Seven Sonnets

November 2, 2015 - Discography

Seven Sonnets (2015) released by ARTEKsounds DUX, Bôłt records and . New, exciting collaboration with Arnon Zlotnik and Rubens Quartet.

“Glowickas style, her nonconformist handling of electronic possibilities and idiosyncratic, not complacency seeking harmonies, are clearly visible in the 50-minute, highly recommended cycle.”
Culturmag, Tina Manske, Germany

 

“Glowicka forges a rarefied spiritual atmosphere with her choral delivery. “ Christopher Nosnibor, Aural Aggravation
“with extraordinary strength of conviction Glowicka manages to take us into the century of Shakespeare, and that without sounding stuffy or overly intellectual.”
Rifraf Magazine, Belgium


“emotionally potent mixture”
“remarkably powerful”
Fanfare Magazine, Ronald E. Grames, USA

“Glowicka style is unmistakable for its nonconformist management of electronic possibilities and clear harmonies.
We get spectacular Glowicka’s album that traps echoes of eternal love”
Radio 3, Spain

 

Seven Sonnets
1. “My heart hath played”
This playful gesture in music juggles the perplexing wit of Shakespeare’s Sonnet XXIV. A single violin peeks through the initial silence, as if a child inquiring innocently. Though, just as Shakespeare, there is nothing innocent or simple in this jousting ramble of a bewildered lover.

2.“O, never say”

This plea of a lone singer is an operatic and ancient battle between strings and voice. It is here that Glowicka shows an intuitive understanding of the often-tangled needs of the human condition so natural to Shakespeare’s poems. The sonnet spins a breed of drama that fuels the human experience, like a dance between predator and prey in emotional survival. As prominent in emoticons of feisty young texters as it was when whispered in medieval chambers, it is a plea echoed through time.

Glowicka ignites the sonnet with the same intrigue of seeing a fire’s first flame. She stokes this flame with the steady, singular voice, as strings bounce and rise like sparks. The vocalist wavers, resonate between beautifully volatile strings, embracing a composition as erratic as fire.

3.“My love is strengthened”

Reprieve and rejuvenation musically emerge in this sonnet’s interpretation. It is an emotional regeneration – the voice a beating heart that pulses new blood through a body bruised and burned from loving too much. The strings evoke a connective tissue that forms and reaches, moving at a yearning pace with a strong, but somber glide. In time, the sonnet’s strings grow dense, and the heart – the voice – is elicited to beat stronger, renewed with yearning.

As in nature, when fire clears paths for new growth, heartache can serve as an emotional catharsis. Musically, the strings burn through this heartache, and Shakespeare’s essence is enlivened: though one may restrain in signing praise to a lover who has hurt them, it does not weaken their affection.

4.“When my love swears”

A voice, as if reborn, emerges to open this sonnet that speaks of love unconditional to a fault. In itself, the composition embodies something of a paradigm shift, as both complex musical evolution, and as the intimate revelation in the poem. Equally, it is a symbolic revelation for a composer who uses a torch of classical structure to illuminate the towering potential of orchestrated electronics.

The digitized touches in Glowicka’s sonnet never invade or possess the fleshy soul of voice and quartet. It acts more as a conduit of musical truth, electrifying the body of the composition. Within the sonnet’s false declarations of love, the trembling of the electronic bell calls forth the truth. The subtle layers of modulation transcend us from falsity, to truth. For this sonnet’s lovers, their lies to each other are the comforts that become truth.

5.“Love is Too Young”

Within this sonnet’s archetypal love lesson, we again experience a transcendent moment where voice and strings morph electronically. The violin’s gliding bows evoke emotional growing pains that give way to the sonnet’s epiphany. Young love is ignorant of conscience, yet conscience itself is born from love. This theme is a vocalized with clarity, lifting the strings from their crawl to a soar.

The repeating phrase of the strings in the sonnet is in time mirrored by the voice. Therein, is the transcendence of the sonnet’s personal revelation: transferring the growing pains of youthful love into poetic wisdom. It is the changing nature of fleeting passion into a love worthy of integrity. This moment is blissfully captured in the sounds of synthetic chimes, quietly clamoring to rise above the instruments. Just as such as revelation liberates lovers from the shackles of bliss, the sonnet’s climax evolves onto a sonic plane where anything is possible.

6.“Sweet Love”

The rhythmic, driving strings of this sonnet, regarding love’s insatiable appetite, outrun a thoughtfully paced vocalist. Yet, when the driving strings are matched by buoyancy in the voice, the culmination is thrilling. So goes the lustful cravings of love: elated together, always in chase, and all the more desirable in absence. How long can we train the mind to comprehend the rapturous turbulence of love’s sweet ride? This dizzying notion is the thrill of Glowicka’s frenetic approach to this sonnet.

Frantic climbs of the strings scale unwaveringly, but freeze with the inconsolable cravings Shakespeare reveals. Still, the voice strives to outwit the strings, lyrically proclaiming an almost unreachable harmony between reason and emotion. The music, like Shakespeare, is still hopefully in that love is a force that gives chase to renew the body, mind and spirit.

7.“All Naked”

Compositionally ambitious, “All Naked” is resolute in its tones that we have arrived from this musical journey. The strings softly herald this arrival, before an influx of synthesized washes buzz within an echo chamber of poetic lines. The piece is stripped down to bare, elemental moments and then whirled up again in decorative electronics.

We are left vulnerable within the soundscape of Glowicka’s fantastical realm. The sonnet itself carries a biblical tone, elevating professed love to a godly status. This can be interpreted in Glowicka’s transcendent arrangement, where this singular voice is liberated from the body of the quartet by technology. Glowicka, like Shakespeare, leaves us in exquisite ambiguity, at peace whether we have met our end or reached a new beginning. Perhaps it is here in this paradox, in thy soul’s thought, all naked, that we are truly free to love.

Jason Cangialosi