Albeniz, I.: Iberia (Arr. for Guitar Quartet)

Alb�niz wrote seven piano sonatas during the 1880s, but only Nos. 3, 4, and 5 survive as complete works. As with so much of his output they are now better known in the form of guitar transcriptions - at least for Nos. 3 and 5 - but the piano originals show the same fantastical imagination and romantic temperament as his masterpiece Iberia, while conforming to a more conventionally Classical form. Their craftsmanship in harmony, scoring, and voice-leading are beyond reproach, but it is the lyric sweep and often playful touches of harmony that secure their place on the fringes of the repertoire. As a pianist, Alb�niz was a noted interpreter of 18th-century music - not only Bach and Scarlatti but also Handel, Couperin and Rameau - at a time when such music was often disparaged as dryly academic or old- fashioned. The Suites anciennes are an early example of musical neoclassicism, comprising suites of gavottes, minuets, sarabandes and chaconnes in his own tribute to the Baroque era. But then the minuets, rondos and well-worked counterpoint to be enjoyed in the three sonatas also belong to an earlier era. The Fourth is a particular highlight, establishing Alb�niz as the leading Spanish composer of keyboard sonatas since Antonio Soler, but the others are every bit it's equal in craftsmanship and elegance. Sebastian Stanley is a British pianist who has specialized in the piano music of Spain, making well-received recordings of the Danzas Espanolas and Goyescas by Granados. This is his debut album on Brilliant Classics, enhanced by booklet notes by the noted authority on Spanish piano music, Walter A. Clark.

As the talented young Spanish pianist Miguel Baselga mentions in this release's excellent booklet notes, there's a considerable gap between much of Isaac Albéniz's salon-like piano output and the labyrinthine originality of Iberia's four books. For this reason, the pianist is allotting one book from Iberia per release in his ongoing complete Albéniz cycle for BIS. The project's second installment improves upon its predecessor in that Baselga truly is making this music his own. His assertive, communicative virtuosity uncovers all the poetic layers interwoven throughout Iberia Book Two's technical hurdles. Similarly, the pianist makes a cogent case for the composer's slighter but utterly charming, neo-Lisztian Seven Studies in the Natural Minor Keys. Baselga's fanciful yet tender treatments of the two salon mazurkas (Amalia and Ricordatti) and the evocative 1897 Souvenirs are absolute delights. The disc concludes with the wild and wooly La Vega, whose elemental impressionism sizzles under Baselga's hot hands. All the music on this disc conveys as full a scope of Albéniz's artistic development as can be contained on one CD. In sum, a disc guaranteed to perk up anyone's piano collection. --Jed Distler, ClassicsToday.com

Alicia De Larrocha may just have met her match.

The Luxembourg-born pianist Miguel Baselga has now recorded six well-regarded discs of solo piano music by Albéniz, the latest of which includes works for piano and orchestra. In typical BIS fashion the band chosen is the Tenerife Symphony, which celebrates its 75 ^th anniversary this year, under Shanghai-born Lü Jia. This strategy of employing little-known ensembles is a risky one, but in the case of the Singapore Symphony it paid off handsomely. Indeed, the latter’s Seascapes was one of my Recordings of the Year for 2007. Kees Bakels and the Malaysian Philharmonic’s Rimsky-Korsakov collection (BIS-CD-1667) is just as desirable, proof - if it were needed - that second-rank need not mean second-rate.
 
Rapsodia Española, originally written for two pianos and usually heard in one of several versions for piano and orchestra, is presented here in a completion by Spanish musicologist Jacinto Torres. Both the band and soloist make a striking impression in the brooding first bars of the piece, Baselga wonderfully fluent and rhythmically sophisticated. The piano sound is warm and detailed, the bass especially well caught, the brief orchestral tuttis suitably powerful. But it’s the soloist who really impresses, with rollicking rhythms and variegated colours. Yes, the orchestra is a little uncouth at times, but they certainly add terrific swing to the demonic dance that begins at 10:17.
 
An intoxicating start to this recital, and an ideal curtain raiser to the glitter and glitz of the unfinished Navarra, presented here in a version by Spanish pianist Pilar Bayona. One usually hears the somewhat anodyne orchestration by Déodat de Séverac - as played in the recently reviewed Ansermet reissue from Eloquence - but whichever version one prefers there’s no denying the virtuosity of this one. Baselga is simply dazzling, producing bright cascades of sound that will surely gladden the hearts of all Lisztians. As the late Paul Shoemaker remarked in his review of Volume 5, this is pianism of the highest order, and very well recorded to boot.
 
The Piano Sonata No. 5 also has strong links to the virtuoso pianist-composers of the 19 ^th-century; in his liner-notes Jean-Paul Vachon characterises the opening Allegro as Schumannesque, although its reach and cool, free-flowing harmonies seem closer to Chopin at times. As for the tiny Minuet, it’s anything but a genteel interlude; indeed, Baselga despatches it with devilish glee. The real gem, though, is the ensuing Rêverie, with its nod to the north. There’s an ease to the playing here, a command, that’s most impressive, the music’s pointilliste elements rendered with great precision and inner feeling. As for the final Allegro, rhythms are superbly articulated, the BIS engineers conveying the crystalline quality of Baselga’s playing without allowing the sound to harden or become brittle.
 
Albéniz looks back to an earlier century - the 18 ^th - with the Troisième Suite ancienne, whose Minuet and Gavotte are played with a genuine feel for late Baroque style and proportions. The latter is especially fine, the bones of the stately dance fleshed out with writing of great lucidity and charm. As for Azulejos - another unfinished work, this time completed by Enrique Granados - Baselga uncovers a remarkable amount of detail and colour, the music’s gentle ebb and flow adroitly managed. Daringly, he has replaced Granados’s ending with one of his own; it’s seamlessly done, the piece ending with the lightest of flourishes.
 
The brighter acoustic of the Auditorio de Tenerife - not such an issue in the Rapsodia - is something of a disappointment after the warm, velvety sound captured in the Auditorio y palacio de congresos, Zaragoza. The orchestral sound is certainly a tad aggressive, but at least the piano is well placed in the mix. Baselga seems fractionally less involved in this concerto, although as always detail and colour are high on his list of musical priorities. Rêverie is a real joy, even if the orchestral interjections are a little coarse. And despite some delectable rhythms in the closing Allegro, I feel the band is the weakest element here.
 
Ironically, Miguel Baselga first registered on my radar when I heard that his recording of Manuel de Falla’s Pour le tombeau de Couperin (BIS-CD-773) was passed off as a performance by the infamous Joyce Hatto. A compliment of sorts, I suppose, but anyone listening to this new disc will recognise Baselga as a pianist of great range and sophistication. So, even though Alicia De Larrocha will always be favoured in this repertoire, she may just have met her match.  

-- Dan Morgan, MusicWeb International

Iberia is probably the greatest masterpiece by Isaac Albniz. There are surprisingly few recordings of the complete Iberia. Paul Verona has devoted years of study to Iberia, and his performances show his abiding commitment for the work.

Written between 1905 and 1908, the Suite Iberia was and is without any doubt Albeniz's masterpiece. Iberia is an ambitious and remarkably sophisticated composition with a formidable architectural structure of uniquely impressive dimensions. All the pieces are based on traditional Spanish dance rhythms, arranged in a freely artistic and idealized manner. The rhythmical dances smoothly alternate with the \vocal" part, the copla. In traditional Spanish music the copla is a characteristic part of the structure seen in many forms like the saeta (arrow), or a cante jondo (deep song), the song of deep feelings. Albeniz has included a copla in almost all of the pieces in Iberia.

Debussy and Messiaen regarded Iberia as THE piano masterpiece of the twentieth century: ‘One’s eyes close, as if dazzled from having gazed upon too many images’, wrote Debussy in 1905. For Nelson Goerner too, this suite in four books, which evokes Andalusia and the working-class districts of Madrid, is a work of major stature: ‘I am of Argentinian origin, this music touches me, it is like an arrow that pierces me... From the sublime incantation that is Jerez, an invocation of the mysteries of night, to Lavapiès, famous for the pianistic difficulties posed by its polyphonic convolutions and hand-crossings, Albéniz’s music exudes a panache and a joie de vivre that, in my view, make it a milestone of supreme importance.’

Albeniz: Iberia

Albéniz: Piano Music, Vol. 1

The first volume of Sebastian Stanley’s Albéniz survey was greeted with enthusiasm for the repertoire and praise for the interpretations in the pages of Fanfare and elsewhere: ‘He is tender and sentimental in the lyrical moments, animated and energetic in his attack elsewhere. He clearly loves the music, and dispatches it with unapologetic flair.’ His sequel opens with the First Suite Española which contains several of the composer’s most colourful and best-known pieces. It begins with the vibrant guitar-strumming textures and Moorish harmonies of ‘Granada (Serenata)’ and continues with his own interpretation of a dance from his native Catalonia. Evocations of Seville, Cadiz and Asturias all spring from the pages with the sharp colours of a Goya canvas, and the suite comes to an exotic, sensuous conclusion with a Cuban habanera. The Second Suite Española is much smaller and less well-known. Its two movements are evocations of Zaragoza and (once more) Seville. Sebastian Stanley includes two further landscapes in sound: the Zambra granadina (Danse orientale) evokes flamenco dance that features a haunting melody to a seductively syncopated accompaniment. The rolled chords of Cádiz (Gaditana) suggest the strumming of guitars, setting the scene for an animated copla dance. The neoclassical side of Albéniz comes to the fore with the third of his Suites Anciennes – consisting of a graceful Minuet and sprightly Gavotte – which anticipate similar projects to revive Baroque forms in modern guise by Ravel and Respighi. As a reminder of the incomparable richness of the finest Spanish piano music,’ Sebastian Stanley’s Albéniz series should invite the attention of curious listeners and pianophiles alike.

The newest installment in the Chandos La Musica de Espana series with the BBC Philharmonic and chief conductor Juanjo Mena explores the music of Isaac Albeniz, one of the greatest Spanish composers to have ever lived. This album includes his Piano Concerto No. 1 "Concierto fantastico", Suite espanola, Rapsodia espanola, and Suite from “The Magic Opal.” The featured soloist for the Piano Concerto and Rapsodia espanola is British pianist Martin Roscoe, who has already been critically praised for his previous recordings on the Chandos label.

Albéniz’s distinctive musical vocabulary, with its sensual harmonies, rich melodic lines and characteristic rhythmic figures, has ensured lasting popularity, not least in his music for the piano. This album of four-hand piano music reveals the composer’s love of Spain’s regional music traditions, whether in the glittering sweep of the Suite española No. 1or in the Rapsodia Española where a hypnotic dreamscape meets dramatic outbursts. Two movements from Iberia – one of which is a rarely encountered arrangement by the great Spanish pianist Alicia de Larrocha – reveal a daring modernity that aligns Albéniz with Debussy and Ravel.

Volume 6 of this complete edition focuses in the main on Albéniz’s richly varied, early salon style. + It includes the dazzling Chopin influenced Vals Champagne, the Estudio de concierto which rivals Liszt for virtuosity, and the famous Tango from España: Seis hojas de Álbum, a set which conjures up Spain in its rhythms, harmonies and sense of drama. + Written a year before the composer’s death, Yvonne en visite! includes a humorous scene during a pupil’s reluctant performance, while the Marcha militar is Albéniz’s earliest work, composed at the age of eight.

ALBÉNIZ Danzas españolas. Pequeños valses. Mazurkas de salon • Guillermo González (pn) • NAXOS 8.572196 (69:42)


Isaac Albéniz wrote some of the defining piano music of the Spanish school. By and large, this is not it. This disc, the third in Naxos’s Albéniz series, is devoted to salon music composed early in the composer’s life. At the time, he was known as a piano virtuoso who also gave lessons to young ladies to whom he dedicated many of his salon pieces, including all six of these mazurkas.


Premonitions of the mature Albéniz may be glimpsed in the Danzas españolas , which shares a pleasant lilt, usually in habanera rhythm, and the composer’s predilection for a melodic line in three against a languid accompanying figure in four. The pieces resemble Granados’s later set of Spanish Dances in their occasional underlying hint of melancholy, but those in Albéniz’s set are neither as formally diverse nor as pianistically challenging as are those of his slightly younger contemporary. Chopin is the predominant influence in the sets of waltzes and mazurkas. Once again the results, while mellifluous and polished, are no comparison to the works of the Polish master in terms of ingenuity and memorability.


González, a noted Albéniz specialist, has the kind of muscular technique necessary to tackle Iberia and the late masterpieces, but lacks delicacy in this refined repertoire. There would be no whispering or throat clearing in his salon! Overall, this is a pleasant collection but unrepresentative of the composer’s most exciting work. If you are curious about the antecedents of Iberia , it is worth a listen.


FANFARE: Phillip Scott

In the latest volume of this critically admired series, a number of rarely heard pieces from Albéniz’s first compositional phase can be savored. They were composed between 1881 and 1892 and reveal the variety and flair of which he was capable, even in the smallest of musical forms, such as the delightful mazurkas. The Siete estudios (Seven Studies) are no mere exercises – rather they fuse the color of Iberian music with the rigor of Central European traditions. Les Saisons is an evocative portrait of the seasons and can be seen as a forerunner of the impressionistic writing that would soon appear in French music.

Most known for his piano works which were based on folk music idioms, Isaac Albeniz is a figurehead in Spanish classical music. Transcriptions of many of his pieces are part of the classical guitar repertoire, although he never composed for the instrument. Pianist Miguel Angel Rodriguez Laiz studied in Murcia, Madrid, Dallas, and Canada. He currently serves as a piano professor, chamber music professor, and theory professor at the Real Conservatorio Superior de Musica “Victoria Eugenia” de Granada. On this release he presents some of Albeniz’s most colorful and influential piano works, including the Rapsodia espanola.

If at least some part of Isaac Albéniz' music may justifiably be described as 'salon music', this is not something that the composer would have objected to. Quite the opposite: he was himself very much a man of the salon, especially in his youth in the 1880s, which is when most of the pieces on Miguel Baselga's new disc were composed. It was in the salons of Madrid that he recruited new pupils among the young ladies of the bourgeoisie, performed his latest compositions and, presumably, had a good time in general. And although his greatest work - the four books that make up Iberia - was composed much later, in Paris, Albéniz never disassociated himself from the earlier works: 'There are among them a few things that are not completely worthless', he once remarked, '... there is less musical science, less of the grand idea, but more colour, sunlight, flavour of olives.' It was in the 1880s that a strong influence of Spanish style becomes evident in his music, as a result of the influence of the teacher and composer Felipe Pedrell. Folk music, especially that of Andalusia, and the characteristic idiom of Spanish guitar music make themselves felt in compositions such as Zaragoza and Sevilla, the two pieces published in 1890 as Seconde Suite espagnole. Other works on this disc are of a more 'international' character, for instance Les Saisons, Albéniz' own 'Four Seasons': four miniatures in an almost impressionistic style. Also included is the transcription, published in 2009, of one of the three improvisations that Albéniz recorded on a phonograph roll in 1903, permitting us a unique peek into the composer's creative mind.

The piano works by Isaac Albeníz range from indisputable masterpieces to highly enjoyable salon music, the composer painting with bright Spanish colours as well as the hues of Classicism or Romanticism. On eight previous volumes, Miguel Baselga has guided listeners through the music of his compatriot, earning acclaim from reviewers worldwide: ‘pianism of the highest order’ (MusicWeb-International); ‘berauschend agil und rhytmisch spannungsgeladen’ (PIANONews); ‘un pianista elegante y refinado’ (CD Compact). With the assistance of Albeníz scholar Jacinto Torres, Baselga has been able to access rare editions and scores, and his exhaustive series includes the Marcha militar by a nine-year-old Albeníz (Vol. 7), as well as the four books that make up the celebrated Iberia (Vols. 1-4) and the composer's only two scores for piano and orchestra (Vol. 6). On the present disc Baselga offers us the chance to hear the last of the three Improvisations, transcribed from a phonograph recording made by Albeníz in 1903. A large part of the programme is from the late 1880s, however, a period during which the composer was a fixture at the fashionable salons of Madrid, and composed works in which the influence of composers such as Mendelssohn, Schumann and Chopin is often evident. Recuerdos de viaje, one of the best-known works from the period, nevertheless displays the Spanish flavours that were to become one of the distinguishing features of the music of Isaac Albeníz.

This latest entry in Naxos' Spanish Classics series is also the ninth and final volume in the Albéniz piano music series. The focus here is on Albéniz’s compositional evolution and his use of inspired folk-based melodies, Hispanic nostalgia and vivid dance rhythms, encapsulated by the intoxicating Chants d’Espagne. The album also includes five works heard in exciting new arrangements for two pianos made expressly for this recording. Miguel Ángel R. Laiz is joined by Santiago L. Sacristán in the works for two pianos.

Issac Albeniz, the pre-eminent Spanish composer was a prolific composer, especially of piano music. Presented here is a collection of his works performed by the celebrated pianist, Martin Jones. Included in this collection are pieces that were left unfinished at the time of Albeniz’s death and completed by Martin Jones. Martin Jones has been one of Britain’s most highly regarded solo pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his New York debut at Carnegie Hall, and ever since has been in demand for recitals and concerto performances on both sides of the Atlantic. He is a prolific recording artist and his many major projects include the complete solo piano works of Mendelssohn, Brahms, Debussy, Grainger, Stravinsky, Korngold, Szymanowski, Granados, Guastavino, Mompou, Ernesto Halffter, Joaquin Nin, Has Gál, Jean Françaix, Jean Roger-Ducasse, and Alan Richardson.

-----

REVIEW:

Altogether this is a well stocked and representative survey of Albéniz's colourful and imaginative piano music and Martin Jones is as always a convincing advocate; I am always impressed with character and panache that he brings to all that he plays. The liner notes are informative though are in English only. A marvellous collection of the best of Albéniz' piano music.

– MusicWeb International

Mallorca - Seville - Granada - Co?rdoba - mentioning these cities conjures up memories and imaginations that are associated with the magic of Spain. Nobody knew better how to capture these pictures in music than the piano virtuoso Isaac Albe?niz. The American- Italian guitarist Stephen Marchionda who lives in Spain, a renowned interpreter of Spanish music, lends new colours to this musical declaration of love.

Stephen Marchionda resides in Barcelona and is a proven expert in the field of Spanish music. This production is his second release on MDG, once again in the finest 2+2+2 SACD technique, which makes the listener feel that he or she is there in person. A fine and opulent result!

The piano works by Isaac Albéniz range from indisputable masterpieces to ravishing salon music, the composer painting with bright Spanish colors as well as the hues of Classicism and Romanticism. On nine discs, originally released between 1998 and 2017 and gathered here, Miguel Baselga guides listeners through the music of his compatriot, earning acclaim from reviewers worldwide: ‘pianism of the highest order’ (MusicWeb-International); ‘berauschend agil und rhytmisch spannungsgeladen’ (PIANONews); ‘un pianista elegante y refinado’ (CD Compact). Composed between December 1905 and January 1908, only a year before the death of Albéniz, Iberia is the crowning achievement of the composer’s genius. Marking a high point of the post-romantic piano literature, this collection of ‘12 nouvelles impressions’ was to serve as an endless source of inspiration for other composers throughout the twentieth century, admired by Debussy and Messiaen, who called it 'the marvel of the piano'. Baselga’s exhaustive series places Iberia in its proper context, and with the assistance of Albéniz scholar Jacinto Torres, he has been able to access original editions and scores, including rarities such as the Marcha militar by a nine-year-old Albéniz and the composer's two scores for piano and orchestra. We are also given the opportunity to hear three improvisations, transcribed from a phonograph recording made by the composer in 1903.

REVIEW:

Miguel Baselga was the first and (I believe) only pianist to have recorded Albéniz’s complete solo piano works, a project encompassing nine CDs. The cycle has been reissued in a boxed set, together with each individual release’s original booklet. It remains a significant catalog milestone.

As a stylist, Albéniz covered all bases, from unabashedly salon-like trifles and flashy neo-Lisztian fare to the Iberia Suite’s astonishing originality and labyrinthine complexities. Since Baselga wanted each disc to represent different aspects of Albéniz’s musical personality, he cunningly divided Iberia’s four parts across the first four volumes, aiming to give lesser-known masterpieces like the wild and woolly La Vega and tender Barcarola Op. 202 their due.

The two concerted works (the Piano Concerto No. 1 and Rapsodia Espanola) also receive impressively fresh and well-balanced readings. And for those who can’t get past the faded sound of Albéniz’s three 1903 improvisations preserved on private cylinders, Milton Laufer’s painstakingly notated editions will be revelations, especially in Baselga’s inspired hands.

In all, Baselga’s combination of technical brilliance, exuberant temperament, and tonal imagination yields consistently idiomatic and enjoyable results. A must-have for serious aficionados of Spanish piano music.

– ClassicsToday.com (Jed Distler)

Eleanor Alberga explores the whole gamut of the human experience in WILD BLUE YONDER, an equally diverse and coherent set of four contemporary chamber music pieces. While written over the course of twenty-two years, these pieces burst the limits of both space and time. No-Man's-Land Lullaby reaches back over a century to World War I; Shining Gate of Morpheus enters the realm of the mystical; Succubus Moon explores the dark sides of the human psyche; and The Wild Blue Yonder offers a glimpse into a world that is at once alien and wonderful. Undauntedly, positively unsettling album; perfect listening for these unsettling times.

British composer Eleanor Alberga is renowned for her mastery of orchestral colour and form. With her distinctive blend of lyricism and rhythmic dynamism, Alberga crafts a sonic journey that is both exhilarating and deeply moving. From the arresting grandeur of the symphonic landscapes in her first symphony, Strata, to the pulsating and evocative energy of Mythologies, each piece is a testament to Alberga's boundless creativity. The BBC Symphony Orchestra, under the baton of Thomas Kemp, are joined by the Castalian String Quartet for Tower with it's cascading melodies and rhythmic intensity, embodying both strength and intimate intricacies.

“Eleanor Alberga was born in 1949 in Kingston, Jamaica. Her mother founded, and subsequently ran, her own high school in Jamaica and believed passionately in the Arts. Consequently, Eleanor was introduced to classical music at an early age. As a teenager she had piano lessons at the Jamaica School of Music and in 1968 she won the biennial Royal Schools of Music Scholarship for the West Indies, which she took up two years later at the Royal Academy of Music in London, studying piano and singing. 2001 was a turning point when she was awarded a NESTA Fellowship and chose to give up her career as a concert pianist and concentrate full-time on composition. Her distinctive creative output encompasses instrumental, chamber and orchestral pieces, as well as works for stage and film. With its vibrant rhythms, rich harmonies and idiomatic writing for every instrument, her music has the authentic stamp of an experienced performer and an accomplished executant.” (Paul Conway)

Classical Music

Classical Music

Born in 1972, Albert Schnelzer has established himself as one of the most successful contemporary Swedish composers. Taking inspiration from both dance and literature, he writes music that has been described as pulsating with feverish tension and vibrating rhythms, outgoing but with room for fragile and lyrically expressive moments. The three works gathered here were composed between 2011 and 2014, with two multi-movement works flanking the single-movement Tales from Suburbia. The work is inspired by the idea of suburbs embodying the transition between countryside and urbanity, where the organic world of nature contrasts with concrete structures and where past meets present. Framing Tales from Suburbia are two concertos, one for cello and one for orchestra, which both owe a debt to the rock band Pink Floyd’s iconic album Dark Side of the Moon. The work titles – Crazy Diamond and Brain Damage – are both borrowed from the album tracklist, and the individual movements carry titles taken from the lyrics. As Schnelzer himself explains in his liner notes, he hasn’t used any actual musical quotations but the lyrics have provided catalysts for his own music. In the cello concerto his focus has been on the fate of Syd Barrett, one of the founder members of Pink Floyd who was forced to leave the band due to deteriorating mental health. Brain Damage – Concerto for Orchestra on the other hand can be seen in terms of wandering through a series of different moods: anger, frustration, grief and perhaps even a glimpse of hope.

Classical Music

Erinnerungsspuren by Alberto Posadas is an homage to the piano in six parts. In his "reminiscences", the Spanish composer brings to mind some of the best in his profession, taking them as sources for his studies of the piano's sound space. From Fran�ois Couperin to Robert Schumann and Claude Debussy to Bernd Alois Zimmermann and Karlheinz Stockhausen. What matters to Posadas in his cycle is not to make explicit connections to the past; he rather discerns concepts from the historical repertoire, namely Erinnerungsspuren [memory traces], that find expression in pianistic experiments. Special playing techniques with the pedals, with preparations and inside the piano allow changes of individual sounds and micro-intervals while they are resounding, thus creating a trans-historical sound space. In his cycle Alberto Posadas gives less answers than he raises questions in which the music of his six predecessors can be heard as sounds of remembrance: How can new and old material put each other in a different light and perhaps even redefine themselves? And what can be the meaning of quotations when it comes to building bridges between old and new, between the known and the unknown?