Shades of Sorrow , Shades of Joy
As the nights draw in Eva Maria Doroszkowska weaves a web of intimacy and poetry in a lunchtime recital exploring a lyrical tapestry of moods conjured by Schubert , Grieg and
Garûta.
Schubert 2 Klavierstücke
Drei Klavierstücke were written in the last year of his brief life. Schubert was 31 when he died but already a master of lyrical poise.
1828 was a productive year, for the young composer with his hero Beethoven much on his mind. He wrote the sublime Shepherd on the Rock in this year, paid tribute with Auf Dem Strom for the first anniversary of Beethoven’s death, and composed the much loved Fantasie in F minor alongside his last symphonies and final 3 piano sonatas.
The Klavierstucke are impromptus in all but name and express in microcosm so much of Schubert’s unique sound world and intimate musicianship with episodes of profound poetry. The breadth of creativity and emotional contrasts in these musical landscapes is extraordinary. They stand amongst the most deeply poignant works of Schubert’s oevre. Here one understands Schumanns words, “He has sounds to express the most delicate feelings, of thoughts, indeed even for the events and conditions of human life”.
Edvard Grieg Moods Op 73
Resignation
Scherzo Impromptu
Night Journey
Folk Song
Homage a Chopin
Mountaineers Song
Grieg another master of the lyrical wrote several volumes of lyric pieces which are amongst the most well loved albums of piano miniatures . His last album for solo piano, Steminger or Moods stands apart from the others with contrasting character sketches etched with the sharp intensity of Norwegian mountain peaks.
The title Steminger may translate as moods, yet this does not quite convey the importance of the intoning of mood or key – the idea of a voice and a thread within a narrative a kind of singing into being that is central to these pieces.
The title rather refers to the tuning of an instrument, the temperament and notion of a harmonious sounding together that corresponds to mood, atmosphere, character or affect. As in renaissance and classical times a mood or key was a prevalent idea or theme for a work of art. Grieg was aware of this aspect too in folk music. Certain tunings of the Norwegian Hardanger fiddle related to intonations being in accordance with particular places, events or times of day. Grieg would well have understood the idea behind these certain gestures of tonality and temperament that were associated with specific moods or emotions. . Each “mood” of the set of Op 73 therefore despite their individual brevity, evokes a glimpse of a time or place taking the listener on a journey of audio snapshots.
Lucija Garûta Etudes for a Steinway with a Sostenuto Pedal
Fairytale
Legend of the Boy with a Dulcimer
The idea of musical intoning and works sung into being is at the very heart of the music of Lucija Garuta whose works are resonant with the landscapes of Latvia. The highly unusual set of concert etudes for the 3rd pedal are brushed with bewitching timbres, shading sounds of Latvian legends and folklore.
Evoking rare sonorities yet often staying within one predominant and insistence of key or harmony they are more than an etude for the feet for they explore another dimension of timbre and sound. Each etude tells its own tonal saga and fairytale painting its own mood or colour.
Garûta Meditation
Starting with a hushed whisper, meditation like a resonant prayer, builds in texture to climax in explosive majesty before fading away lifted through the registers, ascending to the stars. A sacred mood is enhanced by the sostenuto, tenuto melody marked, Adagio ma non Troppo, Molto espressivo . On a grand scale, it was first conceived for orchestra and transcribed for organ.