Dominik Wania piano
Recorded November 2019, Auditorio Stelio Molo RSI, Lugano
Engineer: Stefano Amerio
Cover: Fidel Sclavo
Produced by Manfred Eicher
Release date: September 18, 2020
After contributing so beautifully to two albums—Unloved and Three Crowns—as part of the Maciej Obara Quartet, pianist Dominik Wania offers this studio recording of solo improvisations. While Wania notes a range of influences drawing from his classical background, including Satie, Weber, Scriabin, Prokofiev, Ravel, and Messiaen, he seems to have taken cues from these composers as emotional rather than technical suggestions. In doing so, he unravels a trajectory that feels fresh yet familiar in the sense of reuniting with a friend one hasn’t seen in decades. Thus, the light step with which the title track opens seeks the future as if it were the past. As the atmosphere builds and more notes enter the scene, a narrative structure suggests itself. And yet, the characters seem not to know each other. They walk by without acknowledgement, meshing in their indifference.
“New Life Experience” is the first among a handful of expository wonders. If this and the sharper attack of “Relativity” feel more jarring, it’s only because they speak of a musician unafraid to examine himself. Each agitation unpacks itself with philosophical rigor. And if “Think Twice” and “AG76” are heard as darker autobiographies, then “Subjective Objectivity” and “Indifferent Attitude” reveal a playful side. The latter is especially virtuosic but uses its acumen to tell more than show.
To my ears, Wania understands that music is nothing if not a reifying force. Despite the ephemeral implications of “Melting Spirit” and “Liquid Fluid” in titles alone, their lyrical charge makes them fully present as entities in their own right. They guide us “Towards The Light” by reminding us of the fleshly struggles of which life itself is composed as we now search for something divine in a world bogged down by cloud of a pandemic. Opening our eyes to a brighter tomorrow, “All What Remains” suspends itself in prayer, the requiting of which will never materialize until we close our mouths and open our ears.
This music is a sentient river acknowledging the obstructions that define its winding trajectory. It would be nothing without impediment, each rock and fallen tree a challenge to redefine itself at every turn. This is precisely what Lonely Shadows can be at its freest moments—a continuity through the traumas we carry inside before the ocean of mortality swallows them whole.