Music for piano and string quartet
Lorenda Ramou piano
Heather Cottrell violin
Susanne Pietsch violin
Klaus-Peter Werani viola
Hanno Simons violoncello
Recorded July 2012, Himmelfahrtskirche, Munich
Engineer: Stephan Schellmann
Produced by Manfred Eicher
Release date: October 10, 2014
Greek composer Konstantia Gourzi’s approach to time plus ECM’s approach to space equals the most whole of sonic numbers. Said whole consists of intimate minutiae, each the corner of a photograph otherwise hidden by the downturned palm of history. The transubstantiation of Eine kleine Geschichte, op. 25 (2005) for solo piano epitomizes this feeling of obscurity. Notes fall neither like rain nor like teardrops, but more like a maple copter in slow motion, yearning for the touch of soil. After such a liminal experience, the opening proclamation of the String Quartet No. 2, op. 33/2 (2007) indeed feels like a bear hug of gravity. Titled P-ILION, neun fragmente einer ewigkeit (the latter meaning “nine fragments of eternity”), it is a fitting description of the molecules that inform Gourzi’s atmospheres. A powerful river in which to drop one’s ears like stones, its currents teem with reminiscences and fantasies alike. Whether groveling in a heavenly day or dancing in a pagan night, the sheer breadth of evocation herein is staggering. As the cloth of familiarity frays at the shards of stories yet to be told, this piece elicits a lyricism so deep that it can only end where it began. Moods are darker in the String Quartet No. 1, op. 19 (2004). Bearing the title Israel, it begins with the mortal urgency of Henryk Górecki and the playfulness of Claude Debussy before morphing into a lone voice, orphaned but for its spiritual genealogies traceable back to Abraham’s near-sacrifice.
The program gives us a cross-section of Gourzi’s writing for piano. From the seven miniatures that make up „noch fürcht’ ich”, op. 8 (1993), an early opus that is her first for the instrument alone, to the similarly aphoristic Klavierstücke I-V, op.24 (2004) and the eclectic Aiolos Wind, op. 41 (2010), we encounter jazz, folklore, and hypermodern cartographies. The moment we find something to hold on to, it slips away and offers a substitute made of an entirely different material. When piano and string quartet combine in Vibrato 1, op. 38 (2009/10) and Vibrato 2, op. 38 (2010), Gourzi creates the soundtrack to a tracking shot, one footstep at a time.
I cannot fathom how this album slipped past my radar for so long. Though of only recent discovery, it has already earned a top spot among my favorite New Series discs. And while these compositions may sit comfortably beside those of György Kurtág and Helmut Lachenmann, there’s something distinct about Gourzi that is to be found not in her last name but in her first. Konstantia, which means “steadfastness,” is precisely the quality of which her music is possessed, moving ever forward as a way of polishing us like mirrors held up to the past.