<< -- 2 -- Malcolm Miller St Petersburg Revelations
A Russian flavour was immediately set with Prokofiev's Vision
Fugitives -- impressionistic piano pieces in a most effective string
orchestra version by Rudolf Barshai. A daring work to begin with, Alexander
Walker soon elicited a cohesive ensemble to convey the widely varied moods
of these epigrammatic miniatures: from the elusive poetic to the boisterous
(Romeo and Juliet like waltzes), from piquant neo-classicism to virulently
aggressive, the serene and visionary. In the final pieces luminous harmonies
hovered, vibrato less, at the edge of silence. Prokofiev's genius for
creating atmosphere through just a few strands of linear counterpoint, and
ambiguous chromaticism, was clearly influential for the later generations
of Soviet composers. Particularly so the Memoria for violin and chamber
orchestra by Andrei Petrov, a searingly expressive concertante work in memory
of the violinist Boris Gutnikov, which here received an expressive UK première
by the young London based violinist Yuri Zhislin.
Petrov is President of the St Petersburg Composers' Organisation
and has an impressive oeuvre in many genres including symphonic works, ballets
and an opera, but is especially known for his film scores. His Memoria
for violin and chamber orchestra abounds in evocative gestures that celebrate
the lyrical and dance like qualities of the violin. There is a strongly
Russian accent to the pivotal semitone motif, in 'scotch-snap'
rhythm, that the soloist introduces and which is taken up in dialogue with
the horns and woodwind. Together with a contrasting rising arpeggio idea,
these motifs are developed over slow, low sustained strings at the outset,
dwelling on the acerbic interval of a ninth in a mood of reflective elegy.
Underpinning the movement is a gradual arc of intensity, with a gradual
build towards an exciting climax, at which the music springs vividly into
dance-like exuberance, Yuri Zhislin's brightly projected double-stopped
energy supported effervescently by the whole orchestra. Then, tension subsides
with eerie swoops emanating from inner voices, fading into silence.
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Copyright © 23 December 2001
Malcolm Miller, London, UK
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