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Puzzle
Concert Music for Mixed Choir
Review by Oleg Garaz

The music of this piece seduces in the intimacy of its expression, but also in the ludic spontaneity by means of which the "cubes" of sonority are manipulated. Free from restrictions, etherical, sometimes contradictory in apppearance, in its hasty counterpoints, the language of Puzzle recalls indirectly the semantism and the imaginary of jazz. The presence of the "blue" notes amplifies the charm and the secrecy of the manner in which the expression and the suggestibility of the the piece are articulated. The intensity of the images is sustained by the two programmatic ideas of the text, "Practice makes the master!" and "Patience brings roses!", that lead to the third image with powerful transcendental meanings "Per aspera ad astram" ("Walking through the thorns towards the stars").

The author's ingeniosity is impressive, especially in his ability of structuring freely the form of the piece, by way of mixing (as the title Puzzle suggests) "blue" notes, complementary rhythms in their heteroclite synchrony, the secular and ludic counterpoint in an original logic of blending sounds and words from the two main ideas.

"Practice makes the master!" and "Patience brings roses!" become a pretext for a continuous play of reinterpretating the musical and the textual content. The dynamics of musical accents, the vivifying logic of the sincopes, and of the expressive power of weak times, of the flows of sixteenths, the imitational migration of the themes between the chorus, the apparentely aleatory union of the intonational rhythmical horizontals in verticales "spiced with seventh concord, all these inser us totally in a "curl" of the "shamanic" imaginary through thid "ballet" ludic, (as a motric suggestion) and esoteric (as initiatic suggestion of the text, and of the way of operating with its elements) for the choral ensemble. Just as subtle as this, proves to be the allusion to the suggestive, energizing and stimulating power of the "toccata", to the regularity, which , although avoided ingeniously by the author, preserves the united charactert of the whole discourse, directing it towards the final aim, the initiation. The climax of the piece succeeds in an "alliteration", an apparantely accidental blending of the words from the guiding ideas, focusing on the meaning of the entire initiatic traject - "Patience - Roses - Practice - Master", the incantation of the choir (in sixteenths) reaching the level of an invocative "sorcery", and completely accomplishes in the end.

I cannot but notice the participative suggestion of this music that ensnares through an open invitation to an intrusion in the musical flow of the events. The musical language strongly determined by the oligochordic suggestion, "pentatonizable", sometimes, invites the auditorium to sing the lines of any choral piece together with the interprets, spontanously, even clapping hands. This score can always be used in the style music + 1, where +1 stands for the auditorium, as long as the text contains no interdiction in this respect.

Seductive and compelling, complex and transparent at the same time, invasive, but intimist, this music, in the essence of its dense suggestibility, but also, of the plurality of its expressive hues, "carries off" in an implicit, magical invitation, unuttered, but intensively diffused to the joy of being infantile, ludic, propelling, coregraphic, vocal-incantatory, synchretic and collective.

In other words, it is quality music.


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