The Power of Indifference— Maya Fridman/TRPTK X CD

Maya Fridman, the Russian cellist based in Utrecht, Netherlands, is as talented and eclectic a musician recording and performing before the public as you could wish.

I have followed Fridman’s career closely since her record company, TRPTK, tipped me off with an audiophile and musical care package of some of her SACD and vinyl releases several years ago.

If you go to the TRPTK website (no financial affiliation), you’ll see a list of brilliant, esoteric releases performed by the crème de la crème of young Dutch musicians. Emigré Fridman (living in Holland for 12 years and now a Dutch citizen) is chief among them and married to TRPTK owner and founder, Brendon Heinst. The multi-talented Heinst does all the recording and the artwork for the TRPTK releases—he’s a fabulous recording engineer and photographer. And you should erase nepotism from your mind. An artist as multi-talented as Maya Fridman would grace any label’s roster. Heinst did the cover of The Power of Indifference. It’s a beautiful and sexy cover, giving Herb Alpert’s famous 1965’s Whipped Cream & Other Delights a run for its money.

Fridman is especially passionate about contemporary music. She performs on a standard cello, electric cello and sings. And composes. In fact, all the songs on Indifference are composed and performed by Fridman with some percussion on a couple of tracks played by Konstantyn Napolov.

Who are Fridman’s influences? If you think the very best Kate Bush singing AND playing cellos various by a top professional mixed with a dash of Arvo Pärt and Henryk Górecki (did I hear a little of Pärt’s glorious and profound Cantus in Memoriam Benjamin Britten (1977) at the close of “Once For Me There Was No More Place”?). It is recorded (both SACD and HiRes download available) in the very best digital with very creative “Music Production” values and mastering (Heinst’s titles on the album). Creative, unique “songs” produced with great taste and performed with flair and imagination. The album is an inquisitive music lover’s dream. Audiophiles should be bringing it to audio show demos. Cast you-know-who into the dustbin of audio show history.

For audiophiles (and those interested, that’s everybody, right?), check out Heinst’s behind-the-scenes production blog. Very interesting reading. And you’ll be able to tell instantly this is not another “audiophile” album or “art project” due to the care and diligence of the recording and creative processes.

I did, Maya. A wonderful, creative album.

Heinst told me how the album was scored: “A whole bunch of instruments actually. So what you mainly hear is acoustic cellos, but heavily processed. There's also some electric cello, especially in the last couple of tracks on the album. On top of that a gigantic amount of synths and effects.”

All this adds to a very dynamic album with waves of sound coming out of the speakers. But it’s all tasteful and in keeping with the general vibe of the album. The songs talk of longing and fate, with quite strong lyrics: “Embryos of hopes float without aim” and “Millions of Gods slaughter living prey”. You get the picture. On lesser hands, this type of concept album could seem pretentious. Not by Fridman. Her brilliant performances, creativity and passion sell the album. As a listener, I’m sure you’ll be as captivated as I was.

The main cello parts of the album were produced using the Singular Audio f-48 cardioid large diaphragm condenser microphone at MCO Studio 7.

Because the sound is so spectacularly dense and intense, you may forget with all the engineering technical wizardry and beautiful singing, that Fridman’s main musical activity is that of a concert cellist. Listen to the opening of “Day That Never Ends” and the high cello solo in “Balance Scales” to hear some of her fabulous playing and cantabile tone.

Fridman recorded one of our Audiophilia Recordings of the Year 2021, De Graaff: The Forest in April (with Fridman, North Netherlands Symphony Orchestra, Sander Teepen & Nicolò Foron). A superb contemporary concerto album with splendid sound. Fridman is the major contemporary music specialist on the cello before us but as this album shows, there’s far more to her than just the instrument. The Power of Indifference is my favourite Fridman recording to date.