State University of Music and Performing Arts Stuttgart, 2005
booklet: (German, English) · texts · biographies
The literature for solo percussion has gone through an unprecedented development since the middle of the 20th century.
The debut CD of the Duo Marta Klimasara and Jürgen Spitschka is a representative example for how appealing and sophisticated percussion music can be. It is fresh, unspent music, rhythmic, melodic, with an immense sound variety, to be enjoyed quietly or as background music. When the two artists let their mallets dance over their marimbas, they create unique, warm, round and full sounds. The duo charms a great range of tonal shades out of the marimbas, and it plays the
numerous other instruments such as vibraphone, tom-toms, bongos, gong, tam-tam, boo-bams, etc. in a unique way.
The artists have received various prizes and are celebrated by the audience at live performances. The Polish composer Marcin Blazewicz wrote and dedicated his work 'Sahay Manush' (Indian for "spontaneous person") to them.
- Deciso from Tango Suite for two guitars (1984)
- Andante from Tango Suite for two guitars (1984)
- Libertango (1997, arrangement by Eric Sammut) Andy Pape: CaDance 4 2 (1989) Keiko Abe: Memories of the Seashore (1986) Maurice Ravel: Prélude from Le Tombeau de Couperin (1914)
(Debut recording! Arrangement for two marimbas by Klimasara / Spitschka) Steve Reich: Marimba Phase (1980) Marcin Blazewicz: Sahay Manush (2005; Debut recording)
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"… The CD contains an attractive mix of works […] and the effect is mesmerizing. … The duo plays with stylish sensitivity and absolute precision (as is required by the Reich) or flexibility (in Keiko Abe's atmospheric Memories of the Seashore). The sound is clean and crisp, but warm, with excellent separation and definition." www.allmusic.com, Stephen Eddins, 2009
"… A spirituality, which is also inherent in Marcin Blazewicz´ 'Sahay Manush'. Eerie, those great chromatically shifted soundscapes conjured up by Marta Klimasara and Jürgen Spitschka with an almost diabolical virtuosity, whipping up the
constant tremolo into ecstasy." Süddeutsche Zeitung, May 5., 2007