Suite for mezzo-soprano and string quartet, “Forlorn Images”.

Suite for mezzo-soprano and string quartet, “Forlorn Images”.
The original title, "Неприкаянные образы" (“Neprikayannye obrazy”), cannot be translated into English exactly.

The Russian word "неприкаянный" (neprikayanny) has no single equivalent in English. It describes someone or something that has no place to belong, no refuge, and no peace. It is a person or a spirit drifting without purpose, restless, a little lost and lonely, not accepted anywhere. The word is often linked to the old verb "каяться" (to repent), and it carries a faint religious shade: something left unreconciled, with no rest or shelter. English words such as “forlorn”, “restless”, “drifting” or “homeless” each capture only part of this. So “Forlorn Images” is only an approximation. Think of images, figures and visions that wander without finding their place.

The 5th movement, "Звездочёт" (Zvezdochet), is an old, slightly fairy-tale word for an astronomer or astrologer. Literally it means “one who counts the stars”. It belongs to the world of medieval wizards, court sages and folk tales, where a person watches the sky and reads fate in it. The nearest English word is “Stargazer”, though it can also suggest a daydreamer. “Astrologer” is closer to the mystical side. Please read it as an old sage who observes the stars and seeks meaning in them.

Music by A. Khomenko, lyrics by V. Osadchenko.
In five movements.

1. Silence

2. Reflection

3. Desire

4. The Master (attacca)

5. The Stargazer
   Part1

Part 2

Part 3

Parts 4-5

Edited November 8Nov 8 by Alexx

Hello

I’ve listened to the first two tracks; I’ll listen to more tomorrow…

It’s a shame that, particularly with vocal works, we have to use our imagination quite a lot, given the virtual instruments we have.

I think it’s a fantastic piece, with a distinctive harmonic language that I haven’t bothered to analyse – nor do I need to, because it sounds phenomenal.

The choice of a string orchestra alone feels rather ‘restrained’ (one could imagine a larger orchestra), but I think it’s a good choice.

12 hours ago, Luis Hernández said:

Hello

I’ve listened to the first two tracks; I’ll listen to more tomorrow…

It’s a shame that, particularly with vocal works, we have to use our imagination quite a lot, given the virtual instruments we have.

I think it’s a fantastic piece, with a distinctive harmonic language that I haven’t bothered to analyse – nor do I need to, because it sounds phenomenal.

The choice of a string orchestra alone feels rather ‘restrained’ (one could imagine a larger orchestra), but I think it’s a good choice.

Thank you for the positive feedback :) I’m very glad you liked the suite. The ensemble could indeed have been larger; at the very least, a string orchestra could have been used. But I deliberately chose a quartet because I wanted a chamber feel. I perceive this work as very intimate. Besides, it’s much easier to find five performers (a vocalist plus a string quartet) than a whole orchestra :)
I hope the remaining movements won’t disappoint you :)

Part III.

I liked the opening, with the strings creating an almost ‘cosmic’ atmosphere (as in Lohengrin).

The first exposition with vocals/text left me wanting a bit more, as the strings play a very passive accompanying role, with nothing more than long notes. But I noticed that in the recapitulation they take on a much more active role, so the contrast works well.

Overall, I like the way you give the instruments such a prominent role, even though it’s a composition with text and vocals.