Famous for his works as sculptor, painter, architect, and engineer and not least for painting the Sistine Chapel and his sculpture Pieta and of David, the Italian Renaissance artist Michelangelo di Lodovico Buonarroti Simoni, commonly known as Michelangelo (6 March 1475 – 18 February 1564) was also a prolific poet, in his lifetime penning more than 300 sonnets and madrigals. Within his collection of 78 beautiful Petrarchan Sonnets lies an eloquent and always magnificent glimpse of man's struggle within himself with love, pain, guilt, and God, a sense of struggling to break out, perhaps like his sculptures, where art is not created but freed, and a sense too of always getting close, but never quite attaining what is desired. The “Four sketches after the Sonnets of Michaelangelo” draw upon four of Michaelangelo’s sonnets in lyrical response to the imagery and sentiment of the great artist’s poetry, from passionate love to intense remorse, in grief and faith, and upon art and beauty. Each sketch takes its title from a theme or reference in the sonnet itself. The images on the video for the “Four sketches” treat four of Michaelangelo’s drawings which chart an unceasing quest to find poses that would most eloquently express the emotional and spiritual state of his subjects for his artwork. Most of Michelangelo's drawings were never intended to be exhibited and he apparently destroyed a large number before he died, probably to prevent them from falling into other hands. However, the drawings offer a unique insight into how the artist worked and thought and are beautiful artworks in their own right. (AF June 2015) “Four sketches after the Sonnets of Michaelangelo” for solo piano - composed and performed by Anna Ferro Sketch I - “As from fire” - after Sonnet XXVIII Sketch II - “The moon’s illumination” after Sonnett XXX Sketch III - “The love-knot” - after Sonnet XXXII Sketch IV - “Make of my sunset” - after Sonnet XLVIII (mp3s and pdfs can be downloaded on my main music page) Sketch I - “As from fire” - after Sonnet XXVIII The living portion of my love is not My heart; the love which I love has not Heart, for in human hearts things means and low Always exist, in impulse or in thought. Love which came, like the soul, from God’s own hands Made me without eyes, made you full of light; That light cannot be seen in what death ends - The mortal part which hurts me with delight Just as from fire the heat cannot be parted, Neither can I be separated from That Beauty in who lifeness she is made. Ardent, I run to joys which cannot fade, That paradise where your own beauty started, Eternal loveliness from which you come. Sketch II - “The moon’s illumination” after Sonnett XXX This glorious light I see with your own eyes Since mine are blind and will not let me see. Your feet lend me their own security To carry burdens far beyond my size. Supported by your wings I now am sped, And by your spirit to heaven I am borne. According to your will, I’m pale or red - Hot in the harshest winter, cold in the sun. All my own longings wait upon your will, Within your heart my thoughts find formulation, Upon your breath alone my words find speech. Just as the moon owes its illumination To the sun’s light, so I am blind until To every part of heaven your rays will reach. Sketch III - “The love-knot” - after Sonnet XXXII If love is chaste, if pity comes from heaven, If fortune, good or ill, is shared between Two equal loves, and if one wish can govern Two hearts, and nothing evil intervene: If one soul joins two bodies fast for ever, And if, on the same wings, thee two can fly, And if one dart of love can pierce and sever The vital organs of both equally: If both love one another with the same Passion, and if each other’s good is sought By both, if taste and pleasure and desire Bind such a faithful love-knot, who can claim, Either with envy, scorn, contempt or ire, The power to untie so fast a knot? Sketch IV - “Make of my sunset” - after Sonnet XLVIII Though long delay breeds greater tenderness Than our desires in youth can ever know, Still I regret my love’s belatedness - That passion has so short a time to go. Heaven is perverse indeed if in its care For us it still can set old hearts on fire. This is the fate which I must accept and bear - To love a woman with a sad desire. Yet maybe when the sun sinks in the west And the end of the day is reached, I can at least Be in the greater dark a single shade. If love has come to me when life must fade, If I desire, though death must touch me soon, Of, of my sunset, Lady make my noon! (as translated by E Jennings)

“ St Agnes Eve” is a four-movement piece for solo piano inspired by and drawing upon the well-known poem “The Eve of St Agnes” by English Romantic poet John Keats (31 October 1795 - 23 February 1821). The poem (link below) was written in 1819 and published in 1820 and is in 42 Spenserian stanzas (the fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene). It is abundant in its description and imagery. Some commentators view the poem as Keats' celebration of his first and only experience of romance. It was written not long after Keats and Fanny Brawne had fallen in love. Keats based his poem on the superstition that a girl could see her future husband in a dream if she performed certain rituals on the eve of St. Agnes (20th January) being the evening before the feast of St Agnes (21st January). By the rituals, a girl would go to bed without any supper, undress herself and lie on her bed, naked, with her hands under the pillow, looking up to the heavens and not to look behind. Then her proposed husband would appear in her dream, kiss her, and feast with her. The movements of the Sonata follow the course of the poem:- Movement I - "St Agnes Eve" shares its title with the piece itself and evokes the scene at the medieval castle on the Eve of the Feast day, as young, beautiful Madeline retires to bed, to perform the rituals of which she has been told, hoping for sweet and enchanted dreams of love from the knight Porphyro for whom she pines, "On love, and wing'd St. Agnes' saintly care,/ As she had heard old dames full many times declare" and Porphyro, who is in love with Madeline himself, braves entry to the castle. The pulsing chords towards the final section of the movement allude to those which form the basis of the third movement. Movement II - "The Morphean Amulet" evokes Madeline undressing and her ritual preparation for her descent to sleep, unware that Porphyro has managed to gain entry to her room and is concealed and watching her from inside the closet. The music moves carefully and deliberately from upper to lower register. "In sort of wakeful swoon, perplex'd she lay/Until the poppied warmth of sleep oppress'd/ Her soothed limbs, and soul fatigued away". The title of the movement draws on Porphyro's subsequent call for a ‘Morphean amulet’, a sleep inducing charm, to prevent Madeline from awakening... Movement III - "I dream of Porphyro" evokes the moment when, after beholding Madeline asleep, Porphyro has crept forth from the closet to prepare Madeline a feast of rare delicacies and has entered her bed, received by Madeline seeing Porphyro as in her dream. "The blisses of her dream so pure and deep", Madeline's sleep becomes the sleep of enchantment and Porphyro fills her dreams. Movement IV - "Lovers' Flight": evokes the lovers' rapid departure from the castle when Madeline awakens fully, realizes what has occurred and Porphyro declares his love for her ... "Awake! arise! my love, and fearless be, / For o'er the southern moors I have a home for thee." The images in the video are the composer's graphic response to the poem. Here is a link to the full text of Keats' "The Eve of St. Agnes" http://www.poetryfoundation.org/poem/173735

The sonata alludes to the tragic story of the lovers, Paolo Malatesta and Francesca da Rimini who were slain by Francesca's outraged husband, as recounted in Canto V of Dante's Inferno which describes how their passion grew as they read together the story of Lancelot and Guinevere, and how they were condemned to the second circle of hell. The story was a popular subject with artists and sculptors from the late 18th century onwards. In 1854, the English artist and sculptor G.F. Watts exhibited his moving first version of Paolo and Francesca at the British Institution, thought to have inspired Rossetti in his three section portrayal of the lovers. Watts revisited the subject 4 times over a period of around 30 years. Rodin's beautiful sculpture "The Kiss" depicts the couple in sweet embrace. William Blake too immortalizes the couple in his engravings. Here, the Sonata for solo violin and piano in 3 movements takes specific inspiration from the 4th and final depiction by Watts which was described by one Art Journal critic as "one of the master’s crowning achievements" (1882). Each movement is headed by an excerpt from Dante's Inferno. The video accompanying the piece shows three graphic variations based on the painting entitled "Paolo and Francesca: after G.F.Watts" (by Anna Ferro). Mvt I : Love, which can quickly seize the gentle heart Mvt II : Love, which exempts no beloved from loving Mvt III : Love led the two of us unto one death "Amor, ch’al cor gentil ratto s’apprende, prese costui de la bella persona che mi fu tolta; e ’l modo ancor m’offende. "Amor, ch’a nullo amato amar perdona, mi prese del costui piacer sì forte, che, come vedi, ancor non m’abbandona. "Amor condusse noi ad una morte. Caina attende chi a vita ci spense». "Love, which can quickly seize the gentle heart Seized this man for the beautiful person Snatched from me: how it happened still appalls me! "Love, which exempts no beloved from loving Seized me so strongly with my pleasure in him That, as you see, it still does not leave me. " Love led the two of us unto one death. Caina awaits him who extinguished our lives."

London is a city dear to my heart, a great place full of history, where I have spent much time. So much so that in writing a short suite for solo piano taking inspiration from what I know and have seen of the place itself, it was difficult to pinpoint and limit my thoughts for the four movements of the work. There is so much to see and do here and with many personal thoughts about the place, I am conscious that these barely find themselves here in my piece. Nonetheless, what London offers and gives to the world, its visitors and its residents, is exciting and unquestionable. If you have not already been here or even if you have, come and see and share and enjoy all that is London. It may be that when you have, you will find Samuel Johnson's words still relevant when he said: "By seeing London, I have seen as much of life as the world can show." There are of course many bells in London, none more familiar perhaps than those in the old famous rhyme ("To Ring the Bells of London Town" which includes not least "Oranges and Lemon say the bells of St Clements"). I've always thought that bells have a special place in our lives, their sound quite unmatched by other instruments. Church and building bells in a town or city bring joy or proclaim news or simply remind us of the hour. And there are bells here in my piece, which I hope you will hear.

This month, I am posting a new piece for solo piano called “the jewel inside me”. The work is in three movements and draws on emotions and concerns which I have felt for a very long time and which have been heightened over recent months with the issues around us in our current affairs and world news. I was drawn to the beautiful words above written by the great 13th century Persian poet and mystic, Rumi, and this extends a connection to the focus of the issues which I had in mind when composing the work. The title of the work is also drawn from the words of Rumi: “The moon says, "How long will I remain suspended without a sun?" Without Love's jewel inside of me..” For me, there is no question that Rumi’s wisdom transcends national and ethnic borders and gives unmatched testimony to the fact that people of all religions and backgrounds can live together in agreement without war. There is much to learn from Rumi’s words and visions and an understanding of his work and life can teach us how to attain inner contentment and calm to ultimately cease the seemingly unending stream of hostility, hatred and injustice and to finally achieve harmony, amnesty and global peace. The piece is dedicated to Reyhaneh Jabbari (b. 1988 ; d. October 25, 2014). (An mp3 and pdf of the score is available on my main music page) Thank you for listening to this work. Thank you for so many beautiful and inspiring comments about my piece last month, “the dark feather” and also the additional pieces which I uploaded during the course of the month, a new video for the third movement of my "four night songs" ("the submerged swan") and an "overture for strings". Your support and encouragement is as always hugely appreciated. With best wishes Anna Ferro - November 2014

When syllogism fails and ambiguity feeds the uncertainty of the mind, the lover’s fallacious reasoning yields in argument to darker meaning and unsubstantiated consequences. The confusion and pain which he feels is matched only and is simultaneously fuelled by his unflinching love, without which he would not challenge and examine so forcefully his passion and desire amidst his unreasoned anxiety. “the dark feather” is a short piece for solo piano, which sets an argument between lovers. It draws on the feelings which she experiences when, at a point that she is challenged to explain her thoughts and actions, it becomes apparent to her that her lover has based his reasoning upon a fallacy. She pauses to consider whether she is misguided or under self-allusion about the agitation of her lover. She is bewildered and perplexed to know how to remedy the uneasiness which the argument causes. She seeks to assure and appease him with touch and warmth. However, he is cold and distant. Her love for him drives her wish and need to resolve the dispute and set straight his impression. The argument resumes and frustration prevails in the face of her lover’s apparent unwillingness to accept her contention. The piece is in three sections. In the first, the melodic line sets questions and responses played by the left hand in both lower and upper register, underpinned by pulsing chord figures played by the right hand, though a richly expressive harmonic palette. A contrasting middle section places a series of distinct chords separated by rests and followed by snippets of further discourse, which are contemplated in brief fragments of undeveloped melody and pulsing chords. In the third section, the melodic and harmonic framework of the first section returns, reworked and pushed to fortissimo, the melodic line now predominantly in the upper register but still played by the left hand. The piece closes with the pulsing chords and melodic lines simply tapering and slowing. I do hope you will enjoy this piece. Links to the pdf score and mp3 are on my Main music page for download. Thank you for all your wonderful support. I was delighted by your very kind comments on last month’s piece, “Four night songs”. When music is written from the heart to express and confirm inspiration, it is magical to be able to share every note, every chord. I feel very honoured and privileged by this. With best wishes Anna Ferro - October 2014

This month, 4 short pieces for solo piano inspired by the haunting Soneto 79 from Cien Sonetos de amor, “Tie your heart at night to mine, love”, by the renowned Chilean poet, Pablo Neruda (1904-1973). The poem is set out below. It falls within the sub-section of the Cien sonetos entitled "Noche"/ "Night". The structure and harmony of my piece reflect my thoughts and response to the poem which has long been a favourite and in which colour and question, and emotion and desire, fuse in Neruda’s typical and unmatched style. Each song draws on the corresponding verse of the poem in title and expression. (links to the mp3s and pdfs are on my Main music page) Soneto LXXIX by Pablo Neruda De noche, amada, amarra tu corazón al mío y que ellos en el sueño derroten las tinieblas como un doble tambor combatiendo en el bosqu contra el espeso muro de las hojas mojadas. Nocturna travesía, brasa negra del sueño interceptando el hilo de las uvas terrestres con la puntualidad de un tren descabellado que sombra y piedras frías sin cesar arrastrara. Por eso, amor, amárrame el movimiento puro, a la tenacidad que en tu pecho golpea con las alas de un cisne sumergido, para que a las preguntas estrelladas del cielo responda nuestro sueño con una sola llave, con una sola puerta cerrada por la sombra. Tie your heart at night to mine, love, and in dream both will defeat the darkness like twin drums beating in the forest against the heavy wall of wet leaves. Night crossing: black coal of dream that cuts the thread of earthly orbs with the punctuality of a headlong train that pulls cold stone and shadow endlessly. Love, because of it, tie me to a purer movement, to the tenacity that beats in your breast, with the wings of a submerged swan, So that our dream might reply to the sky's questioning stars with one key, one door closed to shadow. With best wishes Anna Ferro - November 2014

There is such a disparate range of emotion when uncertainty and inevitability mix and take control of a situation of which you have no control yourself. The three contrasting movements treat these emotions as songs. The title of the first song references Emily Dickinson’s beautiful poem “There is another sky” (set out below) : after dark opening chords which express an angry realization, lyrical passages draw upon the poet's confidence, which she addresses to her beloved brother, in her creation of a world of beauty that will last forever. The second song mixes warmth of memory and love with frustration and physicality of circumstances deriving tension from a passion and yearning to set firm what will ever be transient. The third song hears the approaching storm, its arrival and passage to the point where we know that it must pass. I hope you will enjoy the piece and the video (you can download the mp3/score from links on My Main Music page). Thank you for all your much valued support in everything that you have expressed and encouraged unfailingly while I have been exploring in images and sound, over the months, feelings and ideas so many of which I have been unable to express literally and for which I am unceasingly thankful for the music in my heart. With much love and hope to a very dear and special person. With best wishes Anna Ferro - November 2014

This month, a short piece in four movements for solo piano called “il vestito rosso” and a sister-poem "The crimson dress." Both poem and piece are in four sections. The four verses of the poem expose the inspiration and expression of the composition and each verse reflects and subjectifies the development of the four movements of the piece : - Movement I. la visione (“vision”) : the opening gestures of chromaticism push against emerging lyricism as figures which suggest a mysterious curiosity yield to new harmonic colour following a quite specific revelation at the 17th measure. Movement II. musa del cuore (“heart-muse”) : the rhythm and pulse of the opening and subsequent sections underpin a bitter-sweet melodic line, which contrasts with darker chordal progressions. Movement III. il viaggio (“journey”) : the opening figures at an andante tempo and the ensuing sections carry forward both the harmonies encountered in the preceding movements and the melodic line of the second movement, interspersed with tumbling and arpeggiating figures to reach the portentous brightness of the closing cadence. Movement IV. amaranto (“the amaranth flower”) : staccato and risoluto mark the ostinato-like figures of repeating quavers throughout the movement, the ebullience of the opening passages broadened by richer and more impassioned harmonic gesture. The flower of the genus Amaranthos derives it name from the Greek words for "unfading flower" and has in literature and fable been referred to as an everlasting flower. Typically the Amaranth flower is a strong red or purple. Wishing you a wonderful month ahead. Anna Ferro - July 2014