SINGAPORE Singaporeall Rights

SINGAPORE SINGAPOREAll Rights. A Geopolitica Reserved, lNational Utopia .Library Vladimi Board,r Martyno Singaporev Why Martynov? Why Singapore?

To change mental maps. In Russian eyes, Singapore is exotic vestrov to Ukraine. However, Martynov is less known to the West and far away. 1930s' Russian cabaret singer Vertinsky sings partly because these new nations have leaned Westward. of 'banana-lemon Singapore, distant and foggy, where the oce- As a group, however, all have suffered the long stagnation, the ans howl and rage'. To Singaporeans observing modern Russia, final upheavals of the Soviet Union and then, the birth pangs it is the great unknown, a 'mystery wrapped in an enigma'. of the new Russia. Hence, time has stood still for Russian com- The Martynov composition will be key to developing a greater posers as the world remembers only Prokofiev and Shostakovich sense of awareness of Russia in Singapore and conversely, Sin- as the last musical giants of Russia. Compounding this is the gapore in Russia. It will bring the Singapore heart closer dearth of information about Russian music and composers, as to the Russian soul and diminish the vast distance between much of what is written is still in the Russian language. Fortu- the largest country and one of the smallest island-city states nately for Martynov, there are still music festivals of his music in the world. in Russia. And an important part of the Martynov Project-the commission-is to re-discover some of that lost musical tradition. Vladimir Martynov's SINGAPORE. A Geopolitical Utopia represents many milestones. First, it may be the first time that a composer More than most Russian composers, Martynov has the tempe- from a great musical civilisation has been commissioned to com- rament to understand Singapore as a node of migrants from pose a symphonic-scale work on another country. Second, the different civilisations-Chinese, Indian, Malay-which are in turn symphony will live on in the musical annals of both Russia and mutating and morphing into a modern global city. He possesses Singapore. It will bind both peoples in a musical web and over a profound sense of spirituality and with his eclectic compositional time, it will also be woven into the broader canvas of serious style, is very much attuned to unearthing the essence of a society classical music. Finally, it is a poignant moment for Singapore, through its underlying musical threads. His works are often des- as we are still a young country imbibing the greatness of a civi- cribed as spiritual and mystical, but his musical development has lisation, and through that, evolving our own future as a creative spanned different genres - rock, folk, serial music, minimalism, cultural nation. and Russian Orthodox religious music.

Martynov, a musical icon in Russia, represents the generation of Soviet composers who splintered to the states of the former USSR. He ranks with those who have left for their national lands- Arvo Part to Estonia, Giya Kanchieli to Georgia, and Valentin Sil- All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore Extract of a letter from Ambassador of Singapore Mr. Michael Tay to Professor Vladimir Martynov August31, 200 5

In undertaking the project to write a composition on Singapore, in me, as I believed it was then that I began this musical sojourn you have transformed a faint idea into reality, an improbable into Russia. dream into certainty. Your visit to Singapore on 28 February to 6 March 2005 was an important first step to understanding In my mind, the composition that you will write on Singapore the Singapore story-where we came from, where we are now, will help us to define and understand our own 'sacred space'. and perhaps, a glimpse of where we are going. When you re- As a young nation, we are still searching for our own emblems turned, you spoke of Singapore as an 'ideal' and global city; that reflect and represent our musical life and heritage. Having that it had changed the way you thought of yourself as a 'tradi- a significant composer from a great musical civilisation to inter- tionalist' working to rediscover and sometimes recreating the pret and illuminate Singapore for Singaporeans will be an event essence and nature of music past. You felt that Singapore was that will bring us closer to our goal. Your composition will also no longer an accidental cluster of ethnic groups but had moved represent a historic milestone, as your music will endure in beyond that to achieve something different and greater than the both our musical histories. As you pointed out to me, it may parts. You also wanted to know about the 'shadows' that must also be the first time that a foreign composer is being asked exist in Singapore, and I told you that perhaps, Singapore's to compose a piece of music on another country. 'shadows' would always be in the future because we could never take our existence for granted. Tatiana sensed the 'energy every- where' and felt that for Singapore, the concept of time and history was not relevant, as we had 'shortened' history and would always operate to confound evolution and time. I am happy that the visit enabled you to crystallise your thoughts and intuitions about Sin- gapore.

My first encounter with your music was the premiere of the New Life opera at the Moscow International House of Music on 3 May 2003, my fifth month in Moscow. I remember sitting in the theatre, entranced and moved by the sounds and sonorities enveloping the hall. It seemed like you had carved out a sacred space for the music to evolve. It must have triggered something elemental All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore Vladimir Martynov

Born in Moscow in 1946, Vladimir Martynov represents a generation of great classical Russian composers who worked on the cutting edge of music during Soviet times. He studied the piano under M. Mezhlumov and composition under N.Sidelnikov at the Moscow Conservatory. In 1973, he began working in the studio for electronic music of the Scriabin Museum, the meeting ground of many of the leading composers of the Russian avant-garde. There, he became part of a rock-group, The Boomerang, for whom he wrote the rock-opera The Seraphic Visions of St. Francis of Assisi (1978). At the same time, he was also exploring minimalism with Arvo Part and Valentin Sylvestrov.

The extraordinary diversity of his interests led him to study folk music (his travels took him all over Russia, the Caucasus and Tajikistan), medieval Russian and Western music, and religious musicology. By the end of the 1970s, he embarked on a quest of early Russian religious chant, taking up a teaching post at the Theological Institute of the Trinity-Saint Sergius. From 1980-83, his output was mainly devoted to church music.

His works range from the experimental-Twelve Victories of King Arthur for seven pianos (1990), Night in Galicia (2001)-to explo- rations of great religious themes in works like Apocalypse (1991), Lamentations of Jeremiah, Magnificat (1993), Stabat Mater (1994), Requiem (1998), Games of Humans and Angels (1999) and Lita- nies to the Virgin (2000). His latest project is with Robert Wilson who is staging Apocalypse.

A country is not just the country that one visits and experiences is that suddenly I saw Singapore as an ideal state, a Utopia at that moment. It is also the country that has already been and for humanity (which I know has never existed and will never, is yet to be, because the past and the future weigh on every fibre ever exist). And the fragrant memories of what I saw fills of its being. This is evident. But more than that, a country is also me with happiness. not merely that country which exists now, or existed before, or is yet to become. Vladimir Martynov August 2005 It is at the same time, the country that does not exist, has never existed and will never exist. Ultimately, the presence of this non- existent country that has never been and will never be can be sensed at every moment of the existence of the country that we experience now. And it shapes our immediate perception and image of the country that exists.

As Lao Tze said, 'mystery and reality emerge from the same source. This source is called darkness. Darkness born from darkness. The beginning of all understanding'. This is true. Every country is merely the gate, beyond which is darkness- the beginning of all understanding. Yet the gate may open slightly once, allowing us to see what is beyond.

The gate to Singapore was opened for me by Mr. Michael Tay, Ambassador of Singapore to Russia. His love of Singapore on the one hand, and of Russian culture on the other, created a singular opportunity for me to gaze, through the gate, slightly ajar. I do not know whether I have seen what Mr Michael Tay wanted to show me. I do not know whether my humble effort to see through it matches his generous gesture. All I know All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore SINGAPORE. Geopolitical Utopia

Singapore... The tao that can be described is not the eternal Tao. Singapore consists of the main island The name that can be spoken and some sixty-three offshore islands. is not the eternal Name. The nameless is the boundary of Heaven and Earth. The main island is about forty-two kilometres from east to west The named is the mother of creation. and twenty-three kilometres from north to south. Freed from desire, you can see the hidden mystery. By having desire, you can only see what is visibly real. Singapore. O’ Singapore Yet mystery and reality emerge from the same source. This source is called darkness. Flag of Singapore-two equal horizontal sections, Darkness born from darkness. red above white. The beginning of all understanding. Upper left section - white crescent moon, five white stars within a circle. Let your community be small, with only a few people; Red - symbol of universal brotherhood Keep tools in abundance, but do not depend upon them; and equality of man. Appreciate your life and be content with your home; White-signifier of eternal purity and virtue. Sail boats and ride horses, but don't go too far; Crescent moon - the rising of a young nation. Keep weapons and armour, but do not employ them; Five stars-the ideals of democracy, peace, Let everyone read and write, progress, justice and equality. Eat well and make beautiful things. Live peacefully and delight in your own society; Singapore. O’ Singapore Dwell within cock crow of your neighbours, But maintain your independence from them.

Singapore. 0’ Singapore

Chapters 1&80 from Tao De Jing Lao Tze (circa 604-521 BC)

Vladimir Martynov is a highly eclectic composer and every new part an enormously enjoyable experience. As for understanding, work that springs from his pen is almost certain to have its sur- the reasons behind Martynov's choice of words and juxtaposition prises. His music is also, for the most part, highly accessible, of musical styles may never become fully apparent. But the work written not to impress a coterie of fellow composers, but rather he has fashioned from them surely gives the people of Singapore- to be listened to by audiences of ordinary music lovers. and of the rest of the world as well-some serious food for thought.

SINGAPORE. A Geopolitical Utopia abounds with both surprise Words of praise are very much in order for the performance and accessibility. The surprise derives chiefly from Martynov's heard on this disc. The orchestra and chorus come from the decision and ability to pay tribute to an Asian country with music medium-sized city of Vladimir, the capital of one of European Rus- that overwhelmingly comes from the Occident in inspiration and sia's less prosperous regions. Yet their playing and singing style. Along the way, the listener hears echoes of the handclap- have about them precision and commitment of a kind one ping and shouted song of an American black or bible-belt church might expect from the leading ensembles of Moscow and service, Russian Orthodox chant, jazz, and the music of 19th cen- St. Petersburg when performing at their very best. tury European composers and of present-day Western minimalists, all of it coherently pieced together with enormous skill. Raymond Stults Music critic, The Moscow Times Martynov's score brings to mind another quite different sort October 2006 of work that also sets translated Chinese poetry to music, Gustav Mahler's Das Lied von der Erde. Like Mahler with his assortment of Chinese poets, Martynov has managed to give full value to the words of Lao Tze without resorting to more than mere hints of Ori- ental music.

The accessibility of the music should be apparent to almost any listener. One might not altogether agree with the view of one Moscow critic who noted, following the work's premiere, that "(Martynov's) music is not for understanding. It is just for listening". There can be little doubt that most will findth e listening All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore All Rights Reserved, National Library Board, Singapore Praise for the World Premiere of SINGAPORE. A Geopolitical Utopia Tchaikovsky Concert Hall October 5,2005

Big Country Bowed to a Small Country... Vladimir Martynov, It is wrong to be where we are now-when a composer has having united in his composition depictions of the actual to write music for TV serials in order to earn a living, while during country and descriptions of Utopia from the Tao De Jing, his free time, he composes real music for free. Serious music expressed his own thoughts about Singapore being an ideal commissioning is rare in Russia, and even now, it has been done state. The composer, obviously, set himself not an artistic by Singapore, but happily still written by a great Russian composer. but an ideological task. With the help of the great Russian Singapore's image may not be 'Utopian' after all-it is a young and European cultural heritage, he showed how a big country country that appears to be very attractive. And we, Russians, could bow to a small one, saying that it is better to 'let your are flattered. community be small, with only a few people'. Pyotr Pospelov, Vedomosti Business Daily, 11 October 2005 Grigory Durnovo, Gazeta Daily, 7 October 2005

Vladimir Martynov's music inevitably creates an uncanny feeling: What seems to be official propaganda in the beginning turns as if you were a child watching a hocus-pocus act for a thousand out to be a dream, sewn together into a harmonious, funny and times and desperately trying to understand the trick behind it. sad composition. The use of Hollywood-like musical fragments, This piece is like a chest with a secret drawer, a false bottom, mixed with high European style as well as oriental texts, injecting a fine puzzle. To appreciate this music, one has to relax. There shades of playfulness with the profound-how else could one is no point trying to figure out how the puzzle works. Martynov imagine a 'Utopian' sound world that could make you both happy is simply a tale-teller, a trickster, a wizard, if you like. and sad? The composer achieved the unexpected - instead of the conventional use of ethnic music, he went beyond to create an Varya Turova, Kommersant Daily, 7 October 2005 emotionally-charged encounter with something more beautiful.

Yulia Bederova, Vremya Novostey, 7 October 2005

SINGAPORE. A Geopolitical Utopia. Vladimir Martynov

All Rights Reserved, National Library Board, Singapore SINGAPORE. A Geopolitical Utopia. Vladimir Martynov All Rights Reserved, National Library Board, Singapore SINGAPORE. A Geopolitical Utopia Ambassador Michael Tay would like to thank: Vladimir Martynov White & Case, in particular Hugh Verrier, for sponsoring the CD production Vladimir Symphony Orders Major Concert Sponsor conducted by Artem Markin AMTEL-Vredestein Chairman Sudhir Gupta

Vladimir Chamber Choir Concert Sponsors Sergey Myaz (Vladivostok) conducted by Eduard Markin Troika Dialog Agrosin Opus Master Beverage Posth Ensemble MacCoffee conducted by Tatiana Grindenko Alfa Bank tchiban Boshi Cavei World Premiere Singapore Airlines Recorded at Tchaikovsky Concert Hall Raffles International Moscow October 5, 2005 Lufthansa The Sentosa Resort & Spa Sentosa Leisure Group Recorded and mixed: Yuri Bogdanov Uniglobal Holidays Mastered: Yuri Bogdanov (Magic Mastering Studio)

Singapore Tourism Board Vladimi r Utopia . Martyno v Design: Chaika :marka:face:fashion: Editorial: mmedit Produced by Michael Tay, Ambassador of Singapore A Singapore Embassy team that ‘can do anything' to the Russian Federation (from 2003) Yulia Kuznetsova, Ekaterina Terenova, Ekaterina Kostina, Eugenia Dolmatova, Gursharanjit Singh, Tony Leow, ©Vladimir Martynov & Michael Tay Harbhajan Singh, Tham Borg Tsten, Meena Mylvaganam [email protected] & Kim and Yan www. singaporeporusski.ru www.mfa.gov.sg/moscow/ All Rights Reserved,WHIT NationalE & CAS LibraryE Board, Singapore Geopolitica l A SINGAPORE .