He was born in Yalta, in southern Ukraine, and graduated
from the Kiev Conservatory in 1971 having studied with Boris Lyatoshinsky (1895-1968)
and Myroslav Skoryk (b.1938). He conducted the Dance Ensemble of the Kiev
Military District and the Kiev Camerata, taught at the Kiev Conservatory and
was a People's Artist of Ukraine.
Ivan Karabits’ music followed the tradition of Mahler and
Shostakovich as well as that of Ukrainian folk music. His works include three
symphonies, three piano concertos, three concertos for orchestra, chamber
music, piano works and vocal works, as well as film music. He died in Kiev,
aged 57.
A new release from Naxos www.naxos.com features Ivan Karabits’ three concertos for orchestra together with two
short works by his fellow countryman Valentin Silvestrov www.schott-music.com/shop/persons/az/51048 with
Kirill Karabits
www.kirillkarabits.com/welcome.html conducting the Bournemouth Symphony
Orchestra www.bsolive.com |
| 8.572633 |
The music becomes more frantic as woodwind and brass enter in
a riotous section, followed by a rising woodwind motif signalling a quiet
interlude. As the orchestra moves along quickly, there are some louder
outbursts, percussion playing an important role. There are rapidly changing
moods as music quietens to a lovely flute and harp passage with strings and
woodwind arabesques, somewhat reminiscent of Rautavaara. The music moves to a livelier section with
timpani and rapidly moving strings and brass with great forward momentum. Bells
peel as the music slows slightly with brass interjections before a section for
drums and brass with orchestra leads forward to what seems to be a loud
conclusion, before suddenly falling to a hush with the music petering out
quietly.
The allegro of the three movement Concerto for Orchestra No. 2 (1986) opens excitingly with the
orchestra in full flight before subsiding to strings, scurrying ahead in this
frantic music, pointed up by xylophone. The
music slows to a longer breathed section where strings, shift around tonally. Before
long the opening tempo returns complete with xylophone. When the music slows
again it becomes more light-hearted, moving around the orchestra in attractive
little phrases. Again the opening tempo returns, scurrying along, before a
brief, rather romantic section with woodwind and strings. The opening tempo
returns yet again before the movement ends quietly.
The andante molto expressivo
opens with bells and side drums leading quickly into a crash of percussion. As
the tumult dies, a rippling harp plays against a lovely little tune on the piccolo,
with a solo cello occasionally joining in. Then a harpsichord strums some
chords whilst a clarinet plays a melody, the orchestra then joining in this
slow, gently flowing, beautiful melody. A harpsichord and bass clarinet intone
the tune before strings signal a more agitated section, with side drums that
leads to the last movement moderato
that begins with an orchestral outburst.
The music soon quietens with rapid piano notes against a
little flute motif before violins and pizzicato lower strings enter. The strings
come together in a more expressive theme leading to full orchestra as the tune
is given to different instruments in a section full of action. Timpani herald a light hearted passage for
harpsichord, celeste, then flute, before a jazzy violin makes an appearance.
The harpsichord returns with brass featuring prominently before the xylophone
and timpani enter. There is even clapping from orchestra members as drums are
played. The theme is thrown around the orchestra until quietening with strings
and xylophone. Drums lead to a hushed section before a last outburst of the main
theme. This is a thoroughly entertaining and at times beautiful piece.
In his Concerto for
Orchestra No. 3 (1989) Karabits returns to the two movement format of his
first concerto with a largo rubato
opening with what must be the unique sound of ‘little bells woven into tresses
of hair’, something conceived by the composer with help from the then thirteen
year old Kirill, and symbolising ‘the voices that we hear from the past.’
Eventually a horn joins with a little tune before a cello enters. All is hushed
with strange noises appearing, including natural harmonics on the upper strings
and a rustling sound made by the brass players blowing into their instruments
without any pitch. When the strings
enter there is a rich, if slightly tragic sound, moving the music forward as
full orchestra and timpani appear. As the orchestra quietens there is a lovely
clarinet solo. There are so many things going on in this amazing, constantly
changing music. When a romantic melody emerges it rises to a climax before the
haunting sound of the flexatone sounds out, followed by timpani leading to the
second movement.
The allegro
commences quietly at first but almost immediately a melody on strings emerges
with woodwind and timpani interspersions, before the full orchestra in a
dramatic section. Eventually the music drops to a brass passage with tubular
bells joining in. As the orchestra leads on there are sections for woodwind, before
brass, and strings join. Percussion have a prominent role as the orchestra
slowly shifts along followed by a passage for brass and timpani as the music
becomes increasingly agitated. As the music peaks and subsides, there is a
brass motif against the orchestra. The music quietens with the hushed sound of
the little bells again. The piano enters alone except for hushed bells in a
rhapsodic theme. As the lower strings enter, tubular bells chime, the rustling
sound from the brass players enters and there are humming voices as a flute
plays a folksy little tune in a feeling of utmost sadness. A solo violin enters
in this magical moment that just fades with upward piano phrases.
Valentin Vasylyovych
Silvestrov (b. 1937) www.schott-music.com/shop/persons/az/51048
was born in Kiev, Ukraine. Silvestrov
began private music lessons at age of fifteen and later studied piano at the
Kiev Evening Music School from 1955 to 1958. From 1958–1964 he studied composition
under Boris Lyatoshinsky (1895-1968) and harmony and counterpoint under Levko
Revutsky (1889-1977) at the Kiev Conservatory.
His works to date include eight symphonies, works for violin
and orchestra and piano and orchestra, chamber works including two string
quartets and vocal works. After his early avant-garde style of composition he
later discovered a style comparable to western "post-modernism."
After the early death of his friend Ivan Karabits, Silvestrov
borrowed the sketches Karabits had made for a work that would have set the
texts of the eighteenth century philosopher Grigory Skovorda (1722-1794). From
this he wrote Elegy (2002) using his
own and Karabits’ ideas. It is dedicated to Karabits’ widow, the musicologist Marianna
Kopystia.
The work is introduced with a hesitant string motif, full of
sorrow and melancholy. The music hints at a sad theme but seems only to be able
deliver short phrases that nevertheless are very affecting, perhaps because of
their very reticence.
Silvestrov’s Abschiedsserenade
2003 for string orchestra is dedicated to the memory of Ivan Karabits and
was first performed on 3rd October 2003. In two movements, the adagio opens with a descending phrase that
is then developed. Again there is a reticence here, as if unable to fully
express such deep feelings. The second movement marked moderato, follows without a break with a lovely melody that, at
last, is able to appear, a wistful little tune with harp accompaniment and a pulse
that is reminiscent of adagietto from Mahler’s fifth symphony.
The works on this new disc, three of which are billed as
World Premiere Recordings, are extremely attractive in performances that, as
you would expect, are authoritative and commanding. The recording from the
Lighthouse, Poole is excellent as are Andrew Burns’ notes.
No comments:
Post a Comment