“Miracles of Harmony” - Music of Anton Arensky
The name of Anton Arensky is known almost exclusively to musicians and in artistic and cultured circles in Russia. The oblivion to which this genius was sent for more than a century might be partly explained by “a curse” of his teacher in composition – Nikolai Rimsky-Korsakov. Indeed, a meticulous, orderly Rimsky-Korsakov was feeling bitter and angry at his constantly partying, lacking any discipline pupil, so, after his death, he wrote: “In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.”
The release of this album, however, is one of events that will serve to lift that curse. The true reason Arensky’s music was not in demand until now is neither in the curse, nor in stylistic characteristics and even quality of his music, in my opinion. It just did not resonate with listeners at the time. And, to my bold belief, it will now, especially his romances.
Tchaikovsky was, actually, a better visionary regarding his young colleague and friend, praising his “composer’s temper” and highly appreciating Arensky’s creativity. The two composers were good friends, their remaining letters to each other serve as a proof of a great mutual sympathy, respect and trust. Serguei Rachmaninov, in turn, was a student of Anton Arensky (class of free composition) and finished conservatory with a golden medal. Many musicologists find that Arensky influenced his student a lot, and Rachmaninov’s genius blossomed under his guidance.
“Miracles of Harmony” is the first Canadian, and maybe even the first all-American, recording of an album of Arensky’s romances.
However, living and composing at the time of such monumental figures as Tchaikovsky and Rachmaninov did not leave much space in musical history for Arensky. That was the era of large forms and high expressivity, but the best of Arensky was chamber music – intimate, detailed, nuancee. Now we live in a ‘faster time”, when most of us are losing the interest and ability to concentrate on long texts, listen and appreciate long musical compositions. At the same time, we feel deprived of true intimacy, ease of life, harmony. In these circumstances, Arensky’s chamber music must get a second chance to be heard and to win our hearts.
“When you sing, play or listen to them, you feel “bathing” in the unpredictable yet amazingly pleasant harmonies and beautiful, very natural, large “unrestricted” melodies.”
Working on his romances, all three of us, pianist Louise-Andree Baril, mezzo-soprano Ariane Girard and me, – made the same observation: this music is healing. When you sing, play or listen to them, you feel “bathing” in the unpredictable yet amazingly pleasant harmonies and beautiful, very natural, large “unrestricted” melodies. You feel healed. It might sound inappropriately “esoteric” in the present context, but that is what we felt: Arensky’s romances do “raise vibrations”.
The name of this album has two hints in it. First is obvious: Arensky makes miracles with harmonies. He travels tonalities with such ease and playfulness, as if reminding all of the musical students of his own textbook of “Harmony problems” (very popular in Russia, I personally enjoyed solving them in musical college, it was lots of fun).
The other hint is to my sister Masha Levina, – a searcher, a teacher and a healer, who brings both miracles and harmony into this world. This album is dedicated to her, its release is scheduled for her Birthday.
“Miracles of Harmony” is the first Canadian, and maybe even the first all-American, recording of an album of Arensky’s romances. I truly hope that our discoveries about the healing qualities of this music will be confirmed by many listeners around the globe.
