As in theater, tight-knit concert dramaturgy also contains many facets and ideally serves the revelation of Spiritual treasures which slumber in the work. Like a surrealistic mirror-image, the Haiku , the original genre of ancient Japanese poetry, is called to new life, testifying to the emergence of fresh new qualities engendered by the marriage of contrasting elements. Or, in visual terms: as do the diverse characters themselves pulsate in Fellini’s fantasy, likewise unconfined the music also flows. Walt Disney’s Fantasia is another example of kaleidoscopic juxtaposition in the arts, as is the Tarkovsky film “The Steamroller and the Violin” where, once again, it is alone the contrast which delineates the vitality of the action.
It seems to me that the chameleon-like soul of a composer is ultimately revealed by a developmental process akin to multiple kiln-firings. It is in the context of such a process that this recording emerged, the product of a series of repeated concerts. Despite a strict order of appearance of the various works, such excursions through the melting pot of the spirit can result in a surprisingly unique experience, unintentionally unfolding an endless world of nuance from within; the sparks of passion burst forth like the fiery stallion symbolized by the liberated Fantasia.