On April 26th Maya Fridman will give the premiere of Maxim Shalygin’s Canti d’inizio e fine in the KUUB, ‘Ruimte voor kunst en cultuur’, in Utrecht. This concert program presents a result of a close creative collaboration between two talented musicians of our time – composer Maxim Shalygin and cello player Maya Fridman…
For over ten years, Shalygin has been occupied with a project for a lifetime: music for solo instruments, since the most concealed, intimate and deep things can only be expressed by a single instrument. One musician on the stage, who plays not really for the public, but more for himself is similar to a praying person. In each of his solo works Shalygin reaches an exalted state, giving the instrument a special voice.
For this kind of music work composer always looks forward to meet the musician with a capital M. Who obtains unique technical skills, possesses a wide scale of emotional palette, stoic work ethics, and ready to be challenged. The talent of Maya Friedman includes all the above mentioned components, and even more. She has a huge potential to implement the new ideas. She belongs to that number of musicians who were born to pave the way for the new music.
The piece consists of six songs and epilogue Todesfuge on the poem by Paul Celan. Each part represents an imaginary folder in the Holocaust victims directory and is called after a segment of the German alphabet. The last poem combines mysteriously compelling imagery with rhythmic variations and structural patterns that are both elusive and pronounced. At the same time it has been regarded as a masterful description of horror and death in a concentration camp.
For each song Shalygin developed a special technique, in some parts he also used an unusual BACH.Bow and Maya’s beautiful voice in the epilogue. As Fridman studied his Canti d’inizio e fine, her attention is focused on experiencing time and sounds as they slowly undergo sublime transformations.