MEMORIAL

Piers Lane

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Patricia Rozario, soprano

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Julius Drake

MEMORIAL

Patricia Rozario

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CEN TE NA RY

TE NA Julius Drake, piano

Piers Lane, piano

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

JOHANNES BRAHMS

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

VASILIJE MOKRANJAC 12-18 Seven Études (1951-52) 1st integral recording

Patricia Rozario, soprano Julius Drake, piano Piers Lane, piano Producer: Ateş Orga Balance Engineer, Editor: Ken Blair

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

LAZA CD0001

STEREO DDD DURATION 33'45

LAZA KOSTIĆ CENTENARY MEMORIAL Rozario Drake Lane

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

Patricia Rozario, soprano Julius Drake, piano Piers Lane, piano

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CENTENARY MEMORIAL

LAZA KOSTIĆ (1841-1910)

SERBIAN FOLK POETRY SERBIAN FOLK POETRY

In 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 reviewarticle, 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 Stefanović Karadžić (1787-1864) - the first (Mala prostonarodnja slavernoserbska pjesnarica [A Simple Little Slaveno-Serbian Songbook]) dating from 1814, the period of the Congress of Vienna* - included Antonín Dvořák (Songs on Serbian Folk Poems, Op 6, after the well-known German translations of Siegfried Kapper [Isaac Salomon Kapper]); Josef Suk; Leoš Janáček (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 Mädchen 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 folkpoem 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 Czerwiński, and Heinrich von Herzogenberg. adapted from Prof Dr Miloš Kovačević, The Welcome Given to Serbian Folk-Poetry in World Literature and Music, © The Laza Kostić Fund, Lazarica Press, Birmingham 2001

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

JOHN TAVENER JOHN 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 Čamblak (c 1360-1419), Jelena Balšić Stracimirović (1368-1443), Andrei (fl 16th century), monk anon (Krušedol, pre 1550), monk anon (Kupinova, by 1499) selected from Predrag R Dragić Kijuk (editor), translated Sheila Sofrenović, Mediaeval and Renaissance Serbian Poetry 1200-1700 (Beograd 1987) 'For Roger and Marina and to the Martyrs of Serbia' Commissioned by The Laza Kostić Fund on occasion of the Fund's 10th Anniversary World Premiere: Patricia Rozario & Julius Drake, 22 March 2001 St John's, Smith Square, London, under the auspices of The Laza Kostić 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 Dragić Kijuk likens the panorama of medieval 'poems about the soul' comprising his anthology to a 'Christian biography of the Serbian people'.

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 that all 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 Karadžić, Tri najveće 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 girl was 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.

PYOTR ILYICH TCHAIKOVSKY

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 ~ Mädchenlied [Maiden's Song], Op 85 No 3 (May 1878) Text: Kapper, Röslein, was erblühst du mir so frühe (Gesänge der Serben, 1852), source Karadžić 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.

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

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

VASILIJE MOKRANJAC Das Mädchen [The Maiden], Op 95 No 1 (April 1883) Text: Kapper, Wüßt ich, Antlitz, wer dich einst wird küssen, source anon The 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, pick all the roses in the garden, press the fragrant water out of the roses, and wash you, O my face, with that water, so that you would be fragrant when the youth kissed you!' Translation © Emily Ezust

VASILIJE MOKRANJAC (1923-84)

'A musical language that is marked by dramatic strength and lyric expression. His orchestral works and [nationally stamped, highly idiomatic] piano pieces are among the finest examples in the Serbian repertory' ~ Roksanda Pejović ~

Seven Études (1951-52) UK premiere: Piers Lane, 17 November 1999 Wigmore Hall, London, under the auspices of The Laza Kostić Fund 1st integral recording Mokranjac has a real voice and there is tremendous depth to his music. These are extremely expressive works full of colours and energy and written from the heart. An exeptional intensity, honesty, depth of feeling and immediacy of expression. It is highly emotional music, but then, good music always comes from suffering. I'm captivated. © Piers Lane

PATRICIA ROZARIO PATRICIA ROZARIO

JULIUS DRAKE

Order of the British Empire Asian Women's Award for Achievement in the Arts

Artistic Director, Machynlleth Festival Professor, Royal Academy of Music, London Visiting Professor, Royal Northern College of Music, Manchester

http://patriciarozario.com http://www.juliusdrake.com 'A

voice of liquid gold' ~ Gramophone ~ 'A wide range, radiant timbre, phenomenal dexterity and pitch, superb German diction and total expressive conviction' ~ Chicago Tribune ~ 'The high angelic voice of soprano Patricia Rozario has progressed rapidly from being the ideal manifestation for composer John Tavener's serene vocal music to being one of the most sought-after voices in Britain' ~ Guardian ~

'This inspired accompanist is now the best in the business' ~ New York Magazine ~ 'A thrilling demonstration of pianistic skill, attentive listening, and imaginative sympathy' ~ Boston Globe ~ 'Insightful and original' ~ Daily Telegraph ~

JULIUS DRAKE

PIERS LANE PIERS LANE

Artistic Director, Australian Festival of Chamber Music Artistic Director, Myra Hess Day, National Gallery

http://www.pierslane.com

'Superb musical intelligence, sensitivity, and scintillating brilliance' ~ Gramophone ~

THE LAZA KOSTIĆ FUND UK Registered Charity No 1076482 http://www.the-laza-kostic-fund.com The Laza Kostić Fund was established in London in 1991, by the pianist Marina Milić [-Apostolović], on the occasion of the 150th anniversary of the birth of one of the greatest acknowledged Serbian Romantic poets of the 19th century -Лаза Костић, Laza Kostić (1841-1910).

'Poetic music-making' ~ New York Sun ~

Laza Kostić, besides contributing to Serbia's literary legacy with such masterpieces as Santa Maria della Salute, dedicated fifty years of his life to studying Shakespeare. His Ode to Shakespeare, focussing on Serbian interest in Shakespeare's art, commemorated the Shakespeare tercentenary celebrations in Novi Sad, St George's Day 1864, which he helped organise. Famously, he translated Romeo and Juliet, Hamlet, King Lear and Richard III, retaining the iambic pentameters of the originals.

'Flawless fingerwork and an intuitive grasp of style' ~ OZartsreview ~

A doctor of law in Latin, Laza Kostic spoke eight languages, was the first President of the Society of Journalists in Serbia, wrote theatre, music and art criticism, and was a dedicated sportsman. The aims of the Fund are to promote the works of Kostić and the music, art, literature, drama and cultural traditions of Serbia.

Producer: Ateş Orga Balance Engineer, Editor: Ken Blair Recorded 9-10 June 2003 Music Room, Champs Hill, West Sussex, England by kind permission of David & Mary Bowerman Steinway D Concert Grand Emily Ezust translations courtesy of www.lieder.net Editorial Consultant: Ateş Orga Design: Atila Kapitanj Manufactured in the United Kingdom

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© The Laza Kostić Fund 2010 The Laza Kostić Fund 2010