Dear listers, Although there are indeed dozens of significant women
composers, I would like to mention one in particular for this time: Natasa
Danilovic, namely one of her orchestral pieces, entitled "Horror vacui"
(literally Horror of vacuum).  This seems to have been conceived as the
first part of a symphony or a cycle, and I do hope that a sequel will
follow, for the material seems to cry for it.  Such as it is, it appears
nonetheless as an disturbingly strong work, which indeed deserves a wide
exposure as an autonomous entity, a reflection on a particular, tragic
state of mind.  It would be very surprising and disappointing if no major
company was to make a commercial recording of it, and why not reveal her
other works (which I do not know as yet).

"Horror vacui" is more or less arch-shaped, the climax being shifted
towards the end (not an unusual feature).  A slow prelude for lower
strings, in which a handful of intervals enclose both the tension and the
almost translucent harmony apparent throughout the piece, is punctuated
with fleeting percussion shivering and a tragic trumpet signal.  Shortly
before what would promise to be the first climax, yet another brass call
joined by tense strings heralds a powerful, albeit not plainly march-like
rhythmic intensification.  Here high strings and woodwind instruments are
entrusted with the surge, as it were, whereas timpani and brass provide the
dramatic frame.  This tragic section does not resolve itself, but rather
dissolves in a luminous and unconclusive epilogue.

 From this description, one could imagine a rather simple structure,
sparing of fanciful ornementations or contrapunctal virtuosity, as
are other war memorials or testimonies such as Martinu's Lidice.  Some
stylistic affinities might be pointed out.  The introduction reminded me
of Kenins, especially his transcendant 6th symphony (which Ms. Danilovic
probably does not know), and such a comparison says something about the
plastic quality of intense melodic lines which are more "telling" than
actually singing, although the harmonic idiom is rather more euphonic
here, even in the more overtly tragic sections.  The work certainly
is not wanting in compelling moments, instrumentation is subtle and
discriminating, but there is an organic feeling about it which IMHO
comes closer to Sibelius's Oceanides, or Sallinen's 5th Symphony and
Shadows, than to trends familiar from other Central European composers
(I only fleetingly thought of Sulek, who definitely is not the typical
Balkan composer).  The paradoxical use of consonance brings to mind
Honegger, and even more Messiaen.

The most astonishing part is the lucidity with which N.Danilovic escapes
the dangers inherent to such a work and stylistic range.  The music is
pervaded with anguish and agony throughout, but free of any complacency
or self-pity.  Obviously there would be enough power and formal mastery
to allow fully-fledged culminations and unleash apocalyptic orchestral
fury, and indeed such elements are present, but this could ultimately lead
to a final catharsis which is incompatible with the dominant feeling of
expectancy.  This work does not only express the destruction of war, but
also the very fear of war and death.  The latter has to be conveyed with
all its obsessive intensity and persistence, and this is remarkably
achieved by means of anticipation.  For instance, the agitated core of the
piece invades the scene as soon as the full-bodied, almost choral lines of
the introduction threaten to give way -- it literally fills the embryo of
vacuum.  In turn, this rhythmic section never finds a regular pace, rather
its striking patterns intertwine with bewildered shreds of the previous
section, in what I would describe as a tectonic phenomenon.  The epilogue
is quite magical as well, expressing a will to heal and shed light in a
situation which did not (and still does not) leave much hope in itself.
This, as it were, is an artificial catharsis, or rather a spiritual one,
out of the dramatic logic of musical and external events.

Whether this, or any work is typically "feminine" will always remain
debatable.  I will only suggest that it relies overtly and unashamedly on
a personal human suffering, has its roots in acute sensitivity and does not
try to conceal it behind heavy symbolism.  Nevertheless it contemplates
tragedy, and even more so the incomprehensible unfolding of tragedy, with
wide open eyes.  Personal grief acts more as a prism than an actor or even
a narrator, hence the impression of vibrant, but restrained nobility,
joined with committed sincerity.

What I find ultimately impressive is that "Horror vacui" remains a
thoroughly musical, artistic utterance.  Many wartime pieces survive by
what they stand for, as testimonies articulated in sounds, in which the
message supersedes the form and detailed content.  This particular work,
on the other hand, is fully integrated in stylistic terms.  It does not
use "new" harmonic or rhythmic patterns, and yet their mutual relationship
is truly original and satisfactory, fully characterized but carefully
balanced.  In particular, it is neither stern nor forbidding.  Elliptic as
it is, not indulging in misplaced brilliance, it manages to sustain and
renew the interest without losing its almost inexorable cohesion.

Surely Ms. Danilovic shall give us more developed and expansive pieces
if she is given the chance to do so.  Short as it is, "Horror vacui"
should be a seminal landmark.  Not so many masterpieces can boast of being
accomplished works of art about incompleteness.  Let us hope that someone
will acknowledge this with a competent CD recording...

Best wishes,

Thanh-Tam Le