"10 Pebbles" is
the sensational 1996 follow-up to 1994's equally
impressive
Suite St. Petersburg.
Kostia, raised as Konstantin Efimov, was brought up
in St. Petersburg by his Grandmother whilst his
parents worked in what was then East Germany. At the
age of four, he was sent a 1937 Wolkentauer Upright
Piano, and this was a life-changing experience, for
the soon-to-become child prodigy. Inspired by his
beautiful city, he started composing. Formal
training was to follow, followed by extensive
touring of Russia and Eastern Europe, but perhaps
surprisingly, he ended up on an exchange programme
to the United States, a place he decided to later
make his home.
Kostia holds a
fascination for water and pebbles. It is clear that
in both of his main recordings for Narada, past
personal experiences feature heavily in his work. He
is a man who is inspired by his surroundings, and
they are his greatest source of motivation. As
Kostia explains himself in the linear notes, "All my
life, I have lived near water- in Russia, by the
Neva River, in America, by Lake Michigan. Like many
people, as I walk along the shoreline, I pick up
pebbles and examine them. There are millions of them
to choose from, yet each one is different. As I hold
them in my hands, something clicks in my mind and I
feel a connection with these stones. I give them my
warmth and they, in turn, become part of me."
Kostia
continues, "As I turn my memories over in my mind,
like those pebbles, they are transformed. Looking
back, it is the small things which I hardly noticed
that now seem the most meaningful. When I think of
my home in Russia, I remember the particular look of
a cat crossing the room, or how the sun's light
reflected off a wall. These images from my past have
stayed with me all my life, carrying more than a
memory- they carry the deeper emotions of that time.
So too, the pebbles we collect may seem small and of
little consequence, yet together they represent the
shape of each person who is picking them- a self
portrait- an expression of our will, of our spirit."
The album
contains eleven solo-piano tracks, totalling just
over 51 minutes. It begins with the moving
"Invitation". A gentle opening, which slowly unfolds
to reveal a beautiful piece. Kostia sees this as his
"self-portrait" and offers it as a gift to the
listener. "For You" is a spirited tune, which rolls
along with ease. The album's third track is a
favourite. "It's Going to Rain" might sound like a
depressing title, and indeed the opening is moody,
but the piece develops. After just less than a
couple of minutes, there is a climax of notes which
seems to celebrate the joy which rain can bring. Of
particular interest here is the bridge, which seems
to me to be so far removed from the main tune. That
said, however, it still works very well and produces
an effective and fascinating contrast. Track 5,
"American Fields" is another favourite. It has a
grand opening, and develops into yet another
absorbing listening experience. Once again, there is
an intriguing bridge which holds some curious
fascination to me. Kostia's description of the piece
is as poetic as ever... "From above, all countries
look the same, like a quilt. Let us fly over the
fields of freedom with no borders, no limits."
I find the
sixth track most intriguing. "Russian Song" sounds
just that- and clearly Kostia still holds memories
of his younger days close to his heart- "In my
dreams, I fly over the homeland feeling the millions
of ties connecting me to my native soil. The memory
of the motherhood will stay with me to the end of my
days". The next track, "We" has a warm feel to it,
and celebrates the importance of friendship to the
composer. "Interlude" is a delightful and joyous
piece, whilst Track 8 ("Loneliness") is far more
somber. Opening with a repeating low note, it soon
develops, but maintains its moody feel. Track 9, "Yarmarka"
has a frenzied feel to it, and is celebratory in
tone- it is a happy, busy piece. Kostia comments on
the inspiration- "Dancing, eating, kissing,
flirting, crying, loving. Oh, the unstoppable forces
of life!" The penultimate track, "Snowy River",
follows the journey of "its dark waters under grey
skies." The closing track, "Home Sweet Home", has an
angelic, soft opening, followed by a contrasting
flurry of notes. Kostia describes the piece as thus:
"Feelings from a time when we were discovering what
was truly valuable.... our mind picks these pebbles
of memory to create an emotional map of our life....
the only true map..."
I really like
this album from beginning to end. I admire how the
composer picks out little details in his life and
explores them. The CD is dedicated to all the great
composers of different times and places who have
influenced his writing and performing throughout
Kostia's life. It was recorded at St. Joseph's
Adoration Chapel at the School Sisters of St.
Francis, Milwaukee, between February 26th. and March
2nd. 1996. Kostia used a Steinway D Concert Grand
Piano.
"10 Pebbles",
like its predecessor,
Suite St. Petersburg
is now Out of Print. Kostia fell out of favour with
Narada in the late 90s as the label had a difficult
decision to make. It either died or changed musical
direction. It wisely chose the latter, and now
revels in Jazz and World Music. However, talented
composers which might appeal to fewer people, have
been edged out and this is not only Narada's loss,
but ours as well. Recently, the Russian has teamed
up with Spencer Brewer, and together they have
released two CDs.
A first-class
album, and one that I have no hesitation in giving
my highest recommendation.
S.C. |