Uxía Martínez Botana, Sergey Ostrovsky, Alexander Kagan, Noémie Bialobroda - Mendelssohn X Files (2025) [Hi-Res]
BAND/ARTIST: Uxía Martínez Botana, Sergey Ostrovsky, Alexander Kagan, Noémie Bialobroda
- Title: Mendelssohn X Files
- Year Of Release: 2025
- Label: Fuga Libera
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 192.0kHz +Booklet
- Total Time: 00:47:37
- Total Size: 246 mb / 1.62 gb
- WebSite: Album Preview
Tracklist
01. String Quartet No. 5 in E-Flat Major, Op. 44 No. 3, MWV R 28: III. Adagio non troppo (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
02. 4 Pieces for String Quartet, Op. 81: No. 3, Capriccio, MWV R 32 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
03. 4 Pieces for String Quartet, Op. 81: No. 4, Fuga, MWV R 23 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
04. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): I. Allegro vivace assai
05. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): II. Allegro assai
06. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): III. Adagio
07. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): IV. Finale. Allegro molto
In the first of several projects for Fuga Libera, Spanish double bassist Uxía Martínez Botana invites us to hear Mendelssohn as never before. By placing her instrument at the heart of the string quartet and replacing the traditional cello, she opens up a world of unexpected textures and emotional depth. Her brilliant career as a soloist and as principal double bass of Kremerata Baltica (at just 23) and the Weinberger Kammerorchester makes her the natural instigator of this innovative ensemble. Together with three exceptional musicians, she reshapes the balance of the ensemble with subtlety and imagination while remaining faithful to the spirit of the music. From the warmth of Mendelssohn’s joyful moments to the raw power of his grief, the double bass becomes both foundation and voice. This is not only a tribute to a great composer, it is also an artistic statement, offering a fresh lens on this beloved repertoire, and a moving exploration of how tradition can evolve without losing its soul.
01. String Quartet No. 5 in E-Flat Major, Op. 44 No. 3, MWV R 28: III. Adagio non troppo (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
02. 4 Pieces for String Quartet, Op. 81: No. 3, Capriccio, MWV R 32 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
03. 4 Pieces for String Quartet, Op. 81: No. 4, Fuga, MWV R 23 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana)
04. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): I. Allegro vivace assai
05. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): II. Allegro assai
06. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): III. Adagio
07. String Quartet No. 6 in F Minor, Op. 80, MWV R 37 (Transcr. for 2 Violins, Viola and Double Bass by Uxía Martínez Botana): IV. Finale. Allegro molto
In the first of several projects for Fuga Libera, Spanish double bassist Uxía Martínez Botana invites us to hear Mendelssohn as never before. By placing her instrument at the heart of the string quartet and replacing the traditional cello, she opens up a world of unexpected textures and emotional depth. Her brilliant career as a soloist and as principal double bass of Kremerata Baltica (at just 23) and the Weinberger Kammerorchester makes her the natural instigator of this innovative ensemble. Together with three exceptional musicians, she reshapes the balance of the ensemble with subtlety and imagination while remaining faithful to the spirit of the music. From the warmth of Mendelssohn’s joyful moments to the raw power of his grief, the double bass becomes both foundation and voice. This is not only a tribute to a great composer, it is also an artistic statement, offering a fresh lens on this beloved repertoire, and a moving exploration of how tradition can evolve without losing its soul.
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