Schumann's Enigma
The drive to create a comprehensive performance experience made Svetlana interested in musicological and theoretical research. While studying Robert Schumann's sonatas for violin and piano she made original discoveries regarding the coding of Schumann's name in his works, as well as new evidence of the presence of the composer's alter egos Florestan and Eusebius in them. These discoveries guided her performances on her CD, “Schumann’s Enigma: An Exploration of Robert Schumann’s Sonatas for Violin and Piano,” in collaboration with Natalia Tokar on the piano. The CD contains a performance of Schumann's op. 105 and op. 121, as well as annotations authored by Svetlana regarding her discoveries, which formed a part of her doctoral work at Michigan State University.
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“The Sonata in A Minor Op.105 and the Grand Sonata in D Minor Op.121 are both given accomplished readings, with some lovely playing from both partners... What gives these performances added interest, though, is the research and thought that has gone into them... Tsivinskaya’s penetrating essay here is a riveting and convincing analysis, and adds a great deal to our understanding of the two works.”
Lee Actor Concerto
In 2012 Svetlana got across a dazzling contemporary violin concerto and ventured thorough research of it that revealed number of interesting features of it such as striking usage of octatonic scale that conceptually ties the whole concerto together. This contemporary concerto has a compelling sound and is written in romantic spirit with highly virtuoso violin part, explosive expressiveness and tender lyricism. Programmatic features of it are calling for analogies with works by Romantic composers of 19th century. Svetlana made a demo at the Blue Griffin Studio in May 2013. Recording was done with Natalia Bezuglova that played part of the orchestra on the piano.
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“Svetlana discovered my Violin Concerto a few years ago and decided to champion it, for which I am very humbled and most grateful. She performs the concerto with all the passion and dedication one could hope for. She is particularly adept at bringing out the “Russian” flavor of the piece, which is no surprise; though I had not previously been consciously aware of how significant that element is in the concerto. A composer could not wish for a more committed and enthusiastic interpreter of his music.”
