Sofya Gulyak (Russia)

28.10.2010

7 pm Collegium Novum of the Jagiellonian University

Dance poems with puns in the background

                 Dance poems dominate the first part of this outstanding young Russian artist's recital. First we will hear one of Chopin's most mysterious works, his Polonaise - Fantaisie in A flat major, op. 61. It took the composer some time to finally decide on a title for his new composition. The hyphenated name perfectly conveys the content of the masterpiece. Incidental polonaise rhythms are entwined into an overriding expression of fantasy and mystery. Rich textural and harmonic means show the deep and ever-evolving musical language of the great composer, who endlessly sought new forms and effective means of expression, such as this work written in 1846. Similar traits in his composing technique are to be found in his three earlier Mazurkas op. 59. There, Chopin used polyphony with the inclusion of some polonaise reminiscences. The rhetoric, the sound atmosphere and above all the epic narrative quality of the Mazurka in A minor, make it a passionate musical story.
               The only non-dance piece of Chopin's music presented in Sofya Gulyak's recital, is the Scherzo in C sharp minor, op. 39. The composition is the result of Chopin's stay in Majorca in 1839. The demonic expression in the opening and closing parts are in sharp contrast to the choral middle section. The composer's developmental skills continually build the tension to the final dynamic climax which puts the Scherzo in C sharp minor into the first rank of Chopin's masterpieces.
               The finale of the first half of the recital, the Grande Polonaise in E flat major op. 22, preceded by the Andante spianato, is a real fireworks display of the romantic "brillante" style. Its richness and melodic beauty are fascinating. The freshness of its ideas and its brilliant piano texture make the Grande Polonaise op. 22 an outstanding part of the programme.
               The second part of the recital contains two of Schumann's important works: Variations on the name "Abegg" was the first published piece to give its composer great satisfaction, which is little wonder. It is a beautiful cycle of variations created by the inexperienced 20-year-old; one which fascinates with its ideas and piano texture. The name in the title, which is also the person to whom the piece is addressed, may be connected to a probably fictional Countess Abegg, but also to Schumann's rather peculiar sense of humour. One of Schumann's most popular piano works, the Carnaval, Op. 9, which closes the recital, is not only a pageant of carnival masks in the form of musical miniatures, but in Florestan and Eusebius it is also a self-portrait of the composer, using the only musical letters in Schumann's surname, A-Es-C-H. It is also a musical interpretation of Chopin, Paganini and Clara Wieck but above all a lampoon towards the Society of David which was fighting for the new music.