ALSO ON CEDILLE RECORDS

ACROBATS: MUSIC OF DAVID LEISNER CAVATINA DUO AND FRIENDS

“This is tonal music, rich in invention and melody, emotionally direct, and beautiful. I’m sure it’s also a joy to play, with parts that creatively exploit each instrument’s potential. . . . Leisner’s lyricism, gift for melody, and compositional finesse make his music very appealing. In addition, it’s doubtful that the Cavatina’s sophisticated and artistic playing could be surpassed.” – Fanfare Producer: Jim Ginsburg THE BALKAN PROJECT Engineer: Bill Maylone 1 Vranjanski Cocek / Raven Dance (Serbian song)* (3:06) Miroslav Tadic (b. 1958) Art Direction: Adam Fleishman / www.adamfleishman.com Composition by Carlos Rafael Rivera (b. 1970) Four Macedonian Pieces bl Jovka Kumanovka (song) (3:54) Cover Photo: Yolanda Camarillas, Burriana, Spain 2 Kad ja podjoh na Bembašu (Bosnian song)* (3:30) bm Zajdi, Zajdi (song) (4:56)

Recorded: December 17 and 18, 2008, and June 29, 2009, in the Fay and Daniel Levin Composition by Vojislav Ivanović (b. 1959) bn Gajdarsko Oro (dance) (1:59) Performance Studio at WFMT, Chicago 3 Eleno, Kerko Eleno (Macedonian song)* (4:09) bo Pajdushko (dance) (3:52)

Composition by Matthew Dunne (b. 1959) bp Makedonski pesen 4 Kalajdzisko Oro (Macedonian dance)* (4:34) (Macedonian song) (2:59) Composition by Atanas Ourkouzounov Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not- Composition by Clarice Assad (b. 1978) (b.1970) (from his Four Legends) for-profit foundation devoted to promoting the finest musicians and ensembles in the 5 Psevdah No. 2 / Clear Water (Bosnian song) (6:39) Chicago area. The Chicago Classical Recording Foundation’s activities are supported Composition by Denis Sparavalo (b. 1972) bq Rachenitsa (Bulgarian dance)* (3:49) in part by contributions and grants from individuals, foundations, corporations, and Composition by Clarice Assad 6 government agencies including the Alphawood Foundation, Irving Harris Foundation, Sivi grivi (Bulgarian dance)* (4:16)

Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, Sage Foundation, Composition by Alan Thomas (b. 1968) Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, 7 Jovano Jovanke (Macedonian song)* (5:12) a state agency. Composition by Michael Karmon (b. 1969) 8 Ajde slusaj kalesh bre Andjo* CAVATINA DUO CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION (Macedonian song) (3:50) Eugenia Moliner, flute MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. Composition by Clarice Assad Denis Azabagic, guitar 9 Kopanitsa da Kalantchatska (Bulgarian dance)* (2:43) Composition by Boris Gaquere (b. 1977) Total Time: (66:30) bu The Shepherd’s Dream (Croatian song) (5:58) *Commissioned by and dedicated CEDILLE RECORDS trademark of Composition by Alan Thomas to the Cavatina Duo The Chicago Classical Recording Foundation 5255 N. Lakewood Ave, Chicago IL 60640 USA 773.989.2515 tel - 773.989.2517 fax WWW.CEDILLERECORDS.ORG CDR 90000 117 P & C 2010 Cedille Records All Rights Reserved. Made in U.S.A

2 3 THE BALKAN PROJECT an exciting crossroad of civilizations out mighty Gypsies, the Troubadours of the and the “Hitzaz,” the fifth mode of the Notes by Vojislav Ivanović of which a definable Balkan spirit and Balkans. Originating from India, theirs harmonic minor. But the most exciting identity emerged. is a nation without a state or written characteristic of Balkan music, its true There is perhaps no place on earth history, but prone to being musicians trademark, is the rhythm, in particular where more very different cultures, Nowhere is that spirit expressed better and entertainers who act as the glue odd meters usually employed in fast languages, religions, and civilizations than in music: Fast songs with rhythms for this seemingly incongruent clash tempos. Most commonly heard are 7/8 meet and closely interact than the that make your body move with almost of civilizations. Ever traveling, they and 9/8, but 5/8 and 11/8 also make Balkans. uncontrolled passion, melancholy adopted, modified, and dispersed frequent appearances, and even more songs that inspire deep contemplation, Nowadays referred to as “Southeastern” music from all over the area, creating unusual meters such as 15/8, 21/8, and and love songs — so often wrapped in Europe, “the Balkans” comprise not a new style. 25/8 are sometimes featured. hidden messages — that touch the very only the Balkan Peninsula, but also the essence of the soul. In recent times, the influence of Western Finally, the New Age of globalization larger area incorporating present day music has become much stronger. So and the success of some films and Greece, Macedonia (Fyrom), Albania, The influences that have shaped Balkan with few exceptions (in countries where musicians brought worldwide attention Bulgaria, Serbia, Montenegro, Bosnia music are myriad. First, ancient Greek small bands still cultivate performance to the music of the Balkans. People and Herzegovina, and Croatia, as well musical theory and practice, which on old instruments using old scales) around the globe began listening to, as some parts of Turkey and Romania. laid the foundation for the world’s the predominant harmonic language appreciating, and even playing Balkan It takes its name from the Balkan dominant musical language through its is Western. But many facets of today’s music — so much so that it is now a well Mountains that run through Bulgaria modes-scales: The Ionian and Aeolian Balkan music, including some harmonic recognized part of the world’s musical and Serbia. “Balkan” is Turkish for “a modes became the West’s Major and traits, are still peculiar to this region: heritage. chain of wooded mountains.” It has Minor scales. Different Greek modes — unresolved tension in the form of always been, and remains today, the Dorian, Phrygian, Lydian and others — This CD is offers a particularly fine melodies ending on the second degree dividing line between East and West. influenced Byzantine sacred and secular example of that recognition. It is a of the scale harmonized with primary A poet once called it “the house made music, forming very differently “tuned” collaboration of two superb musicians, and secondary dominants; singing in the middle of the road,” and what a scales which, in turn, influenced one Balkan (Denis Azabagic is Bosnian), in parallel seconds; and the “deaf” busy road that was! Arabic and (later) Ottoman Turkish one not (Eugenia Moliner is of dance — dancing with rhythm only, no music — both “classical” and “folk.” Spanish origin), with a wide variety of In its tormented history, it has been melody at all. Melodically, there is the Pagan Slavs brought their own coarse, composers, most of whom are not from torn by endless wars, and political and melancholic “Balkan Minor” — Dorian northern rhythms and often pentatonic the Balkans. religious conflicts, but it has also been scale with the fourth step augmented — melodies. And then there are the

4 5 The music on this CD, most of which fast 9/8. Executed in an open circle, this passion. This song tells about a famous 3 Eleno, Kerko Eleno was commissioned by the Cavatina fast step dance from the Serbian region place in Sarajevo, Bentbaša, often (Macedonian song) Duo, consists of arrangements of of Vranje explodes into a pulsating whirl pronounced “Bembaša” in songs and Composition by Matthew Dunne (b. 1959) Balkan songs and dances. (Not all of sound, motion, and vibrant color. The other colloquial settings. The name Commissioned by and dedicated to the Cavatina Duo Balkan countries are included but the arrangement, which the composer titles comes from a Turkish word meaning “Eleno, Kerko Eleno” (Helen, my material chosen offers a fine specimen “Raven Dance,” follows the structure dam. From 1462 to 1875 there was a daughter!) is a classic Macedonian of this region’s beautiful traditional of the original Serbian dance and dam in Miljacka River, in the vicinity love song in a medium fast 7/8 meter, music.) And these are no ordinary emphasizes the virtuosic possibilities of of the Šeher- ehaja’s bridge, which Ć with western influenced melody and arrangements! Each piece goes far both instruments. was built by Isa-beg Ishakovi , the ć harmony. Elena’s mother asks why beyond mere quotation of a melody founder of Sarajevo. The original 2 Kad ja podjoh na Bembašu she is so thoughtful and what she is or a form to reveal the true essence of melody for this piece was most likely (Bosnian song) writing. Elena replies that it is a letter to the source material. (In most cases, the a spiritual Sephardic song that is still her beloved who is in Edrene (Turkey) title “Impression on [name of traditional Composition by Vojislav Ivanović (b. 1959) sometimes performed (although some and she is assembling a list of the song or dance]” would be appropriate.) Commissioned by and dedicated to the Cavatina Duo believe the song really comes from the gifts she would like him to bring her. All the works on this disc also beautifully Turkish military march “Vatan Mar i” This old traditional song, one of the ş Dunne’s skilful arrangement plays with exploit the timbres and technical composed by Rif’at Bey in 1877). This most famous in Bosnia, is actually a the melody and harmony of the song, possibilities of the guitar and flute to popular sevdalinka was performed in Sephardic melody. When the Jews were avoiding direct quotation. Only late provide a vehicle for the extraordinary the German film Die Letze Brücke (The persecuted and chased out of Spain and in the piece is the melody heard in its artistry of Denis and Eugenia. Letze Bridge), which strongly influenced Portugal by the Inquisition, many fled to entirety, richly reharmonized. Matthew the spread of its popularity. 1 Vranjanski Cocek / Raven Dance the Ottoman Empire, specifically, in this Dunne writes: (Serbian song) case, to the Balkans. They brought their The arrangement explores and exploits “My arrangement of the beautiful Composition by Carlos Rafael Rivera (b. 1970) cultural heritage with them, and this is this passionate melody, which is, Macedonian folk song ‘Eleno, Kerko Commissioned by and dedicated to the Cavatina Duo one example of its beautiful mixture uncharacteristically, in a 3/4 waltz- Eleno’ for the spectacular Cavatina with the local culture. like meter. The melody and harmony A typical party or wedding dance of Duo begins with a reflective guitar are transformed but occasionally south Serbia, the “Cocek” is a feast of The song “Kad ja pođoh na Bembašu” introduction that is based on fragments emerge suddenly in their original form, dancing and life-joy celebration. It can is one of Bosnia’s most popular from the song’s melody. The rhythm sometimes in distant tonalities. be in a fast 2/4 meter with a rhumba- sevdalinkas. “Sevdalinka” is a song is free, although set in the song’s 7/8 like rhythm or, as in this case, in a very of “Sevdah” — love, longing, and meter, and the harmony is a little jazz-

6 7 influenced. Eventually the guitar settles and compositions. The arrangement of the region, the piece employs an day Republic of Macedonia and into a sort of modified milonga rhythm, by Clarice Assad impresses with its asymmetrical meter (7/8) and has Greece. The 7/8 meter of this song may and the flute enters with a variation on tasteful, superimposed harmonies and a largely stepwise diatonic melody be the most popular metrical pattern in the song. The two instruments interact sprightly, almost flying dance feeling. featuring the exotic-sounding Balkan music. In this arrangement, the within the 7/8 milonga setting including augmented 2nd interval. The piece is original, evocative melody becomes a 5 Psevdah No.2 / Clear Water a bit of flamenco influence (a nod to dedicated, with great admiration, to starting point for a deeper exploration (Bosnian song) Eugenia’s Spanish heritage?), joining the Cavatina Duo.” (Alan Thomas) of melodic and harmonic context in together at the end to present the Denis Sparavalo (b. 1972) which newly composed material is As with most of the pieces on the CD, song’s complete melody for the first interspersed with quotations of the This piece is inspired not only by a this is more an impression of a folk song time.” original melody. particular song (Clear Water) but also than a simple arrangement. Thomas’s 4 Kalajdzisko Oro by a common feeling of melancholy piece employs rich harmonies based on 8 Ajde slusaj kalesh bre Andjo (Macedonian dance) expressed in all of Bosnian traditional both standard modes and the Balkan (Listen to me, Andjo) Composition by Clarice Assad (b. 1978) music called Sevdah (songs about minor, and ends on a dominant device (Macedonian folk song) Commissioned by and dedicated to the Cavatina Duo love and passion). The title presents typical of the folk music of neighboring Composition by Clarice Assad a fusion of two words: Psevdo (from Serbia. Commissioned by and dedicated to the Cavatina Duo Kalajdzisko Oro literally means psevdos, meaning false) and Sevdah. 7 “The Tin Smith’s dance.” An “Oro” The piece also evokes the composer’s Jovano Jovanke This song, dating from the Ottoman (from Greek: “Choros” — dance), deep sadness during the Bosnian war (Macedonian folk song) Empire period, speaks of a Christian or elsewhere-named “Kolo” (round- when he lived and worked in Sarajevo. Composition by Michael Karmon (b. 1969) girl who chooses death rather than dance), is a village dance with Despite the title, it is not a false Sevdah Commissioned by and dedicated to the Cavatina Duo marry a Turkish aristocrat and convert to complex rhythms and harmonies. This Islam. Her name was Kalesh Andja. The for in a beautiful, plaintive recitative it A popular traditional folk song of the particular dance comes from the area text of the song is structured as a dialog challenges the melancholic melodies Macedonia region, this is frequently of Macedonia (formerly in Yugoslavia), between Andja and the aristocrat. This with modern musical expressive means. performed in the Republics of but these ancient dances originated beautiful modal-pentatonic melody is Macedonia, Bulgaria, and Serbia, in Greece and date back more than 6 Sivi grivi (Bulgarian dance) in a free rhythm echoing the inflexions and in Greece. It is about two young two millennia. Kalajdzisko Oro is one of speech. The tune is reminiscent Composition by Alan Thomas (b. 1968) lovers separated by their disapproving of the most popular dances in a brisk of “Amazing Grace,” demonstrating Commissioned by and dedicated to the Cavatina Duo parents. The song mentions the Vardar 11/8 (4+3+4) meter and has been an how widely dispersed the pentatonic river which runs through the present- inspiration for numerous arrangements “Sivi grivi is based on a dance from scale is among nations worldwide. The the Pirin region of Bulgaria. Typical

8 9 arrangement follows the inner drama them are labeled called dances. This came stealthily out of the wood/With and other ethnic Balkan musical idioms. of the protagonists and brings out the arrangement is characteristically Balkan her cloud-pale eyelids falling on dream- Local dances are called “oro.” melody in its full glory after a slow in its use of 11/8 meter, its melodic dimmed eyes.’” Macedonian folk songs are often introduction. motion in parallel sixths, and its skillful Thomas’s masterful handling of this historical in nature, with lyrics detailing exploitation of the guitar’s percussive 9 Kopanitsa da Kalantchatska little tune beautifully reveals the great heroes and warriors. Love possibilities. (Bulgarian dance) timbres of both flute and guitar. It is songs and shepherd songs, such Composition by Boris Gaquere (b. 1977) bu The Shepherd’s Dream (Croatian song) based on a typical pentatonic melody as “Zajdi, Zajdi,” are also common. Commissioned by and dedicated to the Cavatina Duo of Prekomurje (the region of Croatia “Jovka Kumanovka” (Jovka-girl from Composition by Alan Thomas beyond the river Mura). Like most Kumanovo, Macedonian city on the Kopanitsa (called Gankino in some Alan Thomas writes: Croatian folk songs, it is closer to the border with Serbia) is a song with a regions) is the name for a family of musical language of middle Europe beautiful, haunting modal melody lively folk dances from western Bulgaria “While perusing a folksong collection, than that of other Balkan music. in a slow 7/8 meter. It has been an written in 11/8 meter. Some dancers I came across a little tune labeled inspiration for generations and has count the steps in terms of “quick” and ‘Croatian Love Song.’ Though only Four Macedonian Pieces been used almost as a “standard” by “slow” beats, the pattern being quick- eight bars long and extremely simple in bl Jovka Kumanovka (song) jazz musicians in the Balkans. Tadic’s quick-slow-quick-quick (counted as 2-2- its rhythmic and melodic construction, arrangement goes beyond the tonal 3-2-2). The name comes from the verb I became somewhat obsessed by the bm Zajdi, Zajdi (song) and structural qualities of the song in a kopam, meaning “to dig” or “to hoe,” haunting beauty of this melody. I am bn Gajdarsko Oro (dance) simple yet imaginative way. Especially so it is sometimes translated as “little often troubled by these ‘earworms’ (as interesting is the imitation by both digging dance.” the Germans call them), which in many bo Pajdushko (dance) cases I can only expel by writing a piece Arranged for alto flute and guitar instruments of locally-characteristic Kopanitsas and gankinos are line dances using the tune. In any case, as I sang by Miroslav Tadic (b. 1958) vocal ornamen-tation, (not easy to which the dancers perform in a curved, the melody over and over in my mind, obtain on the guitar), whein the voice is inward-facing line, either holding hands Macedonia has a rich cultural heritage suddenly raised in a falsetto resembling an image began to form of a shepherd in art, architecture, poetry, and music. with arms down or (in kopanitsas) on a hillside in the still evening air, a sigh or even crying, not unlike the holding the belts of the neighboring Tadic captures the essence of its folklore manner of some American country playing variations on the melody as he in these pieces. This music weaves dancers. Dancers repeat one pattern drifted off to sleep. The score is headed singers. until the leader on the right end of the together a mixture of multiple styles, with an excerpt from a poem by W.B. “Zajdi, Zajdi”: This almost legendary line calls another pattern, so many of from Turkish, Albanian, Roma (Gypsy), Yeats: ‘And I dreamed my lost love song of the Balkans, particularly in the

10 11 countries of the former Yugoslavia, is interspersed with a section in the individuals (if danced as a solo/couple Publishers is a slow free recitative, with richly Hitzaz scale before it returns to aeolian dance) may hold a handkerchief in Vranjanski Cocek / Raven Dance ornamented modal melodies and mode. The arrangement follows, simply one hand while dancing. It’s from the ©2007 Carlos Rivera Music characteristic major-minor ambiguity. It and efficently, the almost intoxicating Thracian area of Bulgaria originally, Kad ja podjoh na Bembašu is the lament of a shepherd who orders repetitive rhytmic flow so typical of but has become a sort of national folk ©2008 Vojislav Ivanovi the sun to go down, and calls for the these dances in which participants dance. Bulgarian dances are particularly ć Mountain-sister to drown in darkness. can continue to the point of complete rich in the use of odd meters. This Eleno, Kerko Eleno ©2009 Then he speaks to the mountain, exaustion. Rachenitsa has an opening statement Matthew Dunne bemoaning that while its leaves, which in 9/8+7/8+11/8 that is beautifully bp Makedonski pesen (Macedonian song) Kalajdzisko Oro ©2006 Clarice Assad go yellow in the autumn, turn green exploited and varied over the course (from his Four Legends) Psevdah No. 2 / Clear Water again every spring, his own youth, alas, of the piece. Melody and harmony — ©2000 Denis Sparavalo can never return. The arrangement Composition by Atanas Ourkouzounov (b. 1970) basically modal, including the “Hitzaz” Sivi grivi ©2007 Alan Thomas beautifully conveys the atmosphere This beautiful piece is based on a mode — are merged and enriched of the song, building on the melody guitar ostinato in a slow 6/4 (12/8) with Western elements in a delightfully Jovano Jovanke © 2006 Michael Karmon and harmony with small but subtle effervescent manner. meter, organized in an ever repeating Ajde slusaj kalesh bre Andjo changes that give the piece a fresh new syncopated pattern of 4/4 + 2/4. Guitarrist/composer Vojislav Ivanović is ©2006 Clarice Assad dimension. The harmonies are Balkan but subtly a graduate of the Athens Conservatory Kopanitsa da Kalantchatska Gajdarsko Oro: This fast, frantic dance in enriched with jazzy extensions. Above and received his masters degree ©2008 Boris Gaquere 12/8 meter (which can be counted as 4/4 this, the flute sings an elegiac melody from the Music Academy in Sarajevo. of rare beauty as the piece perfectly The Shepherd’s Dream with triplets) is found mainly in Bulgaria He has written for solo instruments, ©2007 Alan Thomas and Macedonia. It has a somewhat exploits the expressive potential of chamber ensembles, and orchestras; richer harmonic development still along both instruments. concertos for guitar and piano; and film Four Macedonian Pieces the lines of modal-Hitzaz turnarounds. and theatre music. Some of his guitar ©2009 Doberman-Yppan, bq Rachenitsa (Bulgarian Folk Dance) www.dobermaneditions.com The arrangement is a model of superb compositions have become part of the Composition by Clarice Assad instrumental writing — pure joy for standard repertoire for the instrument. Makedonski pesen ©2007 Doberman- Commissioned by and dedicated to the Cavatina Duo both performer and listener. Vojislav Ivanović is also Denis Azabagic’s Yppan, www.dobermaneditions.com A Rachenitsa is a dance in which the former teacher. Rachenitsa ©2006 Clarice Assad Pajdushka is a sprightly dance in a leader (if danced in a line) or the lively 5/8 meter. Its modal melody

12 13 CAVATINA DUO Eugenia Moliner has been acclaimed The winner of eleven international as a “brilliant young musician” and competitions, Denis Azabagic has The Cavatina Duo has captivated “an excellent, exciting and imaginative been described as a “virtuoso with audiences with its electrifying flute player, totally in control of the flawless technique” by Soundboard performances in over 15 countries sometimes ferocious technical demands magazine. He has appeared as soloist across North America, Europe, and of the scores” by Pan, the British Flute with numerous orchestras including Asia, in prestigious venues and festivals Society magazine. She has performed the Chicago and Madrid Symphonies. from the Ravinia Festival in Chicago, with the principal and co-principal His discography includes nine CDs, DaCamara Society in Los Angeles, and musicians of the Chicago Symphony two DVDs, and a manual titled Aix-en-Provence Festival in France to and Rotterdam Philharmonic, and has “On Competitions — Dealing with the National Center for the Performing been featured on radio and television Performance Stress.” Arts in Beijing. programs in Spain, the Netherlands, Eugenia Moliner and Denis Azabagic Taiwan, and the USA. Her discography are faculty members at the Chicago The duo’s repertoire includes music includes six CDs. College of Performing Arts at Roosevelt from the baroque, classical, romantic, University. and contemporary periods. A high Photo by Yolanda Camarillas point of their concerts is pieces inspired by the folk music of their native lands. “Style, sympathy, and technical aplomb…” We would like to dedicate this CD to our dear friends Sergio Assad and his wife Angela Olinto. —Fanfare Since the day we met, Sergio has been very encouraging about our duo and “Eugenia Moliner is an excellent, exciting and imaginative flute player, totally in the music we play. A few years ago, he suggested we explore the music from control of the sometimes ferocious technical demands of the scores, and Denis our backgrounds, the result being this CD of music from the Balkans — songs Azabagic plays with both great virtuosity and sensitivity.” and dances Denis grew up with. Sergio and Angela have helped us in many —British Flute Society Magazine ways and we feel very lucky to have them in our lives. Thanks for everything! “The playing is spectacular!” —Denis & Eugenia —American Record Guide

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