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'Ivanushka
and Koschei the Deathless'
a new composition
by Christopher Kaufman for Balalaika and Piano
for:
The Russian
Duo
Oleg
Kruglyakov (Balalaika)
and
Terry Boyarsky (Piano)
In
this work, 'Ivanushka and Koschei The Deathless', we meld two
historic Russian Folk Tale elements into a broader story filled
with imagination and entertainment. Using story, narration and
pre-performance talk, this work will also educate audiences about
the Russian folk tradition of the Skomorokhs - who were the colorful
gypsy/bards who helped preserve Russian music and culture throughout
the centuries. The narration will not be extensive, sometimes
just a phrase or two as the music leads. The overall full-length
of ‘Ivanushka and Koschei the Deathless’ will be of
approximately twenty minutes duration. A shorter version will
be developed, making the work more versatile for performance in
various situations. Separate concert pieces will also be derived
(for example, the ‘Maslenitsa Dances’, the ‘Waltz’
and ‘Koschei’s Dance’).
Having in the past composed a number of pieces involving story-lines
and after having worked in film as a screen writer as well as
composer, Kaufman is confident the following event structure will
be effective. Bringing it to life is an extensive effort - and
the story may evolve as the project progresses.
The basic story-line at present is as follows:
Ivanushka is traveling to the Spring fair. He reaches the Maslenitsa
(Shrovetide) Festival and joins the dance. He meets the central
‘belle of the ball’, a beautiful peasant girl and
they dance together. Suddenly a whirlwind arrives, which is the
traditional form in which the evil wizard Koschei appears. He
steals away the maiden and whisks her off to his lair in the mountains.
The rest of the story follows Ivanushka as he finds Koschei’s
lair and frees the maiden. Together they defeat the wizard and
free other captives. The end of this work is a return to the festival
atmosphere of the beginning where they are wed. The result is
a story-line with the opportunity to add twists and turns as the
work progresses - a framework which offers opportunities for the
brilliant performance of colorful virtuosic music and a celebration
of the imagination which will have appeal to audiences of all
ages.
Kaufman plans to begin with a musical language reminiscent of
neoclassical Stravinsky - as a bridge - and then take things forward
as the story moves into darker realms. Koschei’s Dance,
for example, will be a wild modern gypsy dance. It is hinted at
when the whirlwind arrives but is fully realized when Ivanushka
awakes, a caged captive in Koschei’s lair, and sees the
evil personage dancing around his fire - before Ivanushka turns
the tables. Music reflecting expressions of phantoms and dark
creatures will get to a more and more modernistic tone. In this
way Kaufman will, through the natural movement of the story, help
to bring the balalaika - through the virtuosity and brilliance
of Oleg and Terry’s performances - more fully into the 21st
Century. Kaufman is deeply honored to be the first American composer
to write for this medium and is cognizant of the responsibility.
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Russian
Duo
"With music
of elan, finesse and passion, so virtuosically rendered, this duo's
performances are irresistible."
- Robert Spano, Music Director, Atlanta Symphony Orchestra
Hartford Advocate
writes, "explosive talent . . . see these dazzling musicians
in action."
". . . the musicality and virtuosity displayed will appeal
to a broad spectrum of music lovers." (Cleveland Classical)
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