En times stærk og vedkommende vellyd, en cello i udbrud og et klaver på stikkerne, mens harmonierne fra desværre halvglemte, men virkeligt interessante, kvindelige komponister fylder højttaleren og rummet.

Så sidder man med ”Upheaval”, der præsenterer musik af hhv. Henriëtte Bosmans (1895-1952), Dora Pejacevic (1885-1923) og søstrene Lili Boulanger (1893-1918) og Nadia Boulanger (1887-1979). Søren Rastogi spiller klaver, mens hans hustru, Janne Fredens, styrer celloen. 

Hvordan beskriver man bedst sådan et album, der bare rammer plet på alle parametre? 

Vellyden ruller ud af klaveret, mens celloen fører sig frem som en kriger, en gentleman på frierfødder eller en poet i varsomme tanker. Det er en stor oplevelse at åbne for dén spændstige, livfulde og fuldt ud meningsfulde interaktion mellem cello og klaver, som ”Upheaval” ligger inde med. Og som Søren Rastogi og Janne Fredens så ubesværet og elegant kommer ud med.

Det netop udkomne album ”Upheaval” bærer en titel, der refererer til den turbulente tid omkring Første Verdenskrig. Repertoiret stammer fra denne periode, og musikken er skrevet af fire kvindelige komponister, der desværre ikke har fået meget opmærksomhed i den etablerede klassiske musiks verden. Med dette album rådes der bod på det, og det er åbenlyst, at vi er gået glip af noget gennem årene.

Ægteparret Søren Rastogi og Janne Fredens leverer en times virkelig lækker lyd, som giver mening, fylde, power og nærvær hvert eneste minut. Alt er velproportioneret, vel tilrettelagt og velvalgt, og man får et opbyggeligt indspark i sit liv. Det lyder stort. Men det er virkeligheden. Dertil kommer, at det sker med musik af desværre noget oversete komponister. 

Søren Rastogi og Janne Fredens lægger ud med de fire satser i Henriëtte Bosmanns ”Sonata for cello and piano Aminor”. Bosmann var født i Holland og havde gang i en ellers lovende karriere som pianist og komponist, men hun blev afbrudt af nazismens indmarch i landet. Siden kom hun aldrig helt tilbage med samme kraft. Men dog efterlader hun et spor.

Læse resten af anmeldelsen på Klassisk bureau: 

https://klassiskbureau.com/fuld-fart-p-duo-der-opliver-lettere-glemt-musik 

An hour of strong and relevant euphony, a cello bursting out and a piano on its toes, while the harmonies of sadly half-forgotten but truly interesting female composers fill the speaker and the room.

That is what you are left with after ”Upheaval”, which presents music by Henriëtte Bosmans (1895-1952), Dora Pejacevic (1885-1923) and the sisters Lili Boulanger (1893-1918) and Nadia Boulanger (1887-1979). Søren Rastogi plays the piano, while his wife, Janne Fredens, commands the cello. 

How do you best describe an album like this, one that hits the mark on every parameter? 

The euphony rolls out of the piano, while the cello advances like a warrior, a gentleman on his way to propose or a poet in careful thought. It is a great experience to open up to the agile, lively and fully meaningful interplay between cello and piano that ”Upheaval” holds. And which Søren Rastogi and Janne Fredens deliver so effortlessly and elegantly.

The newly released album ”Upheaval” has a title that refers to the turbulent time around the First World War. The repertoire comes from this period, and the music is written by four female composers who sadly have not received much attention in the established world of classical music. This album makes amends for that, and it is obvious that we have missed out on something over the years.

The married couple Søren Rastogi and Janne Fredens deliver an hour of truly delicious sound, which makes sense and has fullness, power and presence every single minute. Everything is well proportioned, well arranged and well chosen, and you receive an uplifting contribution to your life. That sounds grand. But it is the reality. On top of that, it comes with music by sadly rather overlooked composers. 

Søren Rastogi and Janne Fredens begin with the four movements of Henriëtte Bosmann's ”Sonata for cello and piano Aminor”. Bosmann was born in Holland and had an otherwise promising career as a pianist and composer under way, but it was interrupted by the march of Nazism into the country. Afterwards she never quite came back with the same force. Yet she does leave a trace.

Read the rest of the review on Klassisk bureau: 

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