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FIREOPTICS
ZARETSKY - Fireoptics,
Humoresque, Russian Dances, Dervishes
Kathryn Lockwood (viola) Inessa Zaretsky (piano)
Yousif Sheronick (percussion) Bribie Recordings
KL1122
Review by Carlos Maria Solare
This CD brings together the viola music of the Russian-born,
New York-based pianist-composer Inessa Zaretsky in fiery
interpretations from Kathryn Lockwood. Fiery is indeed the
word, since the piece that gives the collections its name
was actually inspired by fire in its diverse manifestations.
These are realistically created - with effects like sul
ponticello runs and the plucking of piano strings - within
a mainly tonal framework. Even if the thought of a tango
opening a suite of Russian Dances might raise a few eyebrows
in Argentina, that movement is effectively written, and
the whole suite - of autobiographical content - has an attractive,
melancholic charm.
Dervishes for viola and percussion is a five-movement suite
portraying the interpreters for whom it was written, who
of course give it a definitive interpretation. The piece
was inspired by Yousif Sheronick's improvisations on Middle
Eastern drums, and does sound as if partly improvised.
Humoresque for unaccompanied viola is a short character
piece in several small contrasting sections, exploring the
different "humours" that make up a person's character.
Lockwood is absolutely inside the music's idiom, finding
appropriate tonal shadings both for its lighter moods and
for the deeper recesses of the Russian soul that are tapped
elsewhere. With agreeable recorded sound, the whole CD is
a recommendable 'portrait of the artist'. |
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Fireoptics
Viola Music by Inessa Zaretsky
Bribie Recordings KL1122(CD)
There was a time--the late 1960s, to be exact--when new
music meant anything that stretched an instrumental technique
or a traditional form to its limits and beyond. And that
was it. The sole justification for a new work was how drastically
it tore apart conventional formal structures and, more importantly,
the fundamental mechanics of instrumental (or vocal) performance.
Bartók's tapping the wood of the bow across the strings
was one thing, but creating wounded animal sounds, grating,
ear-injuring effects, or pointless "see what I can
do" stunts to incomprehensible "melodies"
and mathematically improbable rhythms was another. The real
question was: where is the music? Well, here is a wonderful,
very musical response to any such notions of what "new
music" really should be, and what should rate our serious
and continued attention as listeners.
Russian-born composer Inessa Zaretsky is a superbly confident
artist who really knows her instrument and idiom, in this
case the viola. Yes, she's a pianist by formal training,
but these works for viola and piano show no favoritism toward
the keyboard; rather, the partnership is so well groomed,
so well conceived, that we don't so much notice the two
instruments as the overall expressiveness of the work at
hand. Indeed the writing for both instruments in the opening
sonata (also titled Fireoptics) is virtuosic, but it also
comes across as totally natural--no gratuitous gimmicks
or out-of-character, "clever" tricks. And, as
she does throughout this thoroughly engaging recital, Kathryn
Lockwood (known for her work with the acclaimed Lark Quartet)
delivers expert, artful performances that not only keep
us interested, but also make us want to come back for more.
The solo-viola Humoresque and the Russian Dances--Tango,
Riding Dance, Round Dance, and Valse--are works of unfailingly
solid technique, bold, assertive expression, and a kind
of ripe and raw lyricism that suits the viola well. The
Five Pieces for Viola and Percussion (Dervishes) features
some really inventive and tasteful accompaniment by various
percussion instruments--riq, marimba, bodhran, dumbek, cymbal,
and bells--that gives both a new and old flavor to these
very modern-sounding but always enjoyable, accessible works.
If you want to hear the brighter side of new music, excellently
played and vividly recorded, don't hesitate to try this
fine release. [10/4/2005]
Review by David Vernier
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Fireoptics - Viola Music by Inessa
Zaretsky
Kathryn Lockwood, viola
Inessa Zaretsky, piano
Yousif Sheronick, percussion
Bribie Recordings KL1122 Review by Myron Rosenblum |
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Kathryn Lockwood comes with many credits
to her name. An Australian by birth, she has performed
with many prestigious groups and is currently the violist
in the Lark Quartet. This CD is devoted exclusively to
the music of the Russian-American composer Inessa Zaretsky.
On it are Fireoptics - Sonata for Viola and
Piano; Humoresque for Solo Viola; Russian Dances - Suite
for Viola and Piano; and Dervishes - Fives Pieces for
Viola and Percussion.
This CD is full of wonderful playing and viola music by
a composer who seems to understand the viola and its capabilities
and doesn't fail to maintain interest for the listener.
The first piece - Fireoptics
- is a three-movement piece of great contrast (I: Allegro;
II:Adagio; III:Presto). From a first movement with great
musical color, intensity and mood changes, the second
movement is like a somber processional. The last movement
is short and wild with much use of pizzicato and the pianist
brushing over the strings in the piano.
The Humoresque, a six-movement
work for viola solo, is filled with contrasting moods,
strong rhythms and making impressive use of the wonderful,
dark registers of the viola. Russian Dances
- Suite for Viola and Piano is a substantial
18-minute work. The "Tango" has a seductive
quality to it. "Riding Dance" is full of energy
while the "Round Dance" comes across as a pretty
strict round with a folksy character. The last movement,
the "Valse" is wistful, sad and melancholic.
The last piece on this CD is Dervishes - Fives
Pieces for Viola and Percussion. As the
program notes, this work is a mix of Western and Middle
Eastern music. In this five-movement work the viola blends
wonderfully with the riq, marimba, bodhran, dumbek, cymbal
and bells.
Ms. Lockwood, the composer at the piano and Yousif Sheronick
on percussion are all first-rate musicians. Kathryn Lockwood
is an outstanding violist who has a fine understanding
of this musical idiom and succeeds in making the music
come alive and interesting. Inessa Zaretsky is a most
talented composer and we look forward to having more of
her works for viola.
Highly recommended, especially for those who
may shy away from contemporary music.
Review by Myron Rosenblum
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STRINGENDO
Journal of the Australian Strings Association
LTD Vol 27/2
Fireoptics - Viola Music
by Inessa Zaretsky
Bribie Recordings KL1122(CD)
By Patricia Pollett
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This
engaging CD features works for viola by the Russian
– New York based pianist composer Inessa Zaretsky,
wonderfully played by Australia violist Kathryn Lockwood.
Originally from Queensland, Lockwood is now based
in New York and is a member of the Lark String Quartet
as well as on faculty at University of Massachusetts,
Amherst, and Concordia College. Regular duo partners,
Lockwood and Zaretsky give the performances passionate
treatment indicating real affinity with the music.
The playing is strong and technically assured. Melodic
material is sensitively shaped and the energetic sections
are propelled forward with enthusiastic drive and
momentum.
I could not help draw similarities between Zaretsky
and Australia’s Russian pianist-composer Elena
Kats-Chernin; both not only compose with originality
flavoured by Russian seriousness, but also play the
piano very well indeed. Underlying all works here
is a somewhat dark, somber sensibility, reminiscent
of the works by recent Russian composers such as Schnittke.
Particularly appealing is the unaccompanied work,
Humoresque. Always a difficult task to write for
a single line instrument, this manages to engage
the listener by linking a host of diverse ideas
and characters seamlessly through the six sections.
The title belies the drama and intensity herein.
Light, if somewhat dry relief is found in the Tango,
part of a Suite of Russian Dances for viola and
piano. These quirky pieces are imaginative and appealing,
and I can imagine them gaining considerable popularity
with violists and audiences alike. Kathryn Lockwood’s
playing of the Valse is beautifully etched, hinting
at disturbing emotional undercurrents.
The title work, Fireoptics, is a substantial three-movement
sonata for viola and piano. Zaretsky writes in a
traditional tonal language. The music is approachable
and well crafted.
Some
exotic spice is added to the mix in Dervishes for
viola and percussion, with Middle Eastern influences
permeating. Lockwood is partnered by percussionist
Yousif Sheronick in a challenging and colourful
work that explores the contradictory textures of
the instruments. These are substantial, original
contributions to the viola repertoire, convincingly
performed and recorded with good clarity and balance.
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Fireoptics
- Viola Music by Inessa Zaretsky
Kathryn Lockwood, viola
Inessa Zaretsky, piano
Yousif Sheronick, percussion
Bribie Recordings KL1122 –
61 minutes |
Review by:
D Moore
Inessa Zaretsky is Russian by birth and background but
has settled in New York City, where she teaches piano at
the Mannes School. Her music is an interesting blend of
semi-abstract gestures with folklore melodies. Fireoptics,
a viola sonata, is quite dissonant, thought not altogether
atonal – a big 19 minute piece in three movements.
Humoresque is not funny in intent; rather it is a solo viola
piece portraying the humors in a variety of styles. Then
comes a substantial suite of four Russian dances for viola
and piano, attractive and tuneful. Finally we have Dervishes,
a five-part suite for viola and percussion describing the
couple who plays it, with due attention to their countries
of origin, Australia and the Middle East. This is an attractive
and varied program, well played and clearly recorded.
D Moore
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