MELBOURNE RECITAL CENTRE PRESENTS 1

KSENIJA
SIDOROVA
TUESDAY 4 DECEMBER 2018

GREAT PERFORMERS
CONCERT SERIES 2018
 ‘Sidorova is
simply brilliant.’
THE SUNDAY TIMES (U.K.)

2
KSENIJA SIDOROVA

PROGRAM

JOHANN SEBASTIAN BACH ALEXEY ARKHIPOVSKY

(b. 1685, Eisenach, Germany – d. 1750, (b. 1967, Tuapse, Russia) (arr. A Poeluev)
Leipzig, Germany) Cinderella
Overture in the French Style, BWV 831
Ouverture SERGEY VOYTENKO
Sarabande (b. 1973, Samara Oblast, Russia)
Gigue Revelation
Echo
ASTOR PIAZZOLLA
ANATOLY KUSYAKOV (b. 1921, Mar del Plata, Argentina –
4 (b. 1945, Ivanovo Oblast, Russia – d. 1992, Buenos Aires, Argentina)
d. 2007, Rostov Oblast, Russia) SVP
Autumnal Sceneries Sentido único
Autumnal Reveries Tanti anni prima
Leaf-fall
ALFRED SCHNITTKE
Soirée Mood
(b. 1934, Saratov Oblast, Russia –
Forgotten Chimes
d. 1998, Hamburg, Germany)
Cranes
Revis Fairytales
Wind Dance
Chichikov’s Childhood
VYACHESLAV SEMYONOV Officials
(b. 1946, Bryansk, Russia) Waltz
Red Guelder-Rose Polka

INTERVAL (20-minutes)

ABOUT THE MUSIC
The accordion family, including the Russian bayan
and Latin American bandoneón, was largely ignored
by art-music composers until the mid-20th century,
though used for local colour as early as Alban Berg’s
Wozzeck in 1923. The technology of the instrument,
which arose in the early 19th century, is simple – a
bellows pushes (or pulls) air across a reed causing
it to vibrate and sing. The family encompasses
small instruments of the concertina variety,
maybe hexagonal in shape and capable of playing
uncomplicated diatonic tunes by means of buttons
to sound the notes, through to the complex and
much larger concert instruments with ‘piano’ style
keyboards and a full range of chromatic notes.
As the technology developed, brilliant players such
as the Danish virtuoso Mogens Ellegaard emerged,
encouraging contemporary composers, particularly
in the Scandinavian and Baltic countries, to write
for them; the mid-century saw the appearance
of such composer-performers as Astor Piazzolla.
Since those pioneers, players such as James Crabb
and Ksenija Sidorova have advocated for their
instrument as a valid addition to the ‘serious’
concert hall playing both new music and standard
repertoire rethought for the accordion, and
composer-performers, notably in Eastern Europe,
have continued to expand the repertoire.
Bach’s keyboard music, as Glenn Gould was happy to
point out, is much more about structure than colour,
with Bach reusing certain pieces in wildly different
ensembles and contexts so that music might
reappear in a harpsichord concerto and do perfectly
good service as the organ solo in a cantata. French
GREAT PERFORMERS 2018
5
JOHANN SEBASTIAN BACH
instrument builders who developed the modern
‘piano’ accordion referred to it as accordéon-orgue,
and it is not so far removed technically from earlier
portative organs, so Bach may well have given his
blessing to a version of these four sections from his B
minor Overture in the French Style. Bach’s keyboard
works are not always easy to date, but this is one of
two works that constitute Part II of his compendious
Clavier-Übung, dating from 1735 (the other is the
Italian Concerto). Effectively an ‘orchestral’ suite of
contrasting French dances, conceived for double-
manual harpsichord, it opens not with the Allemande
dance that he used in other similar contexts, but
with an actual ‘French overture’ – that is a slow
ceremonious introduction succeeded by a fast fugue
before a brief return to the introductory music. There
follows a series of contrasting dances, of which the
Sarabande is perhaps the most stately, and the suite
ends not with the lively gigue, as might be expected,
but a 2/4 movement entitled Echo.
KSENIJA SIDOROVA

Russian composer Anatoly Kusyakov was educated
in Rostov and spent much of his life and career
there, eventually becoming Rector of what is now
known as the Rachmaninoff Conservatory. The
traditional Russian accordion, or bayan – whose
name commemorates an 11th-century bard – is
operated by buttons rather than a keyboard. It had
gained a new lease of life in the 1920s under the
Soviet government, which sought to encourage
folk traditions. There were, of course numerous
6 regional variants of the instrument, but the concert
bayan was developed systematically by the Moscow
Experimental Laboratory. In 1927 the Conservatory
in Kiev instituted the first program for studies in
folk-music, and was quickly followed by the Gnesin
Academy in Moscow as well as the Conservatories in
St Petersburg and Vladivostok. Kusyakov, active from
the early 1970s, composed a great deal of music,
including several sonatas, for the bayan, in a style
that allows for a rich and often dissonant harmony.
Its sequential chords and insistent bass depict
the flight of the cranes overhead, but as Sidorova
points out, the movement is inspired by a poem
of the same name by Rasul Gamzatov. Originally
written in Gamzatov’s native Caucasian language,
Avar, ‘Cranes’ became hugely popular in the Soviet
Union (especially as a song composed by Yan
Frenkel), and appeared after the poet’s visit to
post-War Hiroshima. There, Gamzatov heard of a
young girl who had made thousands of origami
cranes before succumbing to leukaemia. He wrote
about the souls of the fallen soldiers, who:
Were buried not in soil to be forgotten,
But turned into white cranes in flight instead.
The Suite concludes with a bravura ‘Wind Dance’,
banishing, for the moment, any such tragic thoughts.

His Autumn Sceneries suite dates from 1989. A

pensive opening, making use of a skilled player’s
ability to sustain lengthy heavy chords, embodies
‘Autumnal Reveries’. By contrast, ‘Leaf-fall’ conveys
the whirling and fluttering of coloured leaves
in rapid figurations above a simpler melody.
‘Soirée Mood’ conjures up, sometimes in slightly
grotesque fashion, memories and echoes of dance
music. ‘Forgotten Chimes’ naturally contains
glimpses of Slavonic liturgical chant seen through
a glass darkly; Ksenija Sidorova likens it to seeing
‘the ruins of the cathedral and the distant sound
of the church bells.’ This funerary atmosphere
RASUL GAMZATOV
also informs the following movement ‘Cranes’.

Director Vasily Shukshin’s 1974 film Kalina krasnaya
takes its title from a popular song of the same name
(included in the soundtrack) by Yan Frenkel, whose
setting of ‘Cranes’ was so popular. The guelder-rose
(a species of viburnum often known in English as
the snowball tree or European cranberry) features
heavily in Russian and Ukrainian folklore, and
Frenkel’s original song is a tale of betrayed love.
In 1976, Vyacheslav Semyonov composed this
fantasia for accordion in Shukshin’s memory,
using Frenkel’s tune, which he entwines with his
own thematic material while maintaining the
original’s mood. Semyonov is a major figure in
the development of repertoire for the modern
bayan. Like Kusyakov, he received his early musical
training in Rostov, later celebrating the region in
two Don River Rhapsodies. He undertook further
study at Moscow’s Gnesin Academy, and gained
acclaim as a prizewinner in several international
VYACHESLAV SEMYONOV
GREAT PERFORMERS 2018
competitions from the late 1960s. He has since
received numerous honours, including that of
People’s Artist of Russia in 1995.
Cinderella is a six-minute jeu d’esprit by Russian
composer Alexey Arkhipovsky, a virtuoso of the
balalaika capable of breath-taking performances
of everything from metal to Paganini, who studied
in the folk-music course at the Gnesin Academy in
Moscow. It has something of the simple magic of a
character piece from a Tchaikovsky ballet, spinning 7
melodies out of its initial five-note motto, set in a web
of gentle ostinatos. Arkhipovsky composed it for the
balalaika, but it transfers effortlessly to the accordion.
Arkhipovsky’s near-contemporary, Sergey Voytenko
began playing accordion at the age of seven in his
hometown of Samara, 1000 kilometres southeast
of Moscow. He is a multi-award-winning performer,
and has worked to advance interest in the
ALEXEY ARKHIPOVSKY
KSENIJA SIDOROVA

accordion by founding a number of ensembles and

festivals, for which he received the silver medal
of the order ‘For Merit of the Fatherland’ in 2011.
His popular Revelation is a single movement with
classic shape: an inexorably mounting wave of
deep nostalgia and sentiment reaches a plangent
climax and gradually fades.

The bandoneón, so intimately associated with

Argentinean tango and the music of Astor
8 Piazzolla in particular, was the invention of
Heinrich Band, a German who adapted the so-
called ‘Chemnitz concertina’ as an instrument
that poor parishes could use in place of an organ.
It was, of course, well established in Argentinean
vernacular music by the time Piazzolla emerged. In
1954 Piazzolla won a scholarship to study in Paris,
and he took lessons with the legendary Nadia
Boulanger. He was by this stage acknowledged
as a great composer of tangos and performer on
the bandoneón in his native Buenos Aires (though,
incidentally, he spent many of his earliest years in
New York) and had already studied with Alberto
Ginastera. But Piazzolla yearned to be a serious
composer and played down the importance of
tango at first. Boulanger, however, showed her
usual perspicacity. Hearing Piazzolla play tango
on the bandoneón she famously said ‘Astor, your
classical pieces are well written, but the true
Piazzolla is here, never leave it behind’. Piazzolla
took Boulanger’s advice, as one would, but his
interest in ‘classical’ music allowed him to move
freely between popular and ‘serious’ musical
worlds, composing for Rostropovich, the Kronos
Quartet and Gidon Kremer among others.
ASTOR PIAZZOLLA
Tango was originally far from high art, and while its
origins are complex, it was the music of the slum
areas of Buenos Aires in the early 20th century that
is the root of Piazzolla’s work. The first two tangos
we hear tonight date from the Paris years: SVP is
short for ‘s’il vous plait’ (please), and may have
been co-composed with band-leader Marcel Feijóo,
and Sentido único, or Sens unique, means ‘one-way
street’. Thirty years later, Piazzolla composed the
score for Marco Bellochio’s film Enrico IV (after
Pirandello’s play) in which a brain-injury leads
an Italian aristocrat to image himself King Henry
IV, a delusion in which many, including Matilda,
the object of his unrequited love, are complicit.
Tanti anni prima, also known as Ave Maria, depicts
Matilda (played by Claudia Cardinale in the film).
Unlike many of his colleagues in the former Soviet
Union, Alfred Schnittke enjoyed some experience of
the West from early in his life. His father worked in

Vienna between 1946-48, and the young Schnittke
studied composition privately there as well as
acquiring the fluency in German which aided his
relative freedom of movement when his music
became internationally known after about 1980.
The word ‘polystylism’ is often used to describe
Schnittke’s work: in a way reminiscent of Mahler
(more than Shostakovich, with whom Schnittke is
frequently but misleadingly linked) the composer
creates some of his most dramatic effects out of
the juxtaposition of wildly contrasting materials –
passages of strict polyphony give way to cinematic
climaxes; tunes by (or that might have been by)
classical masters are twisted into ironic parodies.
This stood him in good stead in his work for film
and the stage, of course. In 1978, he scored The
Inspector’s Tale, a staged version of Nikolai Gogol’s
Dead Souls, but for Soviet officialdom the satire
on bureaucratic corruption – of even a century
ALFRED SCHNITTKE
GREAT PERFORMERS 2018
before – was too close to the bone, so the show was
cancelled. Schnittke recycled the music for a 1985
ballet called Esquisses (Sketches) based around
various Gogol stories and characters; more recently
accordion virtuosos Yuri Shishkin, Friedrich Lips
and Ksenija Sidorova herself have developed this
suite, Revis Fairytales, of four movements from
the score. In the first, Pavel Chichikov’s childhood
is depicted by twisted versions of recognizable
fragments of classical music, notably from Haydn’s
‘Surprise’ Symphony; the frenetic activity of 9
bureaucratic officials is parodied by deformations
of material from The Magic Flute overture. The
Waltz, likewise casts a wide stylistic net evoking
both liturgical and operatic memories. The final
Polka, depicting Gogol’s The Overcoat, a story of
the lowly clerk, Bashmachkin, whose overcoat is
stolen, and who, dying of exposure lives on as a
ghost stealing others’ coats, makes reference to
‘gypsy’ and other vernacular musics.
© Gordon Kerry 2018
Composer and writer Gordon Kerry lives on a hill in
North-Eastern Victoria.
KSENIJA SIDOROVA

ABOUT THE ARTIST

Praised as ‘superbly subtle and virtuosic’

(The Arts Desk) and ‘an amazingly
accomplished artist’ (Classical Source),
Ksenija Sidorova is the leading
ambassador for the accordion.
10
Encouraged to take up the instrument by a
grandmother steeped in the folk tradition of
accordion playing, Ksenija started to play the
instrument aged eight under the guidance of
Marija Gasele in her hometown of Riga. Her
quest for more exposure to both classical and
KSENIJA SIDOROVA contemporary repertoire took her to London
where she became a prize-winning undergraduate
at the Royal Academy of Music.

Ksenija’s first album, Carmen, was released on

Deutsche Grammophon in 2016.

Ksenija regularly collaborates with Miloš

Karadaglić, Juan Diego Flórez, Nicola Benedetti,
Thomas Gould, Avi Avital, Andreas Ottensamer and
Joseph Calleja.

twitter.com/KsenijaSidorova
facebook.com/sidorovaksenija
instagram.com/ksenijasidorova
 GREAT PERFORMERS 2018
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 MEASHA BRUEGGERGOSMAN
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14 1
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 Melbourne Recital Centre Presents
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