Violist Dana Zemtsov is joined by Modestas Pitrenas and the Sinfonieorchester St. Gallen on Reverse Directions. This recording brings together two ideas: movement and belonging. For Zemtsov, movement can lead in many directions: outward into the world, inward into memory, back towards our origins, towards another culture, towards a place we may never physically reach again. Born in Mexico, raised in Europe, and deeply connected to both Latin American and European musical worlds, her artistic voice is rooted not in one place, but in the dialogue between them. Gyula David's Viola Concerto draws on Hungarian folkloric elements. Bohuslav Martinu's Rhapsody-Concerto, written in exile, carries the unmistakable tension between distance and belonging. The album is rounded out with two pieces for solo viola, Fazil Say's Viola Sonata and Francisco Tarrega's Recuerdos de la Alhambra.
Born in Mexico City, violist Dana Zemtsov has always retained a deep love for the colourful Latin-American culture. The discovery of Gabriel Garcia Marquez's book One Hundred Years of Solitude, in which the vivid literary images of clouds of yellow butterflies precede a forbidden lover's arrival, inspired Dana to revisit her earliest musical memories. This led to a unique project embodying the most characteristic expression of love in Latin-American culture: the beautiful boleros presented on this album entitled Yellow Butterfly. They are so well known that practically every Spanish-speaking person can sing them by heart. With arrangements by the legendary Joan Albert Amargos and Claudio Constantini, the recording conjures the surreal atmosphere of the Americas: melancholy, roughness, poetry, vitality and joy. These 'recomposed' boleros were arranged for solo viola and a small ensemble that consists of pianist Anna Fedorova, trumpeter Angelo Verploegen, bandoneonist Claudio Constantini, double bassist Nicholas Schwartz and percussionist Andre Groen.
This program is a wonderful little treasure chest overflowing with musical gems for the viola, all composed in Holland in the twentieth century. Even more delightful is the thought that these pieces and their four composers abide in the twilight of Dutch musical life and seldom if ever come to the attention of soloists and orchestras. They spotlight a beautiful solo instrument – the viola – which is not exactly seen as the prima donna of the podium, and which usually occupies a modest place as a middle voice in the orchestra or string quartet. This is the first recording of the Concertino for viola and orchestra of Jan Koetsier.