<< -- 4 -- Tess Crebbin MUSICAL JOURNEY
This gets us on to the Orfeo Recordings that kept appearing at a regular rate, starting in 1989, until the two men's musical recording partnership ended in 1995. Pergamenschikow and Gililov came to Orfeo through Pergamenschikow's friend, the flutist András Adorján. 'Orfeo were doing a Weber cycle and they had contacted me to come up with some works to complete that cycle and to put a recording project together for them. I chose the piano trio because it is just so movingly beautiful,' Adorján recalls of the making of the Weber CD (C 187 891 A) where Pergamenschikow and Gililov join him for the Trio for Flute, Cello and Piano in G minor Op 63. 'Basically, aside from being a good friend of mine, Boris was also the best cellist I knew and the only cellist I wanted to make chamber music with.'
Even after the Pergamenschikow/Gililov partnership became a legendary success they stayed loyal to Orfeo for the rest of their recording days. It is worth buying this CD despite it only containing twenty three minutes of Pergamenschikow and Gililov, especially because it provides a rare occasion to hear these two with another instrument as well. Weber's approach to this trio was one of chamber music as a combination of art and entertainment and he incorporated a German folk song (In Einem Kühlen Grunde) into this cyclical work. Pergamenschikow is letting the piano take charge without burdening Gililov, while taking care to create a sensitive interplay between his own instrument and Adorján's flute.
'What struck me about Boris was his innate curiosity about all the instruments' parts, not just his own. Pavel had played with flute before but Boris's flute experience was very limited and yet he succeeded in hearing the most interesting flute sections out of my score and then commenting on them. He was very astute and his comments provided a great deal of learning for me. Boris was so open to new things and so incredibly intelligent that it did not take him long to get used to the merits of a new instrument that he had thus far not played with. In his own playing, it was striking that Boris used a musical approach to solve technical problems. In doing so, he was able to untie the knots even in the most difficult sections. There are many times when we as musicians are confronted with passages that are technically difficult and it simply does not work to approach them from a technical-mathematical viewpoint because it only leads to the knot tightening even more. I greatly enjoyed making this recording with Boris. He was very modest but he had a wonderful sense of humor, which meant that we had a lot of fun.'
Unfortunately, the exquisite listening experience the trio grants us is over far too soon -- at the end of the twenty three plus minutes, one gets the impression that these three musicians are only just warming up and could go on playing for hours [listen -- C 187 891 A track 8, 6:41-7:50].