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ISSN 1409-6900 | UDK 82+7     Blesok no. 80-81 | volume XIV | September-December, 2011



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                     Peer-reviewed journal
Blesok no. 80-81September-December, 2011
Sound Reviews

To Starowski’s First “Album” and Their Interpretation of the Macedonian Poetry

/2
p. 1
Elizabeta Bakovska

    The word album in the title of this review, when it concerns what Starowski create is not in inverted commas buy accident. I was in doubt (and I still am) about naming the work that they have created when they decided to sing the Macedonian poetry, or more precisely, to sing the love in the Macedonian poetry, or, even more precisely, to sing their love for the love in the Macedonian poetry. Thus, I can easily say a “musical poetry reader” or a “musical reading of the Macedonian poetry” instead of saying album, and I believe I would not be mistaken, because what Starowski has produced is all of this, more or less.
    My doubts in granting it a title or naming this piece undoubtedly implies its complex nature, comfortably hidden behind the simplicity of its musical background. The voices of Verica Andreevska Spasović and Verica Nedeska Trajkova are accompanied by Jordan Kostov’s accordion, Dejan Spasović’s oud, tambour and kemane, and Krume Stefanovski’s percussion and… that’s it. In a minimalist, almost cabaret-like way (for example, such as in “Courting”), one can hear an instrument or two in the pieces, while the female voices, one next to the other, or one behind the other, pursue the song. I say they pursue, because they neither sing it (in the classical sense of the word), nor recite it (in the even more classical sense of the word), but they simply – chant the poetry. Starowski has no intention to compose music based on familiar (and less familiar) verses (because poetry is thus placed within the frames of a cliché-like pop-culture concept and is unjustly instrumentalised). Nor do they have the intention to recite familiar (and less familiar) verses on top of a musical background (because poetry is thus banalised to “Don’t Give Up, Ines” tastelessness). Starowski simply chant about what they find the most beautiful and most impressive from the Macedonian poetry – love, and chanting about it they remind us that the poetic word is alive, it is a word that communicates with the reader and listener, but also with the one who utters and sings it.
    Starowski
enters this communication with the poetic word without pretensions, without premeditation on how this poetic word should be read, without a superior conviction that they are the ones who know how to interpret it truly. They simply let this word carry them. “I am a boat






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