This page is also available in / Cette page est également disponible en:
Francais (French)
-
44
I am generally resistant to albums that impose an external theme on unrelated pieces of music from different places and times. In this case, it is eastern Europe, 1814 to 2024.
You’d be hard pressed to justify Karel Szymanowski’s Masques of 1915 as war poems, the more so when its named themes are Scheherezade, Tantris and Don Juan and the composer never entered uniform. Chopin’s two Polonaises opus 40 are likewise hardly militaristic, no matter how hard the pianist Maria Narodytska tries to rally her fingers and how dark she colours the bass line.
This album comes into its own with the present Ukraine war – a minimalist meditation, ‘After’ by the Kyiv-born Narodytska, followed by a really substantial War Notebook by her compatriot Artem Liakhovych. This set of cultural aphorisms quotes anyone from J S Bach and Frederic Chopin to the people of Uman, a place of saints and visions. The randomness of reference is itself indicative of the way fragments of music enter our consciousness in time and place of war.
Narodytska plays the pieces with an empathy that stays just on the right side of hyperintense. Her closing piece is the second sonata of Dmitri Shostakovich and suddenly the whole album makes sense. Shostakovich in 1943 said everything in that bleak sonata that he could not put into words. Only music can describe the human condition under such stress.
Maria Narodytska’s approach is impeccable, the album cover arresting.
This page is also available in / Cette page est également disponible en:
Francais (French)
