Epigraphs

Six Epigraphes Antiques

Debussy was inspired to compose, in the first instance songs, and later these piano duets, on being exposed to a collection of erotic poetry Les Chansons de Bilitis (the Songs of Bilitis, published in 1894) by his friend Pierre Louÿs. The poems were allegedly the work of a woman from Ancient Greece (Bilitis), found written on the wall of a tomb in Cyprus. They are a celebration of lesbian sexuality and express her inner thoughts and loneliness. Even though this story was later found to be a hoax, nevertheless the poems themselves (by Louys) are considered high art.

In using epigraphs attached to each piece, Debussy points the listener towards the space or mood he wants to evoke. Invoking Pan in the first, he expresses the freedom and sensuality of summer breezes. The second does the opposite. We are in a tomb (we don’t know whose) – eery, mysterious, dank, muffled and silent. Interweaving the parts in the third, Debussy implies the expectations, whispered words and intimacies of the bedroom. The fourth is a dance in which the dancer at one moment entices, at another, repels, her moods frequently changing. The dancer in the fifth though, is sensuous and alluring, performing for us against a background of constant syncopated rhythm. The last brings us back to the natural world once again, thanking the gods for the rain and a reminder that summer will return.

Divertissement à la Hongroise, Op. 54

This epigraph lets us know a couple of things. It informs us that Schubert composed this work for our enjoyment and entertainment first and foremost. And that he has based many of the melodies and rhythms on Hungarian folk songs and dances (especially in the Andante).  The Allegretto is associated with a strongly regimented 4/4 rhythm, his favourite march rhythm for his duets. Through and above this, we can imagine the piccolo breaking out, even as the drum-beat prevails. Hinting that there is a lie to all this fun and games is the key – D minor. Because what does a march say? To war! The epigraph is written in French, surely no coincidence with the Napoleonic wars (1803 – 1815) still raging.

Diana Weston

Dream Weaving

Playing piano duets is one of the most intimate ways of music-making.  Dream Weaving explores this intimacy through crossing hands, alternate motives and interlocking textures. There are two versions of Dream Weaving. This longer version and a short version for the musical Music 101 in which two student pianists learn to collaborate together.  Musically the piece moves in a tonal/whole-tone sound world to evoke the shifting, ephemeral quality of dreams.

Diana Blom

FOR RICHARD. In memory of Richard Pollett (1986 – 2011)

In 2011, a young man Richard Pollett, was riding his bike to a Queensland Symphony Orchestra concert where he was to be the soloist.  He was a young, talented, virtuosic violinist.  On that journey, he was tragically killed as a truck dangerously overtook him.

Richard’s parents asked Elena Kats-Chernin to write a composition in his memory. That is what you will hear today. It’s a commemoration and a celebration of Richard’s short life. Diana and I invite you to travel with us as we evoke beginnings, blossomings, jubilation, catastrophe and far-reaching calm.