi-faceted and multi-layered music. All pieces start from quiet beginnings, build to a tremendous climax and ebb off again into a partly near-silent ending. This CD is more fun to listen to, and will rather appeal to a jazz (rock) audience than Carr’s ‘song’ music, and might even put off the classical music listener due to its improvised character. But fine for me, I liked it. (RSW)

Two new releases from Neuma Records, a label that exists since 1988, led by Philip Blackburn since 2020. The focus of this label is to release newly composed experimental music. For some of these releases, It is interesting to read, that the virus made a lot impossible, but also opened up some new opportunities that otherwise probably wouldn’t have occurred. Violinist and composer Mihailo Trandafilovski for example tried to do something he had already for a longer time in mind. Trandafilovski from Macedonia, studied at Michigan State University and The Royal College of Music in London. He has several albums out with his work for Innova, Métier and Lorelt. Also, he is a member of the Kreutzer Quartet. The limitations due to the virus decided him to record a catalogue of sounds, using all kinds of techniques of playing the violin. Deeper than before, he concentrated on the diverse qualities of these sounds. After recording these sounds, the next step was to arrange them within a composed structure. This forced him to proceed differently from how he normally composes a new work. In the studio, Trandafilovski assembled all these elements into three compositions with their characteristics. Namely, Orbit, Wave and Shore taking together 33 minutes. Using diverse devices from the studio, he leaves the acoustical qualities as such intact in his mixing process but puts them in a new light. His constructions sound very abstract in one way but as they constantly point to the concrete sounds as the topic of his research, they are also very physical. The works are full of details and nuances, which makes concentrated listening to a very rewarding experience. (DM)

The folk music of his native Macedonia is a constant presence in Trandafilovski’s pieces here, manifested as a certain rough-hewn, energetic stamping dance quality (with literal stamping and percussive effects) in the livelier sections of Strike-Flow, A-de-scent and the concerto. Slow, suspended sections tend to be more tonal, even frankly diatonic. As violinist with the Kreutzer Quartet, the composer unsurprisingly writes challenging and idiomatic music for his instrument, notably the violin duos from his cycle Steps, which explore aspects of contemporary music in the style of études. The Quartet, written for the Kreutzers, amply utilises the potential of the ensemble, again alternating wild folk dancing and meditative material, with some finely judged microtonal inflections. The concerto is a work of restless energy, strongly rhythmic with the Macedonian folk element well to the fore, in an harmonic vocabulary that is tough and dissonant but by no means unapproachable. The first is more of an integrated ensemble piece than the second, in which the virtuosic solo part takes the spotlight with an extended cadenza, after which the music subsides in a tonal epilogue with gradually diminishing density.”