by Mark Swed
The first week of May, I attended four concerts. All four, whether by chance or intent, had a connection with Ukraine. That was obvious the first day of May at a benefit concert for Ukraine put on by the Wende Museum and Jacaranda Music at the Robert Frost Auditorium in Culver City. And while Ukrainian American pianist Inna Faliks’ Ukraine-centric recital several days later at the Wende contained no Ukrainian music, its programmatic theme was “The Master and Margarita,” a novel by the Ukraine-born author Mikhail Bulgakov.
At her Wende recital earlier this month, Faliks premiered Veronika Krausas’ “Master & Margarita” Suite, written for the occasion. In the Russian novel, the devil visits and wreaks marvelous havoc on Soviet Moscow. In her suite of seven sly dances, Krausas, who is a Canadian American Los Angeles composer of Lithuanian heritage, lightly waltzes around and toys with fanciful passages from Bulgakov’s novel. As with Silvestrov, what isn’t there is as intriguing as what is. Each dance is a kind of fantasy, full of musical hints. Crossing borders is, and has always been, the way of music.