Album Review: Doina Rotaru – A Hidden Gem in Contemporary Classical Music
Released back in 1998 by MPS Music And Video, Doina Rotaru is one of those albums that sneaks up on you. It’s not flashy or over-the-top—it just quietly demands your attention with its rich textures and thoughtful compositions. If you’re into modern classical music with a twist, this UK-based release might just be your next obsession.
Let’s dive straight into two standout tracks because, honestly, they’re what make this album unforgettable.
First up is "Flute Concerto No. 1." Wow, Pierre-Yves Artaud absolutely kills it on the flute here. The piece starts off almost dreamlike, like walking through misty woods at dawn. But then—bam!—the University Of Huddersfield New Music Ensemble kicks in, adding layers of complexity that pull you deeper into the soundscape. What stays with me about this track is how alive it feels. You can practically hear the musicians breathing as they weave together these intricate patterns. There’s no pretentiousness; it’s just pure musical storytelling. I found myself zoning out while listening but also snapping back to focus because there’s always something new happening. It’s kinda like staring at an abstract painting where every glance reveals something different.
Then there’s "Concerto For Saxophone(s)." This one’s wilder and more unpredictable. Emil Sein switches between saxophone and bass clarinet, which adds this cool duality to the sound. One moment it’s smooth and jazzy, the next it’s all jagged edges and raw emotion. The interplay between Sein and conductor Barrie Webb creates this push-and-pull dynamic that keeps you hooked. There’s a section midway through where everything seems to dissolve into chaos before rebuilding itself into something triumphant. It’s messy yet controlled—a bit like life, right? Honestly, this track sticks with me because it feels so human. It doesn’t try too hard to impress; instead, it lets the listener sit with the emotions it stirs up.
The third track, "Symphony No. 2," rounds out the album nicely, though it didn’t hit me quite as hard as the first two. Still, the University Of Huddersfield Symphony Orchestra brings their A-game, delivering a performance that’s both powerful and refined. It’s definitely worth a listen if you’re vibing with the rest of the album.
What makes Doina Rotaru special isn’t just its technical brilliance—it’s the way it connects. These aren’t cold, calculated compositions meant only for academics or critics. They feel personal, like little windows into Rotaru’s mind. Sure, some parts might take a couple listens to fully appreciate, but isn’t that part of the fun?
So yeah, if you’re looking for background music to zone out to, this probably isn’t it. But if you want something that challenges you without being completely inaccessible, give this album a shot. Just don’t blame me if you end up lost in thought halfway through “Flute Concerto No. 1” or punching the air during “Concerto For Saxophone(s).”
Oh, and here’s a random thought: Why don’t we hear more contemporary classical albums like this nowadays? Maybe someone should start a revival… or maybe we’ll just keep this gem to ourselves. Your call.
