Christopher Wilke - De Temporum Fine Postludia II (2019)
BAND/ARTIST: Christopher Wilke
- Title: De Temporum Fine Postludia II
- Year Of Release: 2019
- Label: Polyhymnion
- Genre: World, Folk
- Quality: FLAC (tracks)
- Total Time: 59:30 min
- Total Size: 208 MB
- WebSite: Album Preview
Album Notes
DIALOGUES WITH TIME
Roman Turovsky-Savchuk
“Clamor, clamor, clamor in the forest, the fog is covering the fields, The fog is covering the fields, the fields. A mother is sending her son away: Go, my son, go away from me... “
At the age of seventeen I was transplanted from my birthplace of Kiev, Ukraine, to New York. A dreamy European city in front in front of my eyes was replaced by New York, with all its severity of lines and colors, unforgiving, yet intriguing. I’ve painted since my childhood, learning visual precision and honesty, developing a firm faith in harmony, beauty and perfection. My new reality was rough and fearsome. And I knew that I was being transformed. My new reality brought new simplicity and roughness into my work. I painted nudes, craving love, music and spiritual fulfillment. All of these eventually came, bearing happiness for the émigré/exile/refugee, transforming him into an American: Come back, my son, come back to me, my boy, So I would wash your head. -Mother, my head could be washed by rains, And my hair shall be combed by feral winds...
There has always been music in my family. My father is an artist-painter, but he also was a fine classical baritone in his younger days. Our house was always full of interesting guests, of all kinds of arts. The grown-ups were infinitely more interesting than children of my own age. The former were bearers of the historical weight of the place where I was growing up. Their sense of history intoxicated me, inexorably, forever, even though I was unaware of it at the time. It manifested itself much later in my music.
I naturally studied painting from an early age, and it would always remain my main calling. Inexplicably I remained indifferent to music, in spite of being surrounded by it, until the age of 14, when I had an epiphany upon hearing “Trauermusik beim Tode Siegfried” in Wagner’s “Götterdämmerung”. It opened the floodgate of music. I went on to study Painting and Music after coming to New York. There I studied lute with Patrick O'Brien, who also taught me the basics of harmony and counterpoint. I began composing for myself during the 1990’s, concentrating on the Baroque idiom and my chosen instrument, the Baroque lute. This instrument doesn’t tolerate gratuitous dissonance, and my compositions naturally took on the style and character of the Baroque Era.
Descartes once said that when he was a seminarian he was told by one of his professors that if one gets a really good idea, it must be immediately ascribed to a long-dead authority. Mythopoeia ran in my family, so I decided on a whim to invent a mysterious and previously unknown historical figure to which I would ascribe my compositions as genuine Baroque music, and miraculously they were taken as such. In the mid-1990's I wrote out some pieces in a nice Baroque hand, signed them “Sautscheck”, the German transmogrification of the second half of my surname, and sent them to some overseas lutenists, total strangers at that, without a return address or explanation. The music was clearly in a Baroque style, but not always in character, being grim and morose as would have befitted the music of an entirely different era. Then I lost track of all this for some 5+ years. Eventually the rumors of mysterious and interesting lute music treacled back to me, so now, armed with a PC and internet, I produced some "paramusicological" mythology, explaining the range of styles from 1680 to 1840 with four generations of purported composers, all from the same family. This caper later resulted in a few musicological scandals, which gave me some professional reputation of a competent “baroque” composer, a modicum of respect from lutenist-colleagues, while causing considerable irritation for the few detractors, who were oblivious to the “literary mystification/hoax culture” prevalent in Europe since the late-18th century. After many flame-wars and a few Op- Ed accusations of Ossianic immorality (some accusers were oblivious of the quotations from Beethoven, Reger or Giazzotto that I'd used in a Baroque context...) I've earned some great friends for whom music's quality is paramount to its pedigree. Not least of these are Luca Pianca (the founder of Il Giardino Armonico), who generously included my pieces in his concerts at several international festivals, and Robert Barto, who is featured in several of my video installations.
Then came along other momentous developments. One was the proliferation of internet, which gave me a possibility to connect with many colleagues worldwide, and then my renewed interest in Ukrainian musical culture in general and its Baroque period in particular.
Ukrainian folk music is unique in many respects. The vast majority of it is in the minor keys: the happy music is more often than not still in minor, only in a faster tempo. It is also probably the best documented of all folk music, with many compendia collected since the 18th century. It had a period of being fashionable in Western Europe ca. 1800, and it left its mark on some composers, not least Beethoven. The literary qualities of its texts are astounding, their imagery profound. Its texts are often hair-raisingly violent, as well as breathtakingly lyrical. This music is powerful. I didn’t choose it: it chose me. This reconnection with Ukrainian music was a true epiphany, from which I, as a displaced individual elicited a sense of total rootedness in that old World, paradoxically in harmony with my American identity gained in tribulations of emigration .
My familiarity with existential angst was counterbalanced with happiness found in cultural memory, the memory of old songs amid new forms: bridges, highways and skyscrapers of the New World. It later found expression in several video-installations for which I also composed and produced the soundtracks. These installations were built around a clear central principle, according to which each sequence represented an increment in the voyage through forbidding space, in which the only available means to remain afloat were certain personal cultural memories, remnants or fragments of beauty in the decidedly unbeautiful universe. In my case these means were the auditory memories of my early childhood, specifically the memories of polyphonic laments sung by girls while crossing the river in the evening in order to milk the cows grazing on the other side.
“Many are called, but few are chosen”. In 2000 I undertook some research into the history of Torban, the Ukrainian variety of the lute. The literature for this instrument did not survive, as it was largely an oral culture, and so I began to use Ukrainian melodies in my compositions that I intended to serve as reconstructions of this lost musical microcosmos. In time I began to experiment with progressively earlier musical styles, early Renaissance and late Mediaeval, in combination with those Ukrainian folk melodies that were archaic in character and could easily be manipulated using the compositional techniques of the 15th and 16th centuries. The milkmaids’ choirs of my early memories were a perfect match to diminuitions and variation cycles for lute in the style of Joanambrosio Dalza, Francesco da Milano or John Dowland. This project has been nearly ten years in the making, with over 500 pieces to its credit. Initially I called these pieces “Cantiones Sarmaticae”, and these were later augmented with “Cantiones Ruthenicae” and “Cantiones Sarmatoruthenicae”, “Balli Sarmatici” and “Balli Ruteni”, in a nod to “Sarmatism”, a cultural movement in the Polish-Lithuanian Commonwealth in the 16th - 19th centuries.
Each of these cycles was progressively more adventurous and complex, so I later gave them the collective title of “Mikrokosmos”, in an insolent lutenistic challenge to Bela Bartok’s homonymous keyboard cycle. In the process of composition I discovered not only multiple structural similarities between Ukrainian dance melodies and Renaissance dances from Western Europe, but also the evidence that some late-Renaissance melodies still survived in the Ukrainian folk music. I was also struck with the Mediaeval conductus-like sound of the folk polyphony of the Polissya region of Ukraine, from which my family came. These observations became inspirations, and the music flowed, in strict style, but with unusual cadences and forbidden intervals of the land. Such were my dialogues with Time.
This music has gradually earned respect from lute players, and many colleagues who were total strangers to me, connected only by internet, began to perform these pieces, record them, and eventually film them for YouTube, when that service became available. Among these musicians I should mention Robert Barto, Luca Pianca, Rob MacKillop, Christopher Wilke, Angelo Barricelli, Stefan Lundgren, Ernst Stolz, Daniel Shoskes, Stuart Walsh, Jindrich Macek, Trond Bengtson, Elio Donatelli, Maurizio Manzon, Edward Durbrow, Fernando Lewis de Mattos, Francesco Tribioli, Valery Sauvage, Mathias Rösel, Olesya Rostovska, Julia Fedorova, Konstantin Shchenikov and Eugene Kurenko, inter alia. Most of them I have not met in person to date. The most amazing and rewarding aspect of it all was the totally unexpected appreciation of Ukrainian music by the musicians who had absolutely no familiarity with Ukrainian culture. I was equally astounded at the sensitivity with which they interpreted this material. I also had several collaborative electro-acoustic projects with Dutch avantgarde composer, lutenist and carillonist Hans Kockelmans, who also wrote a number of “contreparties” to my scores.
All of these projects remain “works in progress” and in the meantime I have put all my music on the Web, for any lutenist’s free use.
In 2003 I made the acquaintance of Julian Kytasty, the finest traditional Ukrainian epic singer and kobzar-bandurist in the Western Hemisphere. We became good friends, and he later also became my teacher. He eventually asked me to accompany him in those of his projects which were centered on the Baroque period, and occasionally to sing in them. We have had very unusual concepts for our concert programmes, drawn from material rarely touched nowadays, such as songs about violent historical events, evil and treachery, marital and erotic mayhem, penitential chants and psalms, songs about the miseries of war in the land that was split between 2 empires (Russian and Austro-Hungarian) and whose inhabitants were forced to kill each other senselessly by callow foreign royalty.
In 2008 Julian and I received an apprenticeship grant from the New York Council on the Arts, which enabled us to work together for two years in depth on the traditional epic style and the repertoire, which by then had become one of my main interests. Through Julian I also met Nina Matvienko and Mariana Sadovska, two great Ukrainian folk singers of our time. I also made many virtual friendships with great folk singers, notably with Natalya Polovynka and Volodymyr Kushpet.
In the spring of 2009 I undertook a journey to Kiev, Ukraine after a 30-year absence. There I had good fortune of meeting Taras Kompanichenko and Eduard Drach, the finest carriers of the epic singer–kobzar tradition in Ukraine, and was able to adapt some of their repertoire to the Baroque lute for my own use. They also inspired several variation sets on Ukrainian melodies in Baroque and early Classical styles.
After the period of fakeloric music artificially imposed on Ukraine during the Soviet era there is now a real revival of the epic tradition in Ukraine, with two Kobzar Guilds established in Kyiv and Kharkiv, and many talented young musicians are studying not only practical music, but also lutherie as well. There is also a revival afoot of the traditional folk polyphony, and there are several excellent choirs specializing in that repertoire, notably “Bozhychi”, “Hurtopravtsi”, “Drevo” “Strila” and “Korali” as well as ensembles that specialize in Ukrainian early music. Two of these led by Taras Kompanichenko, “Sarmatyka”, and “Chorea Kozatska” and one by Kostyantyn Chechenya. All these groups face many difficulties in the cultural wars stemming from the three centuries of forced Russification of Ukraine, as well as hostility from the commercial media and music establishments and the large Russian minority, which still harbors anti-Ukrainian sentiments. But the groups active in authentic folk music are multiplying, and there are grounds for cautious optimism that this music will live on.
Sincerely, Roman Turovsky-Savchuk
This article appeared in the NYS Folklore Society magazine VOICES in 2011.
Tracklist:
01. Christopher Wilke - Aria "Marusen'ka" in A Minor (2:01)
02. Christopher Wilke - Variations on "Burlaky" in A Minor (5:49)
03. Christopher Wilke - "Tombeau de Jerzy Lec" In A Minor (0:51)
04. Christopher Wilke - Variations on "Viter" in A Minor (6:57)
05. Christopher Wilke - Chorea "Blavaty" in A Minor (0:58)
06. Christopher Wilke - Variations on "Kateryna" In A Minor (2:15)
07. Christopher Wilke - Chorea "Kachenyata" in A Minor (2:39)
08. Christopher Wilke - Chorea "Kupalska" in A Minor (2:06)
09. Christopher Wilke - Sonata 18 "Allegro" in A Minor (3:43)
10. Christopher Wilke - Ballad "Dovbush" in D Minor (2:20)
11. Christopher Wilke - Ballad "Karmalyuk" in D Minor (2:49)
12. Christopher Wilke - Gigue in D Minor (3:41)
13. Christopher Wilke - Variations on "Chumak" in G Minor (7:01)
14. Christopher Wilke - Passacaglia "Sulla partenza del fratro serenissimo JSB" in G Minor (2:54)
15. Christopher Wilke - Variations on "Hrechanyky" in C Minor (6:23)
16. Christopher Wilke - Passacaglia "Cromatica" in G Minor (4:51)
17. Christopher Wilke - Ballad "The Raven" in A Minor (2:14)
DIALOGUES WITH TIME
Roman Turovsky-Savchuk
“Clamor, clamor, clamor in the forest, the fog is covering the fields, The fog is covering the fields, the fields. A mother is sending her son away: Go, my son, go away from me... “
At the age of seventeen I was transplanted from my birthplace of Kiev, Ukraine, to New York. A dreamy European city in front in front of my eyes was replaced by New York, with all its severity of lines and colors, unforgiving, yet intriguing. I’ve painted since my childhood, learning visual precision and honesty, developing a firm faith in harmony, beauty and perfection. My new reality was rough and fearsome. And I knew that I was being transformed. My new reality brought new simplicity and roughness into my work. I painted nudes, craving love, music and spiritual fulfillment. All of these eventually came, bearing happiness for the émigré/exile/refugee, transforming him into an American: Come back, my son, come back to me, my boy, So I would wash your head. -Mother, my head could be washed by rains, And my hair shall be combed by feral winds...
There has always been music in my family. My father is an artist-painter, but he also was a fine classical baritone in his younger days. Our house was always full of interesting guests, of all kinds of arts. The grown-ups were infinitely more interesting than children of my own age. The former were bearers of the historical weight of the place where I was growing up. Their sense of history intoxicated me, inexorably, forever, even though I was unaware of it at the time. It manifested itself much later in my music.
I naturally studied painting from an early age, and it would always remain my main calling. Inexplicably I remained indifferent to music, in spite of being surrounded by it, until the age of 14, when I had an epiphany upon hearing “Trauermusik beim Tode Siegfried” in Wagner’s “Götterdämmerung”. It opened the floodgate of music. I went on to study Painting and Music after coming to New York. There I studied lute with Patrick O'Brien, who also taught me the basics of harmony and counterpoint. I began composing for myself during the 1990’s, concentrating on the Baroque idiom and my chosen instrument, the Baroque lute. This instrument doesn’t tolerate gratuitous dissonance, and my compositions naturally took on the style and character of the Baroque Era.
Descartes once said that when he was a seminarian he was told by one of his professors that if one gets a really good idea, it must be immediately ascribed to a long-dead authority. Mythopoeia ran in my family, so I decided on a whim to invent a mysterious and previously unknown historical figure to which I would ascribe my compositions as genuine Baroque music, and miraculously they were taken as such. In the mid-1990's I wrote out some pieces in a nice Baroque hand, signed them “Sautscheck”, the German transmogrification of the second half of my surname, and sent them to some overseas lutenists, total strangers at that, without a return address or explanation. The music was clearly in a Baroque style, but not always in character, being grim and morose as would have befitted the music of an entirely different era. Then I lost track of all this for some 5+ years. Eventually the rumors of mysterious and interesting lute music treacled back to me, so now, armed with a PC and internet, I produced some "paramusicological" mythology, explaining the range of styles from 1680 to 1840 with four generations of purported composers, all from the same family. This caper later resulted in a few musicological scandals, which gave me some professional reputation of a competent “baroque” composer, a modicum of respect from lutenist-colleagues, while causing considerable irritation for the few detractors, who were oblivious to the “literary mystification/hoax culture” prevalent in Europe since the late-18th century. After many flame-wars and a few Op- Ed accusations of Ossianic immorality (some accusers were oblivious of the quotations from Beethoven, Reger or Giazzotto that I'd used in a Baroque context...) I've earned some great friends for whom music's quality is paramount to its pedigree. Not least of these are Luca Pianca (the founder of Il Giardino Armonico), who generously included my pieces in his concerts at several international festivals, and Robert Barto, who is featured in several of my video installations.
Then came along other momentous developments. One was the proliferation of internet, which gave me a possibility to connect with many colleagues worldwide, and then my renewed interest in Ukrainian musical culture in general and its Baroque period in particular.
Ukrainian folk music is unique in many respects. The vast majority of it is in the minor keys: the happy music is more often than not still in minor, only in a faster tempo. It is also probably the best documented of all folk music, with many compendia collected since the 18th century. It had a period of being fashionable in Western Europe ca. 1800, and it left its mark on some composers, not least Beethoven. The literary qualities of its texts are astounding, their imagery profound. Its texts are often hair-raisingly violent, as well as breathtakingly lyrical. This music is powerful. I didn’t choose it: it chose me. This reconnection with Ukrainian music was a true epiphany, from which I, as a displaced individual elicited a sense of total rootedness in that old World, paradoxically in harmony with my American identity gained in tribulations of emigration .
My familiarity with existential angst was counterbalanced with happiness found in cultural memory, the memory of old songs amid new forms: bridges, highways and skyscrapers of the New World. It later found expression in several video-installations for which I also composed and produced the soundtracks. These installations were built around a clear central principle, according to which each sequence represented an increment in the voyage through forbidding space, in which the only available means to remain afloat were certain personal cultural memories, remnants or fragments of beauty in the decidedly unbeautiful universe. In my case these means were the auditory memories of my early childhood, specifically the memories of polyphonic laments sung by girls while crossing the river in the evening in order to milk the cows grazing on the other side.
“Many are called, but few are chosen”. In 2000 I undertook some research into the history of Torban, the Ukrainian variety of the lute. The literature for this instrument did not survive, as it was largely an oral culture, and so I began to use Ukrainian melodies in my compositions that I intended to serve as reconstructions of this lost musical microcosmos. In time I began to experiment with progressively earlier musical styles, early Renaissance and late Mediaeval, in combination with those Ukrainian folk melodies that were archaic in character and could easily be manipulated using the compositional techniques of the 15th and 16th centuries. The milkmaids’ choirs of my early memories were a perfect match to diminuitions and variation cycles for lute in the style of Joanambrosio Dalza, Francesco da Milano or John Dowland. This project has been nearly ten years in the making, with over 500 pieces to its credit. Initially I called these pieces “Cantiones Sarmaticae”, and these were later augmented with “Cantiones Ruthenicae” and “Cantiones Sarmatoruthenicae”, “Balli Sarmatici” and “Balli Ruteni”, in a nod to “Sarmatism”, a cultural movement in the Polish-Lithuanian Commonwealth in the 16th - 19th centuries.
Each of these cycles was progressively more adventurous and complex, so I later gave them the collective title of “Mikrokosmos”, in an insolent lutenistic challenge to Bela Bartok’s homonymous keyboard cycle. In the process of composition I discovered not only multiple structural similarities between Ukrainian dance melodies and Renaissance dances from Western Europe, but also the evidence that some late-Renaissance melodies still survived in the Ukrainian folk music. I was also struck with the Mediaeval conductus-like sound of the folk polyphony of the Polissya region of Ukraine, from which my family came. These observations became inspirations, and the music flowed, in strict style, but with unusual cadences and forbidden intervals of the land. Such were my dialogues with Time.
This music has gradually earned respect from lute players, and many colleagues who were total strangers to me, connected only by internet, began to perform these pieces, record them, and eventually film them for YouTube, when that service became available. Among these musicians I should mention Robert Barto, Luca Pianca, Rob MacKillop, Christopher Wilke, Angelo Barricelli, Stefan Lundgren, Ernst Stolz, Daniel Shoskes, Stuart Walsh, Jindrich Macek, Trond Bengtson, Elio Donatelli, Maurizio Manzon, Edward Durbrow, Fernando Lewis de Mattos, Francesco Tribioli, Valery Sauvage, Mathias Rösel, Olesya Rostovska, Julia Fedorova, Konstantin Shchenikov and Eugene Kurenko, inter alia. Most of them I have not met in person to date. The most amazing and rewarding aspect of it all was the totally unexpected appreciation of Ukrainian music by the musicians who had absolutely no familiarity with Ukrainian culture. I was equally astounded at the sensitivity with which they interpreted this material. I also had several collaborative electro-acoustic projects with Dutch avantgarde composer, lutenist and carillonist Hans Kockelmans, who also wrote a number of “contreparties” to my scores.
All of these projects remain “works in progress” and in the meantime I have put all my music on the Web, for any lutenist’s free use.
In 2003 I made the acquaintance of Julian Kytasty, the finest traditional Ukrainian epic singer and kobzar-bandurist in the Western Hemisphere. We became good friends, and he later also became my teacher. He eventually asked me to accompany him in those of his projects which were centered on the Baroque period, and occasionally to sing in them. We have had very unusual concepts for our concert programmes, drawn from material rarely touched nowadays, such as songs about violent historical events, evil and treachery, marital and erotic mayhem, penitential chants and psalms, songs about the miseries of war in the land that was split between 2 empires (Russian and Austro-Hungarian) and whose inhabitants were forced to kill each other senselessly by callow foreign royalty.
In 2008 Julian and I received an apprenticeship grant from the New York Council on the Arts, which enabled us to work together for two years in depth on the traditional epic style and the repertoire, which by then had become one of my main interests. Through Julian I also met Nina Matvienko and Mariana Sadovska, two great Ukrainian folk singers of our time. I also made many virtual friendships with great folk singers, notably with Natalya Polovynka and Volodymyr Kushpet.
In the spring of 2009 I undertook a journey to Kiev, Ukraine after a 30-year absence. There I had good fortune of meeting Taras Kompanichenko and Eduard Drach, the finest carriers of the epic singer–kobzar tradition in Ukraine, and was able to adapt some of their repertoire to the Baroque lute for my own use. They also inspired several variation sets on Ukrainian melodies in Baroque and early Classical styles.
After the period of fakeloric music artificially imposed on Ukraine during the Soviet era there is now a real revival of the epic tradition in Ukraine, with two Kobzar Guilds established in Kyiv and Kharkiv, and many talented young musicians are studying not only practical music, but also lutherie as well. There is also a revival afoot of the traditional folk polyphony, and there are several excellent choirs specializing in that repertoire, notably “Bozhychi”, “Hurtopravtsi”, “Drevo” “Strila” and “Korali” as well as ensembles that specialize in Ukrainian early music. Two of these led by Taras Kompanichenko, “Sarmatyka”, and “Chorea Kozatska” and one by Kostyantyn Chechenya. All these groups face many difficulties in the cultural wars stemming from the three centuries of forced Russification of Ukraine, as well as hostility from the commercial media and music establishments and the large Russian minority, which still harbors anti-Ukrainian sentiments. But the groups active in authentic folk music are multiplying, and there are grounds for cautious optimism that this music will live on.
Sincerely, Roman Turovsky-Savchuk
This article appeared in the NYS Folklore Society magazine VOICES in 2011.
Tracklist:
01. Christopher Wilke - Aria "Marusen'ka" in A Minor (2:01)
02. Christopher Wilke - Variations on "Burlaky" in A Minor (5:49)
03. Christopher Wilke - "Tombeau de Jerzy Lec" In A Minor (0:51)
04. Christopher Wilke - Variations on "Viter" in A Minor (6:57)
05. Christopher Wilke - Chorea "Blavaty" in A Minor (0:58)
06. Christopher Wilke - Variations on "Kateryna" In A Minor (2:15)
07. Christopher Wilke - Chorea "Kachenyata" in A Minor (2:39)
08. Christopher Wilke - Chorea "Kupalska" in A Minor (2:06)
09. Christopher Wilke - Sonata 18 "Allegro" in A Minor (3:43)
10. Christopher Wilke - Ballad "Dovbush" in D Minor (2:20)
11. Christopher Wilke - Ballad "Karmalyuk" in D Minor (2:49)
12. Christopher Wilke - Gigue in D Minor (3:41)
13. Christopher Wilke - Variations on "Chumak" in G Minor (7:01)
14. Christopher Wilke - Passacaglia "Sulla partenza del fratro serenissimo JSB" in G Minor (2:54)
15. Christopher Wilke - Variations on "Hrechanyky" in C Minor (6:23)
16. Christopher Wilke - Passacaglia "Cromatica" in G Minor (4:51)
17. Christopher Wilke - Ballad "The Raven" in A Minor (2:14)
Year 2019 | Instrumental | World | Folk | FLAC / APE
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