The concert of RTSH’s Symphonic Orchestra
The concert of RTSH-s Symphonic Orchestra on its last show had as its special performers the soloists Merita Rexha Tershana and Klajdi Sahatçi as well as two pieces of national importance composed by Aleksander Peçi. It was a great pleasure for all to enjoy for the first time the performance of such great instrumentalists on the concert stage of this Orchestra.
Given that music is first of all a product of creation we would like to share some thoughts and opinions upon these new Albanian pieces. Those pieces were: Three pieces for string orchestra (Valsi i trendafilave, Albanian for Waltz of Roses; Fryn Veriu, Albanian for North wind is blowing; Valle scherzante e Tiranes, Albanian for Tirana’s scherzante dance) as well as the concertante Rhapsody for violin, piano and symphonic orchestra. The first notes of “Valsi i trendafilave” created somewhat an interesting sounding atmosphere that communicated the feeling and idea that something new and beautiful was being made out of our country’s art creativity. It is about time we were exposed to a new spirit of creation rather than continuing on listening to rusty old music and failed marching melodies. But soon enough everything changed; the novelty disappeared leaving the country with a very beautiful theme, but soon enough this theme has been going round and round the author’s hands and different formations, so much as nothing of its freshness and elegance has been left. Tired of the weight of blooms it gets insistent nuances, by firstly annoying the audience and then also itself. So the author seeks to create the impression of renewal without renewal, seeks to suggest modern music without modernity and, most importantly, seeks to bring a thoughtless thought to music. The beautiful saying “Nothing new shall ever come by always chewing on the old”, came to us unwittingly in those moments. Additionally, it should be stated that in its entirety the textual statement or the compositional opinion did not appear consistent. If we were to speak in the language of our people, we would say “all hat and no cattle”. But on the other hand, the medals Peçi holds on his portrait, the inexhaustible and unstoppable advertisement about the “development” of musical language and his “inventions (strange to the average human mind) of the composite theory”, his numerous contacts in the world of music, the good knowledge of the country’s folkloric material (South), and especially its hard work make you carefully wonder for the inner reasons behind the product that appears to the public.
In my personal opinion, in all these, the most decisive element, not to say the lack of generalist thinking or logic, can be said to be the deviance from simple human logic and the musical technique to get an “artistic” posture, typical Peçi. Precisely the consistency of the opinion clearly manifested in the former works of his pedagogue Zadeja, his colleagues Ibrahim, Zoraqi, etc., or in the contemporary works of Simak, Shupo, etc., went towards Peçi. This deficiency is reflected in the lack of understanding indispensable relationships within the body of the music that is presented and, consequently, defining any exception as its renewal.Some may consider him to be a talented composer, but when it comes to “talent” you may used to refer to young people in their 20s or 30s, not an old grizzly man. Others think that there are works that make up important achievements: That’s true, we can come up with some piano sonatas, No. 6), some of Cartesius Cantus, some of the recent dances for piano, as well as the Dances for the violin and piano certainly remain an integral part of the best Albanian repertoire, “The Wolf and Billy goats” ballet, or the beautiful songs or melodies used as music in different movie belonging to the creativity of the 70 – 90s. These elements were also noted on the Concertante Rhapsody, where the beginning was very suggestive, but the new and innovated one dissolved almost unwittingly in the old “Wolf and Billy goat” theme tincture, the piano part was reduced at such level as it almost seemed that the piano instrument was the one accompanying the violin soloist, this by not respecting their respective genre-form and displaying a complete lack of formal and technical control.
The only things beautiful, inspirational and professional out all of this, to be honest, were the soloists and the well-organized performance of the symphonic orchestra directed by Eno Koço in Tchaikovsky’s “Romeo and Juliet”.
Klajdi Sahatçi’s brilliant technique and magical expression, along with Merita Rexha’s delicacy, artistic sensitivity and the use of her brilliant technique in the function of musical thought, created a symbiosis that suggested artistic pleasure and as such a fiery applause from the public. It has long been noted for this duo that illuminates art and artistic delight.