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 Lena Rist-Larsen was born in 1971 and began to play the
accordion at the age of 3. She distinguished herself during her
childhood years as an exceptional musical talent, and has since
attracted attention nationally and abroad. She has won international
competitions in Klingenthal, Gothenburg and Copenhagen, as well as
national contests. In 1995 she was awarded the Honda prize for her
performance of Baroque music. Rist-Larsen feels a particular kinship
with the music of the first half of the 18th century, and has
pioneered this music on her instrument. In the spring of 1996 she
held an acclaimed debut concert in Olso, consisting exclusively of
the music of Bach - Johann Sebastian and all his 4 composer
sons.
In addition, contemporary music makes up
a major part of her repertoire. She has premiered several new works
for accordion in a chamber setting, as well as for accordion and
orchestra. She also plays the violin and is a sought-after pedagogue
on both instruments.
Lena plays on a Zero-Sette accordion
with complete and independent manuals, tailor-made for both
contemporary and Baroque music. Particularly the latter with its
demand for timbral coherence is especially suited for the
instrument, whose registration was chosen like that of an organ. It
is furthermore an important objective for Rist_Larsen to execute the
music as faithfully to the original score as possible - it has
therefore not been "arranged" for the accordion beyond the demands
to accommodate the music to the range of the instrument. In other
words, it is Bach's unfalsified score we are hearing, not a modified
or modernised version.
It is instantly obvious from Lena's
performance that this major Bach work was approached professionally.
Just the fact that the whole colossal Goldberg Variations were
performed and recorded on the accordion is quite
impressive.
The following qualities of Lena's
performance made the biggest impression on me: precision and clarity
with which the articulation is executed and maintained throughout
the piece; amazing bellows control and equally important - tonal
control. Her tonal refinement comes from the 'inside'. Listening to
her slow movements (variations), I am under the impression that she
hears the tone before it has been 'born', feels what quality it
should have and directs and empowers it her own way. To me, that's
an amazing quality of any performer - tonal refinement and beauty as
it is an ultimate goal of any true musician.
This recording is a Baroque
treat.*****
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