Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
END OF SESSION SOLO PIANO RECITAL Ivan Penev MMuS 1 May 2013 /Programme Notes/ Maurice Ravel (1875-1937) – “Miroirs” Composed between 1904 and 1905, “Miroirs” (“Reflections”) has always been regarded as one of Ravel’s capital works not only because of its duration or because of the vastly creative diapason of its expressive nature, but more importantly because this solo piano suite explicitly conveys the style of Impressionism as conceived by the composer himself in its most plausible and genuine image. As the music unfolds, the listener can clearly witness the typical for the vogue and especially for Ravel synthesis between text (obvious notes, precise details) and meta-text (suggested content, encrypted meaning). The thoughtfully arranged visible profile of the music is merging together with the invisible panorama of sound illustrations and nuances – an idiom that can be both sensually noticed or intuitively perceived in each of the five movements: 1. 2. 3. 4. 5. “Noctuelles” (“Night Moths”) – dedicated to Léon-Paul Fargue. “Oiseaux Tristes” (“Sad Birds”) – dedicated to Ricardo Vines. “Une Barque sur l’Ocean” (“A Boat on the Ocean”) – dedicated to Paul Sordes. “Alborada del Gracioso” (“The Gracioso’s Aubade”) – dedicated to Michel-Dimitri Calvocoressi. “La Vallée des Cloches” (“The Valley of Bells”) – dedicated to Maurice Delage. Apart from the dedications that all refer to close friends of Ravel, gathered around the avant-garde, undaunted ideology for artistic renovation and thus calling themselves with the provocative name of ‘Les Apaches’ (‘Hooligans’ in French), the listener can also spot from the programmatic titles of the pieces that each one of them depicts a scene or an emotion that is associated with symbols and perspectives from the Universe – (nocturnal time, air, water, landscape). The corporeal, humane dimension is incarnated most clearly in the “Alborada” thorough the alluring, flashy Spanish flavour. With its fiery aura and earthy dance, this movement completes the circle of elemental forces, hence making the suite an overall reflection of Nature’s rich palette. Why after all the cycle is so attractive to the public? The reason maybe is because each individual as a part of Nature’s organism has his private, secret and deeply cherished “Miroirs”. Nikolai Medtner (1880-1951) – “Sonata Tragica in C minor, Op. 39 No.5” The single movement Sonata was composed in 1919 as part of the second cycle of the so-called “Forgotten Melodies” series. The piece shares parallels with composers whom Medtner admired and one can inspect that in terms of tonality it is analogous for instance with Beethoven’s highly peculiar use of the ‘C minor’ key especially for solemn, grand symphonic and choral settings with agitated or sombre character such as “Piano Concerto No.3”, “Coriolan Overture”, “Fifth Symphony” and “Choral Fantasy”. In terms of form and structure “Sonata Tragica” reveals common ground with Liszt’s emblematic method for thematic transformations, while in terms of sensitivity and pictorialism it is reminiscent of Rachmaninoff’s and Scriabin’s both orchestral intensity and pianistic subtlety. The insight of the work does not also remain neutral to the typical late-Romantic icon of the Hero-Artist, who in contrast to the early-Romantic introverted image of the Wanderer, is no longer inclined to escape always from the oppressive reality in idyllic, subjective utopias, but finds himself in sharp conflict with it, attempting to reform, to change its very objective ethos. Perhaps that is reason behind the Sonata’s expressivity. It may be titled as ‘tragic’, but indeed this sense of tragedy does not invoke an action of surrender, capitulation or collapse. Even in the tender middle section one can feel waves of hopes and compassion to the protagonist, who is defending and asserting heroically his stature in the turbulent exposition and coda. Exactly through the alliance of epic and lyric the audience can perceive Medtner’s very personal and unique musical signature. In summary of my solo recital programme notes I would like to say that the process of interpreting will not simply feature the process of playing the piano, but the purer and more candid process of playing itself – playing with sounds, playing with colours, playing with emotions. /Ivan Penev/