As its title declares Nikola Avramovic's revelatory and moving programme is dedicated to memory, to, in his own words, 'a finger-print of the time we grew up,' sometimes gentle and wistful, sometimes passionate and fiery; sad, happy or lost in reflection, telling of music as 'a way of life.' Above all Avramovic's projection of his special love could hardly be more fearless and vivid. Played with a powerful, full-toned physical bravura he creates an enthralling mix of national idioms with a common denominator.
Opening with three out of Brahms's two sets of Hungarian Dances his selection of numbers 6,11 and 1 convey all of the composer's respite from the cares of the world in a riot of colour and vibrancy, the constant 2/4 rhythm saved from monotony by a rich variety. Here is evidence of 'light music of the highest and most immediately enjoyable quality.' their joy in the Hungarian idiom mirrored in the pianist's own relish and delight.
Interspersing the standard and familiar with the less well known he continues with 'An almond tree has grown for me' a Serbian folk song mixing as he puts it a blend of 'sadness and beauty, evoking something beyond local emotion, something greater than the individual.' This is followed by two Chopin Mazurkas, opus 30 Nos 2 and 3 taken from what I have often called Chopin's confessional diary, a re-working of a basic Polish peasant dance into something 'rich and strange' of an infinite variety, emotional complexity and subtlety. Avramovic's vigour reminds you of basic 'origins' that lie beneath Chopin's outer sophistication and tireless invention.
The Khachaturian Toccata takes us to Armenia, its strong local colour and virtuosity making it the ideal encore, thrown off by Avramovic with an apt and storming bravura. Mokranjac's Dunavca 1 and 2 evoke the spirit of the Balkans while Vladigerov's 'Rhythmic Movement' is a propulsive contrast to, say 'Passion' from his 10 Impressions, music of an eye-watering eroticism. It also tells of his prowess as a pianist.
Petrijin Venac by Zoran Simjanovic translates as 'The Wreath' depicting the joys and sorrows of 'a wreath of a lifetime.' Ana Kristajic's Ballade is inspired by the folk memories of southern Serbia, its local elements blended with modern harmony. Liszt's Hungarian Rhapsody No 8( an enterprising choice, away from the more familiar Rhapsodies) contrasting the slow 'lasu' with the fast following 'frisa' is given with an energy and enthusiasm that makes you long for more of the Rhapsodies from Avramovic, including Nos 16-19, products of Liszt's later dark-hued works.
Bartok's Three Hungarian Folk Songs and Romanian Folk Dances arguably strike the most intense folk element of all. Bartok was music's most intrepid nationalist, his love of authenticity making him question the 'hungarian' element in Liszt's Rhapsodies.
Finally, there is Vranje Dance which Avramovic describes as carrying the energy of southern Serbia, its 9/8 rhythm pulsing 'like a heartbeat.'
Ideally recorded and presented this recital of cross currents comes in a time of increasing superficiality, where yesterday is history. It made me recall T.S. Eliot;s opening to his Four Quartets, 'Time present and time past/Are both perhaps present in time future,/ And time future contained in time past... This special record is necessarily thought-provoking and as life-enhancing as you would wish.
Bryce Morrison