Lecture-Recital by Ermira Zyrakja-Lefort
Albanian Composers and their Music
20th European Conference of the European
Piano Teachers Association (EPTA), Nicosia, Cyprus, 2-6 October 1998.
This conference provides an opportunity to hear works
for the piano by four of the most important Albanian composers. The pieces were
selected with a view to presenting a highly representative example of the work
of each composer, as well as the traditional music and instruments of the
various area of Albania from which the composers drew their inspiration.
Feim Ibrahimi (1935-1997): Toccata
In this toccata, we find the traditional motif whose
sound and rhythm come from the instrument known as loder or daullë. This is a skin
instrument (with two skins) played with two drumsticks: one thin and one a
little thicker. This instrument is still widely used in Northern Albania and
accompanies festive dances or traditional war dances. The atmosphere of this
particular toccata; was inspired by a festive spirit. The central motif is
based on the këngë majekrahu from the mountains of Northern Albania,
a song of communication used from mountain top to mountain top by the mountain
dwellers. It consists of sung phrases with a prolonged final syllable. The
repetition of the toccata is a summary of the dialogue between the sounds of
the instrument and the epic and proud vocal tones of the majekrahu song.
Kosma Lara (born 1930):
Ballade pastorale
This piece is a pastoral
panorama, inspired by the bucolic tradition of Southern Albania. The composer
attempted to reproduce on the piano the sounds and bells of the flock and the
shepherds whistles, Its harmony recalls the relationships of the sounds used
in the traditional polyphony which prevails in the South of Albania. These
polyphonic chants are sung by groups of men and women and are characterized by
a continuous voice, harsh descants and vocal glissandos.
Tonin Harapi (1928-1997):
Three miniatures
In these three miniatures, the
atmosphere was inspired, as in much of the work of this composer, by the urban
songs of Northern Albania, particularly of the northern town of Shkodra. In the
miniatures, we find the lyrical colours of the songs, which express love,
suffering, marriage, death. We can also recognize the influence of the
instruments; which accompany these urban songs, such as the defi, a one-skinned
instrument which we tap and make revolve in the hand, or the ancient violin
(chord system D, A, D, G or A, A, D, G).
Cesk Zadeja (1927-1997):
Toccata
This composers main source of
inspiration was the epic character of Albanian traditional music. Zadeja had a
deep knowledge of this type of music, which he always loved to reproduce for
classical instruments and classical orchestras. In this toccata we can feel the
rhythmic and sonorous base sound of another traditional instrument called çiftelia, an instrument with two chords,
no bow and 11 or 13 tastes. This instrument is played in Northern and central
Albania, to accompany ballads and epic songs. This toccata presents a tableau
of northern celebrations and its structure is as follows: instrumental overture
(çiftelia), followed by a charming women dance and then war
dances performed by men, and ends with a repetition including all dances and
instrumental motifs.
For the first time in the history of classical
Albanian music, the works presented in this conference-recital, as well as a
dozen of other works by these four composers, are available on compact disc
which I recorded in honour of my country and of these talented Albanian
composers whose works, unknown until now, are worth discovering and hearing.