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Memento

Sándor Veress (b. 1907 - d. 1992)

Composer
Sándor Veress (b. 1907 - d. 1992)
Composition Year
1983
Artists
Dana Zemtsov [viola], Niek de Groot [double bass]

Programme Note Writer:
© Norah O' Leary


Memento is a gorgeous piece for the unlikely combination of viola and double bass. It is a late work that

Is seemingly composed around memories of time past, though we are not told that story. However it clearly depicts the composer's love of his native folk music and engages the two instruments in a beautiful yet haunting dialogue. The rich velvety tones of the viola, paired with the intensity of the sublime upper register of the double bass alternate between reflective anticipatory passages subtly infused with hints of serialism and a central moment of such intense ferocity that for a fleeting moment brings to mind the string quartet writings of Shostakovich. The work closes with a gentle, yet precise repetitive three note progression creating a reflective and meditative atmosphere leaving the audience on the edge of their seat.

Norah O’Leary


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Memento

Composer: Sándor Veress (b. 1907 - d. 1992)
Performance date: Saturday 8th July 2017
Venue: Bantry House Library, Bantry, Co. Cork, Ireland,

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http://archive.westcorkmusic.ie/details/view/cmf/700

Composer Sándor Veress (b. 1907 - d. 1992)
Work Title Memento
Composition Year 1983
Artist(s) Dana Zemtsov [viola], Niek de Groot [double bass]
Performance Date Saturday 8th July 2017
Performance Venue Bantry House Library, Bantry, Co. Cork, Ireland,
Event Finale
Duration 00:07:09
Recording Engineer Richard McCullough, RTÉ lyric fm
Instrumentation Category Duo
Programme Note Writer © Norah O' Leary


Memento is a gorgeous piece for the unlikely combination of viola and double bass. It is a late work that

Is seemingly composed around memories of time past, though we are not told that story. However it clearly depicts the composer's love of his native folk music and engages the two instruments in a beautiful yet haunting dialogue. The rich velvety tones of the viola, paired with the intensity of the sublime upper register of the double bass alternate between reflective anticipatory passages subtly infused with hints of serialism and a central moment of such intense ferocity that for a fleeting moment brings to mind the string quartet writings of Shostakovich. The work closes with a gentle, yet precise repetitive three note progression creating a reflective and meditative atmosphere leaving the audience on the edge of their seat.

Norah O’Leary