Larry Sitsky: Samsara - Trio No. 6 (1993)

Abstract

"Larry Sitsky (b. 1934) represents one aspect of a process of cultural enrichment that has taken place in Australia in recent years, in particular since the migrations that preceded World War II or stemmed from the disruption of armed conflict elsewhere in the world. He was born in Tientsin, China, of Russian parents and was already an obviously gifted pianist when he arrived in Australia in 1951, in his midteens. He studied at the Sydney Conservatorium with Winifred Burstonand later with Egon Petri in San Francisco. He is heir to the tradition of virtuoso pianism descending from Liszt and, through his student experiences with Petri, acquired a fervent interest in the music and aesthetics of Busoni which he has never lost. As a pianist of formidable powers, Sitsky has given public performances and made recordings of much music beside his own. His composition of an extensive catalogue of works, many of them of major dimensions, has brought him wide respect among musicians. Public awareness of his work took a major step forward in 1993 with the first production at Sydney Opera House by The Australian Opera of his large-scale opera, The Golem. His new Samsara - Trio No. 6 was commissioned by the Australia Ensemble with help from the Performing Arts Board of the Australia Council. The composer writes: The initial poetic impetus for this work came while I was reading about the Buddhist concept of Samsara, the wheel of life. I 'saw' a flashing wheel, and 'heard' the sound of quick descending scales, the opening gesture of the piece. At this point, non-musical input into the Trio ceased. The raw material for this work couldn't be simpler: the quick descending scales of the opening, followed by the repeatednote pattern thundered out soon after by the piano. These two ideas are constantly referred to as the Trio unfolds. Naturally, subsidiary ideas emerge from such simple beginnings. The sequence of events which the listeners can follow would be something like this: 1st section (first movementa//egro): fairly rugged and kaleidoscopic, setting out the raw materials. This section is interrupted by a short cadenza for clarinet. A cadenza for flute and clarinet, with use of slides and swells, leads into the 2nd section (slow movement) .This section is also interrupted by a short piano cadenza. The 3rd section (scherzo) likewise features a cadenza, this time by the flute. The 4th section (finale) serves as a recapitulation, and is easily recognizable by the return of the opening scale patterns. The flute gives way to the piccolo, which allows a triumphant affirmation of the scale figures to sweep across the instrumental ranges, this time upward and in a kind of A major. The score is prefaced by a quotation from William Blake which seemed appropriate, saying something about the lonely existence of the writer (or composer). [LS] The style of Samsara is bold and direct. The feeling for instrumental theatre with which Sitsky establishes the character of each section and clinches the return of his opening figuration is almost brutal in its physical excitement and effectiveness." -- Roger Coveil