Label: Another Timbre

三者共に当店の激推しレーベルに関連音源を残している、Kristofer Svensson(カチャピ)、Maya Bennardo(ヴァイオリン)、Erik Blennow Calalv(バスクラリネット)によるトリオユニット録音[Under A Lemon Tree]。静寂、呼吸、倍音を主要な要素とした作品で、トリオ演奏というよりは一つの共同鑑賞を体感している様な不思議な印象。音量を抑え最小限の動作を行い、弓の圧力、指の動き、呼吸といった微細な変化を一つの事象となるまで時間を引き延ばす。技巧では無いそれぞれのジェスチャー的表現が見事な形で記録されています。



On For a Lemon Tree, Kristofer Svensson, Maya Bennardo and Erik Blennow Calälv cultivate a fragile, glowing sound‑world where violin, bass clarinet and kacapi trace slow, intertwined lines, turning silence, breath and overtone into their primary compositional materials.
For a Lemon Tree brings together Kristofer Svensson (kacapi), Maya Bennardo (violin) and Erik Blennow Calälv (bass clarinet) in a recording that feels less like a conventional trio album and more like a single, extended act of shared listening. Working at low volume and with sparse materials, the three musicians stretch time until tiny changes in bow pressure, finger noise and breath become events in themselves. Rather than foregrounding virtuosity, they let tone, decay and the friction between instruments carry the weight of the music, so that each gesture arrives as something both carefully placed and slightly unpredictable.

The piece unfolds in long arcs, with the kacapi’s plucked resonance providing a subtly shifting ground over which violin and bass clarinet weave elongated melodic threads. Intonation is treated as a living thing: close intervals beat against each other, producing soft internal pulses and halos of overtone that hover in the air. The pacing is patient, giving space for sounds to bloom and fade fully before the next one appears. Silence is not a backdrop but an active component, framing the instruments so that even the quietest entry feels charged. At times the trio seem to move almost in parallel, at others they fan out into a loose counterpoint that still retains a sense of collective breathing.

Throughout For a Lemon Tree, there is a strong sense of place, even if it is never specified outright. The music suggests open air and stillness - the kind of concentrated quiet you might find in a garden or on a shaded hillside - but it is also edged with the slight tension that comes from holding that quiet together. Svensson’s writing and the trio’s shared approach draw on just‑intonation sensitivities and a taste for extended duration, yet the result is anything but austere. Instead, the piece feels gently luminous: a slow tending of sound in which three distinct voices continually adjust to one another, as if keeping a delicate tree upright in shifting light.