Luba and Ireneus Zuk, piano duo, in concert at Pollack Concert Hall (10/19/03)

Luba and Ireneus Zuk, piano duo, in concert at Pollack Concert Hall

MONTREAL - The faculty of music at McGill University will present the Luba and Ireneus Zuk Piano Duo in a concert of works for two pianos, on Tuesday, October 28, in Pollack Concert Hall, 555 Sherbrooke St. W., at 8 p.m. As is their custom, the Zuk duo will include in their program works by Ukrainian and Ukrainian Canadian composers.

The program will feature the world premiere of "Ancient Dances of Verkhovyna," written in 2002 by Ukrainian composer Yevhen Stankovych, as well as performances of the Sonata for Two Pianos (1970) by Ukrainian Canadian composer George Fiala and "Mazeppa" - Symphonic Poem No. 6 by Franz Liszt. Other works on the program are: "Hymn to a Great City" (1984/2000) by Arvo Pärt and the "Musical Offering," BWV 1079, by Johann Sebastian Bach (excerpts from the transcription for two pianos by Stefano Greco and Francesco Lotoro).

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A prominent figure in contemporary Ukrainian music, Yevhen Stankovych - a prolific composer of over 150 works and recipient of several major awards and high honors - refers to his recent work "Ancient Dances of Verkhovyna" as "a vivid representation of the freedom-loving spirit and vital energy of the inhabitants of this region of the Carpathian Mountains. The lean and strict musical form is based on characteristic models of the indigenous rhythmic songs and dances. The two equally important and complex piano parts display clearly the incessant rhythmic motion, as well as energy in its vertical and horizontal musical structure." In the work, authentic elements are skillfully synthesized with contemporary musical language. A symphonic conception is evident in the brilliant palette of colors, the dissonant harmonic language and the multi-layered polyphonic structure.

The second composer featured in the program, George Fiala, is one of the best-known Ukrainian Canadian composers. Fiala has lived in Canada since 1949, His creative output numbers over 200 works in all genres. Characteristics typical of Fiala's writing include transparency of texture, dissonant harmonies and incisive rhythmic figures. Of all Fiala's works for two pianos, Sonata, written in 1970, is the most extensive. It consists of four movements: The first, Allegro non troppo, is constructed within the framework of a free sonata form. The second movement is a Lullaby ( "Berceuse"). The following Arietta is based on a simple melody, a kind of intermezzo with a short fugato for a middle section. The long and vigorous Finale is based on a nine-note cell that undergoes various polyphonic transformations. This sonata is a splendid example of Mr. Fiala's contrapuntal mastery.

The term "Sinfonische Dichtung" (symphonic poem), was first used by Franz Liszt to designate works that escape the strictures of classical forms and were based to some extent on a literary or pictorial idea. The Symphonic Poem No. 6, "Mazeppa" (1851), originally derived from the fourth of the Transcendental Études for piano, was arranged for two pianos in 1855. The work takes its name from an eponymous poem by Victor Hugo, based on an alleged incident in the life of the young courtier, Mazepa. The story is as follows: Mazepa is captured and tied to a wild horse by his enemies; upon being let loose, the horse drags the hero across the steppe, until overcome by exhaustion, it collapses and dies. As vultures circle over their apparently certain prey, Mazepa, as prefigured in a dream, is rescued by his people and duly chosen as their leader. Liszt depicts the story in music of great realism and illustrative power. The musical climax is the easily recognizable Mazepa theme. A heroic subject of unquestionable splendid construction, it is used as a leitmotif and assists the listener through a wealth of illustrative elements.

The atmospheric and transparent "Hymn to a Great City," composed by Arvo Pärt in 1984 and revised in 2000, is a good example of a highly personal musical language. Pärt was the first Estonian composer to employ serial techniques and also to experiment with collage. As his music began to be performed in the West, he emigrated to Austria in 1980, and one year later settled in West Berlin. In the 1970s he invented a technique he referred to as "tintinnabuli" (from the Latin, "little bells"). The reference is to the three notes of a triad which Pärt notes are "like bells." He usually works with very few elements - one or two voices and the triad, within one specific tonality. This simple and accessible compositional style has gained him a devoted following and made his music widely popular.

The final work comprising the program is "Musical Offering" by J.S. Bach, considered to be one of the great monuments of contrapuntal music. It is also one of the relatively few works of Johann Sebastian Bach whose circumstances of composition are known. It originated during a visit by J.S. Bach in 1747 to the court of King Frederick the Great of Prussia, where Bach's son, Carl Philipp Emanuel, was employed at the time. The young king was an avid music lover, amateur flautist and composer. When Johann Sebastian arrived, the king played a theme he had composed and asked the famous visitor to improvise upon it. Bach's masterful extemporaneous performance was apparently a great success. At a later date, Bach elaborated on his improvisation, supplementing the original fugues with various canons and other forms, again based on the king's theme. The finished collection was engraved in copper, bound in leather and presented to the king with the title "Musikalisches Opfer" (Musical Offering).

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The Zuks have consistently promoted music by Canadian and Ukrainian composers. They have given first performances of many of their works, and several prominent composers have written especially for them.

The duo has appeared in concerts in Canada, the United States and the Far East, and has made several tours of Western Europe. Their tours in Ukraine have included several return engagements at the International Music Festival in Kyiv. In 1999, the duo received a high award for artistic achievement from the government of Ukraine, each being awarded a medal and the title Merited Artist of Ukraine.

Prof. Luba Zuk is a member of the piano faculty at McGill University. Ireneus Zuk is professor and former director of the School of Music at Queen's University in Kingston.

Both Zuks are also engaged in jury membership at international competitions and festivals, external examining and lecture-recital presentations at music conferences. In May, on invitation of the Ministry of Culture and Arts of Ukraine, Luba Zuk acted as head of the State Examining Commission (DEK) for the defense of degrees and diplomas at the Odesa Academy of Music (formerly Odesa State Conservatory). She acted in the same capacity last year in Odesa, and twice in previous years at the Donetsk State Conservatory.

In July both Zuks were jury members of the Ibla Grand Prize International Piano Competition in Sicily. Prior to that, in April, Luba and Ireneus Zuk appeared at the EPTA (European Piano Teachers Association) International Congress in Graz, Austria, where they presented a lecture-recital on the topic, "Austria and Ukraine: Historical and Contemporary Ties and Influences."

For additional information about the October 28 concert, call the McGill University concert office at (514)-398-4547 or (514) 398-5145, or visit the website www.music.mcgill.ca.

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