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  • MEM

    ORI

    AL

    CENTENARY

    Patricia Rozario

    Julius Drake

    Piers Lane

    MEM

    ORI

    ALTENAPatricia Rozario, soprano

    Julius Drake, piano

    Piers Lane, piano

  • JOHN TAVENER 1-7 Epistle of Love (2000) 1st recording

    PYOTR ILYICH TCHAIKOVSKY 8 Solovey [The Nightingale], Op 60 No 4 (1886)

    JOHANNES BRAHMS9 Mdchenlied [Maiden's Song], Op 85 No 3 (1878) 10 Vorschneller Schwur [Hasty Oath], Op 95 No 5 (1883-84)11 Das Mdchen [The Maiden], Op 95 No 1 (1883)

    VASILIJE MOKRANJAC12-18 Seven tudes (1951-52) 1st integral recording

    Patricia Rozario, sopranoJulius Drake, pianoPiers Lane, piano

    Producer: Ate OrgaBalance Engineer, Editor: Ken Blair

    STEREO DDDDURATION 33'45

    The Laza Kosti Fund 2010 The Laza Kosti Fund 2010www.the-laza-kostic-fund.com

    LAZA

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    ENTEN

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    MEM

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    ozario Drake Lane LA

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  • LAZA KOSTI(1841-1910)

    CENTENARY MEMORIALPatricia Rozario, soprano

    Julius Drake, pianoPiers Lane, piano

  • SERBIAN FOLK POETRYSERBIAN FOLK POETRYIn the course of the last two-and-a-half centuries, Serbian folk-poems have represented a cultural and national calling-card for Serbian people throughout the world. The enthusiasm with which Europe received them towards the end of the 18th century and during the first half of the 19th affirmed the voice of a people who'd 'dropped out of history'. The interest in Serbian folk-poetry was most widespread in the second decade of the 19th century the so-called 'Serbian decade' of European culture. However, the 20th century has surpassed the 19th in terms of scientific research: at Harvard University alone around a dozen PhD theses on Serbian folk-poetry were submitted between 1960 and 1974. There have also been a number of modern translated anthologies, including a Chinese version in 1983.

    The first person to suggest that Serbian folk-poems should be set to music was the German philologist and mythologist Jakob Grimm (1785-1863). 'Among the Slavs,' he maintained, 'the Serbs, with their soft and particularly musical language, are gifted first and foremost for poetry, song, and saga; so it would seem that heaven in its mercy has wished to add to their prose writing the divine blessing of national poetry.' In Weimar in the 1820s, both to his young disciple Johann Peter Eckermann and in a review-article, Serbische Lieder, Goethe who, like Grimm, learnt Serbian to read the originals was of the same opinion: 'These poems contain innumerable invitations addressed to our many composers [] they are very resourceful in matters of rhythm and rhyme, bringing us light, truly lyrical poems suitable for singing'. Pushkin, Mickiewicz and Walter Scott numbered among other celebrated admirers. The fact that over twenty German-speaking, Bohemian, Moravian, Russian, Hungarian, Polish and Swiss composers have based their music on Serbian folk-poetry

    is the best indication of the extent of acceptance of this legacy in the wider sphere. Those who set texts from the many collections of the famous linguist, reformer and friend of Grimm, Vuk Stefanovi Karadi (1787-1864) - the first (Mala prostonarodnja slaverno-serbska pjesnarica [A Simple Little Slaveno-Serbian Songbook]) dating from 1814, the period of the Congress of Vienna* - included Antonn Dvok (Songs on Serbian Folk Poems, Op 6, after the well-known German translations of Siegfried Kapper [Isaac Salomon Kapper]); Josef Suk; Leo Janek (You can not run away from destiny, JW 4/9); Anton Rubinstein (Lieder nach serbischen Melodien, Op 105); Carl Loewe (Serbischer Liederkreis, Op 15); Joseph Wolfram (Serbische Volkslieder, poeticised into German, c 1826); Tchaikovsky; and even Prince Konstantin of Hohenzollern-Hechingen, who, sometime in the (?) late 1850s/early '60s, provided the melody of a Serbian song, Ein Mdchen sitzt am Meerestrand, to which his friend and benefactee, Liszt, contributed the piano accompaniment (S 683/R 644a). Towards the end of 19th century Brahms, became interested in Serbian folk-poems. Through his contact with Grimm's circle of collectors, he developed his view of the folk-poem as a supra -individual category and a thing of lasting worth. He based eight of his compositions on material of Serbian provenance. He also inspired younger colleagues to explore Serbian folk-poetry, including Isidor Henschel (Sir George Henschel), Wilhelm Czerwiski, and Heinrich von Herzogenberg.

    adapted from Prof Dr Milo Kovaevi,The Welcome Given to Serbian Folk-Poetry in World Literature and Music,

    The Laza Kosti Fund, Lazarica Press, Birmingham 2001

    * see Milne Holton & Vasa D Mihailovich, Songs of the Serbian People from the Collections of Vuk Karadi (University of Pittsburgh Press, 1997)

  • JOHN TAVENERJOHN TAVENER (born 1944) http://www.chesternovello.com'If you had to pick the soundtrack for heaven, the music of Sir John Tavener would probably feature prominently'~ Aidan Goldstraw, Express and Star ~

    Epistle of Love (2000)Text: Bishop Marko (1359-post 1412), Gregorije amblak (c 1360-1419),

    Jelena Bali Stracimirovi (1368-1443), Andrei (fl 16th century), monk anon (Kruedol, pre 1550), monk anon (Kupinova, by 1499)selected from Predrag R Dragi Kijuk (editor), translated Sheila Sofrenovi, Mediaeval and Renaissance Serbian Poetry 1200-1700 (Beograd 1987)

    'For Roger and Marina and to the Martyrs of Serbia' Commissioned by The Laza Kosti Fund on occasion of the Fund's 10th AnniversaryWorld Premiere: Patricia Rozario & Julius Drake, 22 March 2001

    St John's, Smith Square, London, under the auspices of The Laza Kosti Fund 1st recording

    In Epistle of Love, I have made settings of mystical Serbian poetry from the Middle Ages. Written mostly by monks, the poems were conceived in the mystical state of Divine Eros, or longing for God. To love, in the primordial sense, is the secret of Salvation. The singer should meditate upon songs, and then sing them with great purity. They must convey a transcendent longing and striving towards the serenity and secrecy of the All-Blessed Mother of God, and, of course, her Son.

    John Tavener

    Predrag R Dragi Kijuk likens the panorama of medieval 'poems about the soul' comprising his anthology to a 'Christian biography of the Serbian people'.

  • PYOTR ILYICH TCHAIKOVSKY

    PYOTR ILYICH TCHAIKOVSKY (1840-93)

    'I have always written, and always shall write with feeling and sincerity, never troubling myself as to what the public would think of my work. At the moment of composing, when I am aglow with emotion, it flashes across my mind thatall who will hear my music will experience some reflection of what I am feeling myself '

    Solovey [The Nightingale], Op 60 No 4 (August-September 1886)Text: Alexander Pushkin (Songs of the Western Slavs, 1834),

    source Karadi, Tri najvee tuge [Three Greatest Sorrows]Dedicated to Empress Maria Fedorovna

    My nightingale, dear nightingale! Dear little bird of the woodland!

    You, little bird, have three unchanging songs.

    I, a young man, have three great worries.

    The first of them is: will this young man marry soon?

    The second: my brown horse is old and weary;

    the third: a beautiful girlwas taken from me by wicked people.

    Dig a grave in the field for me, in the wide field.

    Put flowers by my head and at my feet

    let clear spring water flow.Beautiful girls will pass by me,

    making chains of flowers;old folk will pass by me

    as they come to draw water.

  • JOHANNES BRAHMS (1833-97)

    'Here is one who suffered but was blessed in suffering [] to think that a master of his stamp had to go through life without the love of a woman, that the solace of laughter was denied him, and that he died weeping'~ Richard Specht ~

    Mdchenlied [Maiden's Song], Op 85 No 3 (May 1878) Text: Kapper, Rslein, was erblhst du mir so frhe (Gesnge der Serben, 1852),

    source Karadi

    Ah, and you, my cool river!Ah, and you, my red little rose!

    How can you bloom to me so early? I have no one to pick you for!

    Shall I pick you for my mother? No mother have I, an orphan! Shall I pick you for my sister?

    Ah, no, long ago was she married off.

    Vorschneller Schwur [Hasty Oath], Op 95 No 5 (April 1883-Summer 1884)Text: Kapper, Wie das Mdchen vorschnell schwrt, source anon

    A young maiden pledged:Never to wear flowers,Never to drink wine,Never to kiss boys.

    Yesterday the maiden pledged;Today already she repents:

    'If I wore flowers,I'd be so much prettier!

    If I drank red wine,I'd be so much gayer!

    If I kissed my sweetheart,I'd feel so much happier!'

    Translation Leonard Lehrman

    Shall I pick you for my brother? But he has gone to the field of battle. Shall I pick you for my sweetheart?

    Far away, alas, does my sweetheart languish! On the other side of those three green mountains,

    On the other side of those three cool rivers!

    Translation Emily Ezust

  • VASILIJE MOKRANJACDas Mdchen [The Maiden], Op 95 No 1 (April 1883) Text: Kapper, Wt ich, Antlitz, wer dich einst wird kssen, source anonThe maiden stood by the mountain slope;

    the mountain reflected her face, and the maiden spoke to her reflection:

    'Truly, my face, O you my worry, if, my white face, I knew

    that someday an old man would kiss you, then I would go to the green mountain,

    pick all the wormwood in the mountains, press the bitter water out of the wormwood, and wash you, O my face, with that water,

    so that you would be bitter when the old man kissed you! But if, my white face, I knew

    that someday a young man would kiss you, then I would go to the green garden,