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Esmirna

Title: Esmirna

Composer: Anna Cazurra

Instrumentation: Violine, Piano and Violoncello

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26,00 € tax incl.

100-138


(Complete set)  --  Esmirna, word of Greek origin that derives from “myrrh “, is an ancient name of the current Izmir
(Turkey). Esmirna was in the past one of the cities of major economic and cultural prosperity of Asia
Minor, in the actual Turkey. Placed next to the coasts of the Aegean Sea, it has lived, as Istanbul, on
horseback between the world of East and Occident, a characteristic that has contributed the only cultural
wealth. Known as “The pearl of the Aegean Sea”, at present is considered to be the most westernised city
of Turkey as for the values, the ideology and the life style. This merger of western and oriental elements
is what I have tried to capture in two pieces that I have assembled under the name of Esmirna. The myrrh,
which is as we had seen earlier the origin of the word Esmirna, is a gum of resin that comes from a tree of
Yemen, in Ethiopia (Africa). It is characterized by having a certain bitter taste, but in the past it was used
as perfume by his stimulant properties. I have tried to imagine this perfume of a certain bitter but
suggestive character and have tried to suggest it of sonorous form in the central parts of both pieces.
Esmirna Op. 25, nº 1 is "the" most "western" of the pieces. It presents an egalitarian and balanced
treatment of the instruments in which practically the three make a predominantly contrapuntal texture. In
this sense, they share leading role because what is looked is the securing of a timbrics merger between the
piano and the rope. It begins with a lyric theme to pass more dramatic other and percussive (c. 37). In the
central part (c.71) a change of binary compass appears to ternary, adopting the music a happier, fluid and
free character that transforms in a slow waltz, burden (c. 91) but charismatic. A brief episode passes to the
reexposition (c. 120) of the first theme with the one that finishes the piece.
Esmirna Op. 25, nº 2, is structured of symmetrical form. A brief introduction of the piano passes to a
theme (c.10) in that a design highlights very rhythmic with an Oriental’s character that accompanies the
melodic lines that are interweaving the violin and the violoncello. The three instruments are exchanging
the functions of melody and accompaniment. Later there appears the second theme (c. 50), much more
calmed and that moves away from the Oriental’s character but that plays with the syncope, granting a
sonorous intensity that it increases towards the end of the same one. The central section (c.116) develops
an essentially lyric theme, with a bitterly nostalgic character. Then, the first theme is reexposed again (c.
169), with the introduction now by the violin and the violoncello, adopting this way a more velvety and
warm colour provided by the rope. The same theme is increasing the dramatic intensity in search of the
final climax.