In Blackwater Woods

Piano Concerto; Movement I; William Doppman, Piano; Columbus Pro Musica Chamber Orchestra, Timothy Russell, Conductor


PianoConcerto, Movement I

Beginning of composing a new piece is similar to starting a journey for which prepared maps and plans are not to be fully trusted. It is one of those trips where the best experiences are around unexpected corners and along unmarked roads.
Following a new path can turn out to be a mistake, or—a pleasant experience and a discovery.
Working on Elusive Paths, was just that—an adventuress musical journey. Allowing to be (more or less) led by the natural flow of ideas, not necessarily understanding the logic of their succession, presented a unique challenge.
Just like an architect, composer has to make sure that the result is a unified entity, however free the inner parts are. In case of Elusive Paths, it’s somewhat rhetorical nature and carefully controlled timing of tension building and release contribute to it’s unity.

Elusive Paths (Violin & Viola)

Like many composers, I want my music to speak to many. I desire to share my world of music with others and to have a power to touch, move and reach out to the listener. My ultimate goal is to communicate a meaning -- and I’m doing that not by “inventing” a language, but using one like a poet, attempting to enrich it from inside

I don’t believe in passing judgments about a value of the piece based on a preference for a language, which is often confused with style or originality.

I, however, find that music of my (Balkan) and other cultures and traditions continuously replenish, inspire and broaden my musical expression. I assimilate and filter through these influences in a very personal way, not imitating, or making a fad out of them.

~Vera Stanojevic

Elusive Paths (Violin & Viola)

Vera Stanojević

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