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2 parts2 pages01:592 months ago3 views
Flute, Piano
Стихотворение Ники для Ники.
Four Poems of Sylvia Plath
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Four Poems of Sylvia Plath

2 parts27 pages152 months ago213 views
Voice, Piano
So, after I wrote Hemingway's Eulogy, there was some kind of a one year long creative crisis. It was over, when I for the first time heard Hans Jacobi's, Jan-Willem van Ree's and John Martin's works published here. This cycle is derived from that inspiration, that their music gave me. So, I dedicated this work to the people, who revived my musical workshop.

About poems:

All four poems is taken from Sylvia Plath' last book of poems 'Ariel'. The sequence of poems I used here is not an accidental. 'The Couriers' (break, divorce and lies), 'Contusion' (that is emotional, represents severe depression, in which Sylvia spent the last days of her life - the poem was written 11 days before suicide), 'Edge' (her last work: the thoughts about suicide and the thoughts about her children and motherhood) are directed towards the death. 'Edge' is a tense magnetic center of the set. The mix of harsh and mild dissonants is actually a dizzy odours of the garden and dizzy disposition of semantic layers within the text of the poem. 'Morning Song' is awakening from the nightmare by her baby's cry, finding happiness in her motherhood, but, simultaneously, ambivalence caused by fragility (image of ballons at the end) of purity and beauty that her children is are. New wave of pessimism. The seeming opportunity of a new start is faded. Morning turns out into its homophone word.

Structure of set:

I. The Couriers (to Jan-Willem van Ree) is a set of fragments within global ternary form, just like Eulogy was.
II. Contusion (to Hans Jacobi) is a little subtle piece concentrated on harmonic and canonical imposition.
III. Edge (to John Martin, a.k.a. 21st century boy) is tightly gathered row of images, rounded by main motif.
IV. Morning Song (to Joe DiRienzo, a.k.a. penne vodka) is set of fragments/sonata rondo/theme with variations kind of thing. Main theme rounds many smaller ternary constructions based on it, but not the ending coda, that is outstands from the piece.
Cadenza part was removed from the work, because I already published it as a standalone (that nighty snowflakes thing).
Charles Ives - Songs my Mother taught me
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Charles Ives - Songs my Mother taught me

2 parts3 pages02:392 months ago147 views
Voice, Piano

Not my favorite one among 114 others, but pretty close to this.

Cristina Zavalloni, soprano
Andrea Rebaudengo, piano

I do not own this score and this performance. It published only for divulgation and non-commercial use, like education. If you believe that any copyright infringement exists on this channel, please let me know immediately.

L'ombre des arbres

2 parts3 pages02:392 months ago168 views
Voice, Piano
Just my attempt to arrange Bryusov' translation of this famous Verlaine's poem. At first I had only the Russian text in my mind, but later added the French original as well, because it is also fits the music.


2 parts3 pages02:494 months ago525 views
Voice, Piano
Eulogy, that Hemingway wrote for his close friend Gene Van Guilder, that some Hemingway Scholars believe was a eulogy for himself as well. It was a departure from his spare style and was uniquely poetic.
In terms of structure of the work, I was based on the writing style of Hemingway, in particular, that his picture of events consists of private fragments.
There's no much development in this piece, only development, in my opinion, is that catharsis of the theme through its appearance, for the third time it's completely “cleansed”.

I. Section (1-8 bars, 2 repetitions of the theme, can be considered as kind of ternary form with a coda in 8th bar)
II. 1st Vocal Solo (small folk-tuned solo for soprano or another voice)
III. Piano cadenza
IV. 2nd Vocal Solo (the second solo now imitates cantus planus, the most raw part, it will be necessary to modify it)
V. Recapitulation of the theme for the third time and coda.

The intention was to create a tightly assembled structure that would be free and seamless on the outside, like a Hemingway's polysyndeton. Instead of use series, I try to use theme-motivic connection and figurativeness of fragments.
That extended C major nonachord at the end is kind of referring to Stravinsky's final chord from his 'Symphonies d'instruments à vent' (1920) written for the memory of Claude Debussy, here this chord can also denote the infinity of non-existence, as it seems to me.

“He loved the warm sun of summer and the high mountain meadows, the trails through the timber and the sudden clear blue of the lakes. He loved the hills in the winter when the snow comes. Best of all he loved the fall … the fall with the tawny and grey, the leaves yellow on the cottonwoods, leaves floating on the trout streams and above the hills the high blue windless skies. He loved to shoot, he loved to ride and he loved to fish.”

It's another version of 'Eulogy', the one I used is taken from Hemingway's memorial monument.