Tapestries

The rich and romantic sound of the virtuoso piano inspires and unites these two very distinctive piano concerti. Both composers were trained primarily in traditional schools such as the Julliard School in New York and the Tchaikovsky Conservatory in Kiev, Ukraine.

My connection to them is my Ukrainian background and my many years at the Julliard School working with some of the world’s foremost piano teachers.

The composers are attracted to large forms – the symphony, the concerto, the sonata. These works have a logical structure. The melodic line, although frequently angular, is lyrical and expressive, and the rhythms are edgy.

The instrumental writing is colourful with dramatic contrasts and although the works allow a tonal pattern, there are hints of dissonance and serialism.

I had the opportunity to work with both composers for the world premieres of their concerti. Their vision and passion for the piano were an inspiration for me.

Works/Tracks

Concerto Cantata
by George Fiala
I. Maestoso
II. Adagio
III. Allergrissimo ritmico

Piano Concerto No. 2
by Heather Schmidt
I. Maestoso
II. Larghetto
III. Allegro vivace e molto energico

PERFORMERS
Christina Petrowska Quilico, piano
Canadian Ukrainian Opera Chorus
Wolodymyr Kolesnyk, conductor/chef de choeur
Kitchener-Waterloo Symphony Orchestra
Daniel Warren, conductor/chef d’orchestre

REVIEWS
The rich and romantic sound of the virtuoso piano inspires and unites these two very distinctive piano concerti. Both composers were trained primarily in traditional schools such as the Julliard School in New York and the Tchaikovsky Conservatory in Kiev, Ukraine. My connection to them is my Ukrainian background and my many years at the Julliard School working with some of the world’s foremost piano teachers. The composers are attracted to large forms – the symphony, the concerto, the sonata. These works have a logical structure. The melodic line, although frequently angular, is lyrical and expressive, and the rhythms are edgy. The instrumental writing is colourful with dramatic contrasts and although the works allow a tonal pattern, there are hints of dissonance and serialism. I had the opportunity to work with both composers for the world premieres of their concerti. Their vision and passion for the piano were an inspiration for me. – Christina Petrowska Quilico

“Christina Petrowska Quilico’s significant contributions to the recorded contemporary Canadian piano repertoire continue to impress…. Making it sound easier than it is, Quilico’s performance …is coloristic and well-paced, justifying indeed the disc’s title Tapestries.” – Roger Knox, The WholeNote

“This is a CD worth having and listening to.” – Ed Farolan, Review Vancouver

“Christina Petrowska-Quilico, Canadian virtuoso pianist, may well be the weaver of the history of the contemporary piano concerto, and her recent CD, Tapestries, is the latest thread. FIALA: Being of Ukrainian background herself, Christina brings her own heritage to this work, weaving together the textual dialogue of this work with poise, grandeur, monastic resolve and humour. SCHMIDT: Christina’s brilliance and clarity is demonstrated well in this work, rising to its motion-pictured colourful panorama of sound. Having been recognized as a champion for the piano music of our time, her commitment to presenting these mammoth works with cohesion and clarity is unprecedented. With the nomination of Schmidt’s Piano Concerto No. 2 for Classical Composition of the Year in the 2012 Juno Awards, it is well worth the Canadian Music buff’s time to keep an ear out for Petrowska-Quilico’s her contributions to the tapestry of Canadian Music; and for those who are encountering her for the first time, Tapestries would be an excellent place to start.” – Jean Narveson, The Music Times

“Christina Petrowska Quilico once again displays her virtuosic command of the piano with this live recording of the world premieres of two piano concertos. […] The sound quality of the CD is excellent. Both works are well performed, with Petroskaw Quilico demonstrating her ability to interpret the contrasting compositional styles. The enthusiasm of the performers and the rapt attention of the audiences are evident throughout. Let us hope that this fine recording will encourage further performances of these works.” – Patricia Debly, CAML Review