THE CAT (MAČKA) (2004)
THE CAT (MAČKA) (2004)
for soprano and piano
On a poem by Svetlana Makarovič
instrumentation: S, pna
duration: 5 minutes
première: May 29, 2004, Pfingstwerkstatt Neue Musik Rheinsberg, Germany
Teja Saksida – sopran, Vito Žuraj – piano
THE CAT (MAČKA)
score preview
Additional performances
Helena Mamich – soprano, Anne Ewing – piano
Alessia Hyunkyung Park – soprano, Marija Skender – piano
Ellen Luker – soprano, Vito Žuraj – piano
Teja Saksida – sopran, Vito Žuraj – piano
VIDEO
June 15, 2015, Australian National University, Llewellyn Hall
Helena Mamich – soprano, Anne Ewing – piano
June 15, 2015, Australian National University, Llewellyn Hall
Helena Mamich – soprano, Anne Ewing – piano
ABOUT
A nimble coloratura recitative in an impulsive and expressionistic style, THE CAT (MAČKA) describes the deceptive innocence of a cat by day, in comparison with what it is presumed to get up to at night. The piano operates on two levels, one as a sedate chordal accompanist, providing a foundation to the skittish figures of the soprano, and one as an equal partner to the vocal line, with nimble arpeggios and playfully insistent, repeated chords acting as an extension of the singer’s phrases and broadening the inventiveness of the vocal line.
It is with one such arpeggio that the piece concludes, almost nonchalantly rounding off a brief coda in the piano, as if vanishing into thin air.
Alwyn Tomas Westbrooke
A nimble coloratura recitative in an impulsive and expressionistic style, Mačka (“The Cat”) describes the deceptive innocence of a cat by day, in comparison with what it is presumed to get up to at night. The piano operates on two levels, one as a sedate chordal accompanist, providing a foundation to the skittish figures of the soprano, and one as an equal partner to the vocal line, with nimble arpeggios and playfully insistent, repeated chords acting as an extension of the singer’s phrases and broadening the inventiveness of the vocal line. It is with one such arpeggio that the piece concludes, almost nonchalantly rounding off a brief coda in the piano, as if vanishing into thin air.
Alwyn Tomas Westbrooke