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Monday, July 27, 2020

Various Composers - Singin' Rhythm (Vivi Vassileva)


  1. Guillo Espel - Zamba para escuchar tu silencio
  2. Eric Sammut - Sailing for Phil: 1st Movement
  3. Eric Sammut - Sailing for Phil: 2nd Movement
  4. Eric Sammut - Sailing for Phil: 3rd Movement
  5. Marco Pereira - Bate Coxa
  6. Grigotas Dinicu - Hora Staccato
  7. Oriol Cruixent - Marimba Moksha, Op. 46
  8. Keiko Abe - Variations on Dowland's Lachrimae Pavane
  9. Vivi Vassileva - Kalino Mome
  10. Vivi Vassileva, Lucas Campara Diniz - Pipero Mistuardo
  11. Oriol Cruixent - El Parío, Op. 47

Vivi Vassileva, marimba, vibraphone & percussion

Vivi Vassileva Quintett (2-4, 10 & 11)
Maruan Sakas, piano
Thomas Ganzenmüller, double bass
Maxime Pidoux, drum-set & cajon
Daniel Martinez, congas, bongos & percussion

Lucas Campara Diniz, guitar (5, 6 & 10)

Date: 2019
Label: Alpha



Singin’ Rhythm’ finds multi-percussionist Vivi Vassileva pursuing all directions at once, from marimba soloist to bandleader, in a cross-section of music encompassing a contemporary classical solo, Brazilian pop-based fare and several original compositions. The disc opens with Guillo Espel’s Zamba para escuchar tu silencio, treated as a gentle unaccompanied marimba ballad. Only in its energetic third movement does Eric Sammut’s Sailing for Phil aspire beyond pleasant pablum. By the third piece, Marco Pereira’s Bate coxa, Vassileva’s virtuosity comes into its own, egged on by guitarist Lucas Campara Diniz’s nimble fingerpicking. The duo next turn in a deliciously succinct Hora staccato.

Oriol Cruixent’s Marimba moksha mainly stands out for Vassileva’s idiomatic handling of the music’s syncopated samba rhythms, where beats are implied more than stated. Following her sensitively nuanced reading of Keiko Abe’s Dowland Variations, Vassileva multitracks herself on various percussion and mallet instruments for her own Kalino mome, which I find more interesting in the louder, denser passages than in the rambling solo marimba parts. Pipero misturado, a joint composition with Diniz, features the kind of low-key yet pleasant contrapuntal interplay patented by the Modern Jazz Quartet 50-plus years ago. The harmonic predictability of Cruixent’s El parío renders the ensemble’s refined execution ideal for background listening. I hope that the Vassileva Quintet’s next release will be more musically adventurous and daring.

-- Jed DistlerGramophone


Born in 1994 in Germany into a family of Bulgarian musicians, Vivi Vassileva first studied the violin with her father, but upon hearing a group of folk artists on Karadere beach on the Black Sea coast she was immediately inspired to take up percussion. Vassileva began her formal training at 10 with Claudio Estay. At 16 she was accepted into the Hochschule für Musik und Theater in Munich, and is currently studying part time at the Mozarteum Salzburg under Martin Grubinger. Besides her brilliant technique and astonishing virtuosity, Vassileva also brings an exceptional musicality and poetic expression to her performances.


FLAC, tracks
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