Solo Album: Naked


This is the first solo album of Brunilda Myftaraj. The CD’s title “NAKED” represents the degree to which the music recorded here leaves the Artist exposed, without any defense. She alone is responsible for each piece, the way it is formed, and the way the listener will receive it. She has undertaken the challenge of shaping the album’s works for herself, highlighting an emotional journey of the sequential progression of always-increasing harmonic, melodic, and expressive patterns. Each time she also gives us a satisfaction of resolution after building at first a strong musical drama. Her interpretations are pure, relying only on the genius of the composer’s score and naked purity of the artist’s ability to communicate it. She succeeds in creating a very memorable performance which is clear to understand and follow, the artist uses her exceptional technical abilities to tease our sensitivities and, at the end, fulfill our desires.


TRACKS:

  1.  Johann Sebastian Bach,  “Chaconne” from the Partita in D-minor for solo violin (BWV 1004) (13:37 min)
  2.  Eugene Ysaÿe,  Sonata for Solo Violin, Op. 27, No. 2 “Jacques Thibaud”,  Obsession; Prelude (2:31 min)
  3. Eugene Ysaÿe,  Sonata for Solo Violin, Op. 27, No. 2 “Jacques Thibaud”,  Malinconia (2:28 min)
  4. Eugene Ysaÿe,  Sonata for Solo Violin, Op. 27, No. 2 “Jacques Thibaud”,  Danse des Ombres; Sarabande (4:21 min)
  5. Eugene Ysaÿe,  Sonata for Solo Violin, Op. 27, No. 2 “Jacques Thibaud”,  Les furies (3:20 min)
  6. Sergey Prokofiev, Sonata for Solo Violin, Op.115,  Moderato (4:22 min)
  7. Sergey Prokofiev, Sonata for Solo Violin, Op.115, Andante dolce. Tema con variazioni (3:25 min)
  8. Sergey Prokofiev, Sonata for Solo Violin, Op.115, Con brio. Allegro precipitato (3:40 min)

MUSIC
No matter how much Bach’s Chaconne from his second Partita in D-minor for solo violin has been performed, the piece continues to inspire generations of musicians in their journey of artistic exploration. While the composition is perfect in its musical structure and form, it also allows the artist the freedom to explore the very personal side of his or her musicality. The artistic choices are many, both in the over-all style, which can be more or less strictly baroque, and in very personal performance qualities like articulation, bowing technique, sound esthetics, tempi, and so many other elements that can make the performance unique to an individual artist.
Ysaye’s Second Sonata bridges the generations of musical influences. The twentieth century flamboyance of the Ysaye’s virtuosity reverberates with influences of J. S. Bach with direct quotations from his Bach’s E-major Partita, and with medieval Gregorian Chant with Dies Irae hymn quotations. Somehow, despite the richness of new musical ideas, the listener cannot escape the age-old existential questions which these old tunes pose. Ysaye was successful in bridging the centuries of tradition in a piece challenging in it’s technical requirements and it’s rich pallet of moods and colors.
Prokofiev’s Violin sonata represents a progression into musical abstract, with the virtuosity typical for more secular musical language. This is no surprise considering the fact, that Prokofiev had to find his artistic voice in Soviet Russia. The piece radiates with creativity and freshness, and requires a depth of understanding of the Composer’s time and place.

 


Virtuosi records

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