Three Cabinets of Wonder/ Violin Concerto

Three Cabinets of Wonder/ Violin Concerto

The Collaboration between Michael Colina and Anastasia Khitruk

Conspiratorial or complacent?
It is really quite daunting to disentangle the threads of inspiration.
A creator’s succubus or muse can either play a conscious role in this duet or be completely blind; Conspiratorial or complacent.

Peter Pears had to put up with the heartbreak of Britten's little choir boys and their "sleepovers". On these occasion’s Mr. Pears temporarily relinquished his role as muse to Britten; it eventually sliced his heart too thin.

Don’t you wonder what Beethoven was really thinking/feeling
about the Countess Giulietta Guicciardi when he was writing his 14th piano sonata.
Was he idealizing her? Was he even capable of comprehending who she really was?
Was the music designed for his beloved to be performed as a metaphor? By comparing the subtleties of a phrase on the keyboard could he communicate the nature of his touch on her body?
Music historians will scoff at this idea, knowing that Ludwig’s manners and sensibilities as far as the female of the species was concerned ran south of a brute and north of comprehension.

Collaboration, not anything new is it? Being inspired by someone else’s Talent, brains, or beauty is a time-honored tradition, yes? So what is different about the Collaboration between Michael Colina and Anastasia Khitruk?
He’s a brilliant 60 year old composer, awaiting a level of recognition that borders on utter fantasy. She’s a 35 year Russian violinist of great talent & virtuosity as well as terrible beauty; Still not so remarkable, no? However, In this case, when the word terrible is used, an enslaving energy is unleashed, a mixture of narcissism, domination, victimization and submission along with a whiff of gamesmanship. Still, Who cares?? Really!!!!!
30 years ago during a physic reading, Colina was told that he was re-incarnated from Felix Mendelssohn; Colina who was not fond of Mendelssohn at the time shrugged it off.
After meeting Ms. Khitruk Colina suddenly found himself compelled to write a violin concerto. The 1st movement is based on a fragment of an idea found in one of Fanny Hensel’s, Felix’s sister’s, compositional sketchbooks.
Maybe Colina wasn’t so fond of Mendelssohn but he sure seemed interested in Fanny.
The suggestion by a few biographers and historians that Felix and his sister were not only close artistically but physically as well, true or untrue, leaves a leering suggestion lingering in the atmosphere. Felix died at the age of 38 six months after his sisters premature death.
So is Colina, by proxy, paying tribute to his beloved sister; Writing as if he were Mendelssohn, alive today; using his “sisters” musical DNA?

Inside the Cabinets of wonder willingly or imprisoned?
The appealing dichotomy inside the Cabinets of Wonder
is a world of curiosity, awe and deception