AMERICAN CLASSICS ALLA BORZOVA Songs For Lada To The New World

Valentina Fleer, Soprano Valentina Kozak, Folk contralto Michigan State University Children’s Choir Detroit Symphony Orchestra Leonard Slatkin Alla Borzova (b. 1961) “Drowsiness,” who once walked together, discussing The children sing a hymn to the sun as it appears Songs For Lada • To The New World where they would spend the night, and deciding to spend from behind the clouds. Mother and children, now it where “the house is warm and the child is small.” The speaking, call the birds. As the cantata draws to an end, Songs For Lada (1986-1991) is a cantata for children’s theme and variations based on a round dance/game, choir is divided into two parts: one carries an echo-like the woodwinds imitate birds singing while the children choir, two soloists (girl soprano and folk contralto), folk where “Poppy,” a child in a red hat, stands in the center of development of Girl’s motives, and the other answers mimic playing various toy whistles. Finally, the “real” birds instruments (dudkas/folk flutes, cimbalom and bagpipe) the moving circle. The soprano soloist repeatedly asks Mother’s question. The orchestra, with its transparent arrive (with actual recorded birdsong), and their voices and symphony orchestra. It is a musical journey into the whether Poppy has ripened yet. The choir replies instrumentation, helps to create a mysterious atmosphere gradually engulf the sound space. bright and boundless world of childhood, where whimsical imitatively that the poppy “has been sown,” “has of a “living” stillness. Mother again asks if she should To The New World (2001-2002) is a programmatic fairy-tale fantasy is often more tangible than reality. The sprouted,” and “is blossoming.” At the final response that continue, and the children ask her to wait. work that seeks to evoke in music the great influx of work’s inspiration was the birth of my daughter Lada, to the poppy “has ripened,” the children shake Poppy, who The movement’s central section begins with Girl’s immigrants to America from all over the world, that began whom the cantata is dedicated. It is based on Belarusian repels the attacks merrily. wordless solo. Mother then complains about Cat, whose in the mid-nineteenth century. The scenario is an children’s folklore: songs, rhymes, games, dances, and The third movement, Once A Father Had Three Sons, loud purring keeps Lada awake. Mother, with the choir’s imaginary symbolic ship bringing immigrants of various lullabies; genres common to most world cultures. I opens with a story about three brothers, all named Vasil. help, casts a spell over Cat to get it to leave. The guiro national and cultural origins to America’s shores. created the scenario and some of the texts. The folk The youngest Vasil is a shepherd; the middle, a (percussion instrument) imitates the scratching of Cat’s Commissioned by the Renée B. Fisher Family and instruments bring a special color to the piece – but, if shoemaker; and the oldest, a bagpipe player. The choir claws as it leaves angrily. Mother’s and Girl’s solos return, Brooklyn College Foundations, the work was premiered at necessary, substitutes may be used in performance dedicates several musical lines to their bagpiper. The intertwining sweetly and immersing the listeners in the Brooklyn College under the composer’s direction. Prior to (recorders for dudkas, synthesizer for bagpipe and following trio – fiddle, tambourine and bagpipe – imitates ethereal atmosphere of this magical lullaby scene. the performance heard here, the work was presented by cimbalom). I envisioned it as a theatrical piece, making it the playing of a country folk ensemble. The children’s The happy climax of the cantata comes with its fifth the National Symphony Orchestra of Belarus under suitable for performances with singers and dancers game resumes, but is suddenly interrupted by the and final movement, Shine, Shine, The Sun! The rite Alexander Anissimov’s direction, and at the acclaimed onstage (in the spirit of Carl Orff’s famous cantatas) as plaintive song of the shepherd Vasil, who has lost a little described here goes back to ancient pagan times – when Cabrillo Festival of Contemporary Music in Santa Cruz well as traditional concerts. goat. As he approaches, percussion instruments imitate people spoke with the sun, rain, animals, insects, and under Marin Alsop’s direction. The work is scored for Songs For Lada was recorded in 1992 by the the clatter of little hooves (woodblocks), the ringing of the even inanimate objects. The music begins with a symphony orchestra, plus alto and tenor saxophones. Children’s Choir and Symphony Orchestra of Belarusian small bell around the goat’s neck (cowbell), and the stroke polyphonic episode in which many different motives There are several leitmotifs in the composition. The Radio and Television. In 1994, the cantata was partially of a whip (slapstick). The voice and trumpet imitate the sound simultaneously. This episode is suddenly most important is the “poignant, yet hopeful” (Santa Cruz performed by the Kantorei Chorus and Pennsylvania goat’s bleating. The children decide to frighten Vasil, interrupted as the children ask a ladybird about the Sentinel) “immigration theme,” with which alto flute begins Sinfonia Orchestra in Allentown. Later, American which leads into a contrapuntal and atonal “scaring” following day’s weather. If the ladybird flies away, the the introductory Andante. I develop this theme in several composer John Corigliano brought the piece to Leonard episode. The movement concludes with a dynamic skies will be clear; if it stays on the palm of one’s hand, contrapuntal lyrical digressions throughout the work. Slatkin’s attention. Lada, now grown, heard the entire reprise-coda. the day will be rainy. This episode’s constantly Other leitmotifs include the ship’s horn (tuba); the piece – which I created as a gift of love to her – for the first The fourth movement, Once ‘Bai’ Walked Across The overlapping voices recall a folk style from Belarus’s ascending 5-note call (brass); and two successive time in this concert performance. It was a very moving Wall, is a lullaby, and the lyrical heart of the cantata. The neighbor, Lithuania – called sutartines. “immigrant chords” (high woodwinds, then low brass), experience for both of us. movement’s main characters are both real and fantasy. The “rain episode” follows, in which I used some non- symbolizing the ups and downs of immigrant life. The first movement, Ladu-Ladu-Ladki, is based on “Mother” (folk contralto) begins the movement with a song traditional ways of instrumental playing to imitate falling The main Allegro section begins with impressions of children’s rhymes. It begins with children in lively song as about “Bai” (His name refers to the folk lulling phrase, raindrops. The stringed instruments produce a few the ethnic music of the various immigrant groups: an Irish they prepare to play. They sing then about birds from “bayu-bai”), who looks like a gnome, wears a red jacket unusual sonic effects; I also use a sheet of tin-plate, reel; the well-known German “Grossvater” melody (the distant lands. Birdsong imitation links the beginning and and carries seven straw shoes: one for each of his played by fingertips covered by metal “fingernails” – and a only quotation in the piece) followed by a leisurely end of the cantata; in this movement, birdcalls are first children, one for his wife and one for himself. He is so thin suspended plate struck with knitting-needles. After the Ländler; a Klezmer-like tune and an Italian tarantella. heard in the mystical central episode. In a reprise of the and incorporeal that he can walk across the wall. Mother rain ceases, the music of the opening polyphonic episode Subsequent episodes bring to mind the music of Africa opening music, the children play with little Lada. One of then asks the children if she should continue her returns, now in heavier orchestration. The children’s (the “bell rhythm” heard from two cowbells), Latin the children dances with a milk pot and accidentally storytelling, and they answer “yes.” Mother repeats the question about the weather is now addressed to a large America, and China. These styles are matched by what breaks it. After wondering aloud if “Granny” will punish music of her opening solo several times, now joined by wooden log: if the log drums loudly when hit, the skies will might be called “leit-timbres” that help to convey the them, the children resume playing. “Girl,” who overlaps Mother’s song with a different tune in be clear; if its sound stutters (timpani glissando), the day various ethnic flavors: solo violin and bodhran (Irish drum) The second movement, A Game With ‘Poppy’, is a another meter. Girl tells the story of “Sleep” and will be rainy. for the Irish music; French horns and trombone for the German melodies; solo clarinet and violin/clarinet duo for gradually louder and louder as the ship approaches land. Borzova’s music has been presented at major festivals in the U.S. (such as Aspen and Cabrillo), Russia, and the Klezmer music; solo trombone and tambourine for the After the jazz episode, the music quiets down, leaving Belarus. It has been performed by the Detroit Symphony and Cabrillo Festival Orchestra, Cassatt String Quartet, St. Italian tarantella; percussion instruments of African and only the work’s opening note (a “D”) to grow again into a Luke’s Chamber Ensemble, Tales & Scales, Dale Warland Singers, New Amsterdam Singers, Gregg Smith Singers, Latin American origin in their respective episodes; and, reprise of the first immigration theme. This time, it is heard and the National Symphony and Choirs and Orchestra of Belarusian Radio. A winner of the All-Union Composition finally, a low piccolo imitating a Chinese flute. only in the strings: first in unison, then in octaves, and Contest (before her arrival in the U.S.) and the Delius Composition Contest, she has also received the Goddard After the mysterious Chinese episode comes a final finally in double octaves – as more and more people on Lieberson Fellowship from the American Academy of Arts and Letters, and other prestigious awards, grants and “gathering” of all the previously heard national styles, the ship experience the same thought: “Happiness is residencies. Borzova has taught at Hunter and Lehman Colleges of the City University of New York, and – in addition to each in its own tempo, timbre, and tonality: a distinctly possible, but difficult.” (Randall Jarrell). The initial composing – maintains an active career as a conductor, pianist, organist, and singer. chaotic passage that symbolizes the great American immigration theme returns, leading into the two cultural “melting pot.” Following this gathering is a immigration chords followed by the cowbells’ African uniquely American jazz episode (featuring saxophones), rhythm, representing the passage of time. Valentina Fleer reflecting the sounds that the immigrants on the ship might hear from the American shore. This passage gets Alla Borzova The Russian-American soprano Valentina Fleer has been drawing continuous attention from musicians and critics alike. She is currently in her second year of the Los Angeles Opera Domingo-Thorton Young Artist Program. She made her company début in 2010 as Alla Borzova Barbarina in The Marriage of Figaro, conducted by Plácido Domingo.

The music of composer Alla Borzova has been frequently commissioned and performed internationally. She was born in Minsk, Belarus, where she began piano studies and composing at the age of six. She holds a Doctorate in Composition from the Moscow Conservatory where she studied with Alexander Pirumov. Arriving in the U.S. in 1993, she has made her home in New York since 1996. She pursued additional doctoral studies at the City University of New York Graduate School with David Del Tredici. In addition to the works heard on this recording, Borzova’s œuvre includes Symphony; the ballet When Reason Sleeps and Wakes: Goya Images; and a “musictelling” fairy tale The Animal That Drank Up Sound Valentina Kozak (Parhomenko) (poem by William Stafford). Compositions for solo voice include three extended works for tenor and ensemble: the song cycle Merry Hour Valentina Kozak (Parhomenko) is truly known as the Golden Voice of Belarus. She was a (poetry by Mikhail Lermontov), the cantata (with Arabic dancer) Majnun star vocalist of the National Radio and Television of Belarus, where she worked as a soloist Songs (poetry by Majnun, a 7th century Arabic poet), and the with numerous musical ensembles, orchestras and eventually became the Executive mischievous song cycle Mother Said (American poetry by Hal Sirowitz). Director of her Musical project Zhivica. Since settling in the United States with her husband Among her choral works are The Ballad of Barnaby (W.H. Auden’s and daughter in 1990, she has continued performing and delighting American audiences paraphrase of Le Jongleur de Notre Dame) and When The Wind Is with her music as a soloist and as a member of the group The Kozak Family Trio. Blowing (Belarusian poetry by Maxim Tank). Among frequently performed chamber works are Gulliver’s Travels: A Voyage to Laputa for piano; Images Françaises and Pinsk & Blue, both for violin and piano (the latter also has concertina and accordion versions); and Scherzo for clarinet and piano. Her CD, “Pinsk & Blue,” featuring the Naumburg Award-winning Da Capo Chamber Players and the composer as pianist Photo. Tess Steinkolk and conductor, was released by Albany Records in 2007. Valeriy Yavor Kasya Radzivilava

A native of Kaliningrad, Russia, Valeriy Yavor studied at the Belarusian State Kasya Radzivilava (bagpipe) is a graduate of the Minsk Academy of Music and was a flutist with the Belarusian State Symphony. In 1988 Glinka State Music College (2002, Flute) and the Belarusian he became a soloist in the orchestra of the Belarusian State Folk Dance Company State University of Culture (2008, Woodinds and Brass). She Khoroshki. In 1995 he came to the United States as a member of the folk group is currently teaching at the Ivjanets Music School in Belarus. Zabava. In addition to the performances of Alla Borzova’s Songs For Lada with the She has played in several folk-music ensembles, including Detroit Symphony Orchestra under Leonard Slatkin’s direction, heard on this Old Ol’sa and Ljutash. She was also a founding Music recording, Valeriy Yavor has also participated in the Beyond the Score lecture and Director of the children’s folk-ensemble Rarog. She plays a concert project. This project, initiated by the Chicago Symphony Orchestra in 2007, number of Belarusian folk instuments, such as the duda was subsequently picked up by the Philadelphia Orchestra, the Toronto Symphony, (bagpipe), zhaleika (type of oboe), gusli (multi-string plucked and the Colorado Music Festival. It included Mr. Yavor playing on folk instruments instrument) and fiddle. the music that served as inspiration for Stravinsky’s Rite of Spring. Valeriy Yavor has participated in numerous international festivals in Russia, France, Germany, Holland, Spain, Italy, Guatemala and the United States, and is represented by Ovation! Management.

MSU Children’s Choir Christopher Deane Founding Director: Mary Alice Stollak Christopher Deane is an Associate Professor of Percussion at the University of The Michigan State University Children’s Choir Program was North Texas College of Music and is principal percussionist of the Las Colinas founded by Mary Alice Stollak in 1993, concurrently with the Symphony Orchestra. Prior to his appointment to UNT, he was the principal inception of Michigan State University’s Community Music timpanist of the Greensboro Symphony for nine years and was a regular performer School. Past performances with the Detroit Symphony as both percussionist and timpanist for ten years with the North Carolina Orchestra include John Adams’ On the Transmigration of Symphony. He has performed on Hungarian Cimbalom with numerous symphony Souls, J.S. Bach’s St Matthew Passion and Orff’s Carmina orchestras, including the Boston Pops, Detroit, Cincinnati, Minnesota, North Burana. Their recordings include William Bolcom’s Songs of Carolina and Spoleto Festival Orchestras. Innocence and of Experience on the Naxos label under the direction of Leonard Slatkin (8.559216-18).

Mary Alice Stollak Immigrants arriving in New York, Detroit Symphony Orchestra 19th century

Photo: Victor Mangona The internationally acclaimed Detroit Symphony Orchestra, the fourth-oldest symphony orchestra in the United States, is known for trail-blazing performances, visionary conductors, collaborations with the world’s foremost musical artists, and an unwavering commitment to Detroit. Esteemed conductor Leonard Slatkin, called “America’s Music Director” by the Los Angeles Times, became the twelfth Music Director of the DSO during the 2008- 09 season. The DSO offers a performance schedule that includes Classical, Pops, Jazz, Young People’s, Neighborhood concerts and festivals. The DSO makes its home in historic Orchestra Hall, one of America’s most acoustically perfect concert halls, and actively pursues a mission to impact and serve the community through music. For more information visit www.dso.org

Leonard Slatkin

Photo: Donald Dietz Internationally acclaimed American conductor Leonard Slatkin began his appointment as Music Director of the Detroit Symphony Orchestra in September 2008. In addition to his post at the DSO, August 2011 marked the start of his tenure as Music Director of the Orchestre National de Lyon in France. In addition, Slatkin continues to serve as Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in the fall of 2008. Following a seventeen-year tenure as Music Director of the Saint Louis Symphony Orchestra, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded their Sommerfest; first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, a post he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. Lada (the composer’s daughter) at 4 years old

Valentina Fleer sings ‘Lullaby’ Photo: DeMarie Krell from Songs For Lada

Photo: DeMarie Krell Photo: DeMarie Krell Valeriy Yavor plays dudka in Songs For Lada Valentina Kozak sings ‘Lullaby’ from Songs For Lada

Kasya Radzivilava plays bagpipe

Christopher Deane plays Alla Borzova Photo: DeMarie Krell cimbalom in Songs For Lada and Leonard Slatkin Playing Alla Time: BORZOVA 49:50 (b. 1961)

in the USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. Songs For Lada (1986-91) 35:37 AMERICAN CLASSICS (Texts by Alla Borzova, drawn from Belarusian children’s folk songs, rhymes, games, dances, and lullabies) Born in Minsk, Belarus, Alla 1 I. Ladu-Ladu-Ladki 5:36 Borzova has received numerous 2 II. A Game With ‘Poppy’ 5:40 prestigious awards for her highly 3 III. Once A Father Had Three Sons 7:03 4 IV. Once ‘Bai’ Walked imaginative music since moving to Across The Wall (Lullaby) 8:09 the United States in 1993. Songs For ൿ 5 & V. Shine, Shine, The Sun! 9:10 Lada is a theatrical cantata which

Ꭿ explores the world of childhood 2012 Naxos Rights International Ltd. Made 6 To The New World (2001-02) 14:13 through rhymes, dances and stories, Conductor Leonard Slatkin, Michigan State University Valentina Fleer, Soprano 1-4 illustrated by effects including folk Children’s Choir and soloists instruments and birdsong. To The Photo: DeMarie Krell on stage in Songs For Lada Valentina Kozak, Folk contralto 1 3-5 New World portrays an imaginary Valeriy Yavor, Dudkas 2 5 ship bearing immigrant groups Christopher Deane, Cimbalom 3 whose traditional music suggests Kasya Radzivilava, Bagpipe 3 their thoughts and feelings at the Michigan State University prospect of joining the great cultural “melting pot” of America. Children’s Choir 1-5

Detroit Symphony Orchestra The Belarusian sung texts, Leonard Slatkin along with English translations DDD and transliterations, can be found at Recorded live at Orchestra Hall, Max M. Fisher Music Center, www.naxos.com/libretti/559706.htm Detroit, USA, from 15th-18th January, 2009 (tracks 1-5), and from 24th-27th September, 2010 (track 6) This recording was made possible thanks to a generous www.naxos.com grant from the Copland Foundation 8.559706 Producers: Blanton Alspaugh and Alla Borzova Vladena (Lada) Dmitriev, Engineer and editor: David Lau (Brookwood Studio, Inc.) Mary Alice Stollak Publisher: Euterpe Press • Booklet notes: Alla Borzova and Alla Borzova Cover illustration by Ann Mei (iStockphoto.com)