The music of Konstantia Gourzi is difficult to classify with regard to contemporary trends. Its tonality may be diatonic or chromatic. It may use simple materials (from the folk music of the composer's native Greece or otherwise), but it tends to submerge such materials into complex structures. The opening Hommage à Mozart for viola and piano, Op. 56, designed by the composer as "three dialogues," is not in the least a neoclassical piece, evoking Mozart not through melodies or phrase structures but rather through a gentle, ...
Read More
The music of Konstantia Gourzi is difficult to classify with regard to contemporary trends. Its tonality may be diatonic or chromatic. It may use simple materials (from the folk music of the composer's native Greece or otherwise), but it tends to submerge such materials into complex structures. The opening Hommage à Mozart for viola and piano, Op. 56, designed by the composer as "three dialogues," is not in the least a neoclassical piece, evoking Mozart not through melodies or phrase structures but rather through a gentle, lyrical mood. The other two pieces, for orchestra and for string quartet, respectively, have angels (in gardens) as their subject matter. Fans of the critic Paul Griffiths may wish to pick this album up for his perceptive booklet notes, which identify the tone of these pieces as "interrogative." Indeed, Gourzi's music throughout is unsettled without being nervous or confrontational; it seems to be standing on the threshold of larger universes. It benefits greatly from a stable of...
Read Less
Portions of content provided by Rovi Corporation. © 2024 Rovi Corporation.