[Music Review] Escape from the Shadows. Aleksandra Demowska-Madejska

Product: Album, CD or digital file
Distributed by: Orphée Classics - Poland
Reviewer:: Matteo Bruni - TNT-Audio Italy
Reviewed: February and March 2026

Within the contemporary chamber music recording landscape, Escape from the Shadows stands out as a project that combines historical research with musical interpretation. The album originated from an initiative by violist Aleksandra Demowska-Madejska and pianist Wojciech Pyrć, who are engaged in the study and rediscovery of Central European repertoires that have remained on the margins of the concert tradition.

Released in 2025 by the Orphée Classics label, the album forms part of a broader line of research devoted to the music of composers connected to twentieth-century Polish culture, many of whom were of Jewish origin or forced into exile during the political and wartime upheavals of the twentieth century. The title “Escape from the Shadows” alludes precisely to the intention of rescuing these works from historical oblivion and bringing them back into the contemporary chamber music repertoire.

The program spans a range of twentieth-century aesthetics, from late Romanticism to a more modernist and rhythmically driven style typical of the musical diaspora of Eastern Europe. One of the most significant features of the album is the inclusion of the world première recording of the Sonata for viola and piano by the Belarusian composer Eta Tyrmand, presented in its original version.

Photograph of the Belarusian composer Eta Tyrmand, born in Warsaw, where she graduated from the conservatory in 1938, before taking refuge in Belarus the following year

The musical program

With a total duration of about one hour, the album offers a highly varied stylistic journey for viola and piano:

Rapsodia Notturna op. 66 (1950) - Karol Rathaus (arranged for viola and piano by Aleksandra Demowska-Madejska)

Romance op. 32 (1910) - Ignacy Friedman (arranged for viola and piano by Aleksandra Demowska-Madejska)

The repertoire alternates between more lyrical and contemplative pieces and others marked by strong rhythmic and dramatic tension, effectively conveying the cultural climate of a generation of composers shaped by migration, war, and complex cultural identity.

Interpretation

The duo's performance is technically solid and incisive. The violist handles the melodic lines with ease: fast passages, sudden dynamic shifts, and nervous articulations are executed with precision and confidence. The interpretation also brings out the sharper edges of the writing, alternating hardness, speed, and moments of lyricism without smoothing out the contrasts. Alongside this more incisive component, there is also an ability to lighten the phrasing, allowing space for softer and at times even playful solutions. The musical line relaxes, the sound becomes less tense, revealing a more intimate dimension, with a more flexible and natural handling of time.

Pyrć's piano plays a role that goes beyond mere accompaniment. In several pieces it becomes the true rhythmic engine of the chamber dialogue. In particular, in Weinberg's Sonata Op. 28, the viola seems almost to dance over the piano texture, stopping and resuming movement in perfect synchrony with the keyboard instrument. The impression is one of continuous interplay, making the performance very lively and dynamic.

Two transcriptions that expand the viola repertoire

A particularly interesting aspect of the album is the work of transcription and adaptation carried out by the performer herself, Aleksandra Demowska-Madejska. Two pieces in the programme were not originally conceived for viola and piano: the musician personally arranged them, thus expanding the chamber repertoire available for the instrument.

La Rapsodia Notturna (op. 66 - 1950) by the Polish composer Karol Rathaus, who was forced to emigrate to the United States during the Nazi period. The 1950 piece reflects this climate well: harmonic tensions and sudden expressive surges emerge, giving the music a restless and anguished character. The viola naturally adapts to the meditative and melancholic character of the work, while the piano effectively supports its emotional variations, creating a balanced dialogue in which the two instruments share and shape the tensions and releases of the piece.

Different in atmosphere is the gentle and intense Romance, Op. 32 (1910) by Ignacy Friedman, a Polish pianist and composer. Written in 1910, the piece still belongs to the expressive climate of late Romanticism. The writing is cantabile, with a broad and lyrical melodic line supported by a soft and harmonically rich piano accompaniment. Transferred to the viola, the melody acquires an almost vocal quality. The bowed instrument succeeds in clearly conveying the passionate and nostalgic character of the composition.

These two transcriptions are not merely practical adaptations, but contribute to the artistic coherence of the entire album. Through these interventions, the violist actively participates in reconstructing a rarely performed repertoire, demonstrating how many works from the Eastern European chamber tradition can find a new timbral life in the viola version. In this sense, the arrangement becomes an integral part of the “escape from the shadows” project evoked by the album's title: not only the rediscovery of forgotten works, but also their interpretative and instrumental reinvention.

The recording and the CD

From a dynamic standpoint, the recording shows a good ability to follow expressive contrasts, without evident compression. The more energetic passages retain impact, while the more intimate ones preserve detail and intelligibility. The soundstage appears centred, with a stereo image that does not expand laterally. In some passages, this results in an overlap between viola and piano, reducing the sense of spatial separation between the two instruments.

The CD edition of Escape from the Shadows also reflects the essential and modern approach of the musical project. The cover design is minimalist: the colours recall the concept of “shadows” in the title, with a clean layout and a modern font. The central image is evocative, suggesting the idea of rediscovery and escape from historical marginality. The inner booklet, compact yet carefully produced, contains clear and concise notes, photographs of the musicians, and brief insights into the composers and the works. The overall result is an object that reflects the project's philosophy: sober and essential, with a design consistent with the music.

Conclusion

Escape from the Shadows is above all a cultural and musicological project. Its main value lies in its ability to bring a forgotten repertoire back into focus, while simultaneously expanding the discography devoted to the viola. From an interpretative standpoint, the album impresses with its energy, precision, and personality. Overall, it is an interesting release both for enthusiasts of twentieth-century chamber music and for those curious to discover lesser-known but historically significant composers.

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Escape from the Shadows

A recording project of historical rediscovery. Orphée Classics, 2025

The musical program

Interpretation

Two transcriptions that expand the viola repertoire

The recording and the CD

Conclusion