Japanese Silhouettes : Work information

Composers
Dmitry Lvovich Klebanov ( Music, Images,)
Performed by
Natalia Biorro (Soprano), Mela Tenenbaum (Viola d'amore), Philharmonia Virtuosi, Igor Blazhkov (Conductor)

This work

Work name
Japanese Silhouettes
Work number
n/a
Key
n/a
Genre
A
Composed
1987-01-01 02:01:00

This recording

Label
Essay
Producer
Adam Abeshouse
Engineer
Adam Abeshouse
Recording date
n/a

The Composers

Dmitry Lvovich Klebanov

Track listing

  • This night is filling up my mountain shelter with chestnut bloom aroma 3:11 min
  • Native lands native lands smiling hillsides anywhere you look 4:13 min
  • Can't see the moon while its silver spark is crossing hills 3:22 min
  • Like lumps of soil dark huts are here and there in autumnal mountains 3:46 min
  • Winter day has dimmed. Thickening evening dusk far behind stubble fields. 5:52 min
  • Spinning spinning whirling birds eddy smoke of distant fires above withered meadows 4:32 min
  • Fenced flower fades in time of winter. A rose? Or am I mistaken? 1:48 min

Notes

The composition of Japanese Silhouettes arose from two projects that Klebanov was working on towards the end of his life: a work for viola d'amore for his friend Mela Tenenbaum, and a piece for voice using Japanese haiku translated into Russian. The two projects were combined and completed at a composer's retreat in Warsaw and the work recorded for Kiev Radio. A performance was scheduled for the composer's 80th birthday celebrations in 1987, but Klebanov died just weeks before.

With the dissolution of the Soviet Union, the work was thought lost, only a badly distorted tape from Kiev Radio remaining in the possession of Mela Tenenbaum, now living in the United States. Eventually the work's dedicatee, the conductor Igor Blazhkov, located the manuscript and a new set of parts was created.

A colourful work with a myriad of percussion and the aforementioned, and unusual, viola d'amore part, Japanese Silhouettes manages to suggest the mystery of the far east within a conventional western tonal language. Essentially two pieces in one, each movement is given an evocative title and begins with the purity of the soprano's voice, before the impassioned emotions of the viola d'amore take over. Only in the last movement are the two solo instruments combined.