The Stories Behind Our Music
POSTCARDS FROM DILSBERG
Composed by Elizabeth, Emmanuel, and Frances Borowsky in July 2008.
Premiered in Dilsberg, Germany on July 6, 2008.
"Postcards from Dilsberg" is a collection of five musical postcards portraying the history, legends, and people of Dilsberg, Germany. The music was composed in July 2008 by Frances, Emmanuel, and Elizabeth Borowsky during their residency at the historic Dilsberg Castle in Germany. The first movement (Morning in Dilsberg) depicts their restful daily awakening at the top of the Kommendantenhaus, with the sun shining through the windows, the birds chirping, and their view of the Neckar River far below, slowly winding around the mountain. The second movement (Ready for Battle) is a tribute to the numerous battles waged at or over the town and castle. The theme of “Dies Irae” is audible in the middle section. The third movement (The Legendary Sleeping Chamber) creates a magical and mystical atmosphere and was inspired by the legend of the haunted room in the castle – it was said whoever slept in it would not wake again for fifty years. The theme of Johannes Brahms' Lullaby is the foundation of the movement, but is marked by rhythmic, melodic, and harmonic manipulations. The fourth movement (Rose of Dilsberg) depicts the story of Rose, who chose death rather than marrying a man she didn't love. The story is performed by Dilsberg residents each Summer on an outdoor stage. A solemn version of Wagner's Bridal Chorus and a short fragment of Chopin's Funeral March permeate the middle section. The final movement (Triumphal March) celebrates Dilsberg's 800th anniversary, which was celebrated in the year 2008 during the Borowsky's stay in Dilsberg. A DVD recording (including scenic photos of Dilsberg) was released by ICRecords in 2009 and is available for purchase (http://www.intermusearts.org/shop/).
Composed by Elizabeth, Emmanuel, and Frances Borowsky in July 2008.
Premiered in Dilsberg, Germany on July 6, 2008.
"Postcards from Dilsberg" is a collection of five musical postcards portraying the history, legends, and people of Dilsberg, Germany. The music was composed in July 2008 by Frances, Emmanuel, and Elizabeth Borowsky during their residency at the historic Dilsberg Castle in Germany. The first movement (Morning in Dilsberg) depicts their restful daily awakening at the top of the Kommendantenhaus, with the sun shining through the windows, the birds chirping, and their view of the Neckar River far below, slowly winding around the mountain. The second movement (Ready for Battle) is a tribute to the numerous battles waged at or over the town and castle. The theme of “Dies Irae” is audible in the middle section. The third movement (The Legendary Sleeping Chamber) creates a magical and mystical atmosphere and was inspired by the legend of the haunted room in the castle – it was said whoever slept in it would not wake again for fifty years. The theme of Johannes Brahms' Lullaby is the foundation of the movement, but is marked by rhythmic, melodic, and harmonic manipulations. The fourth movement (Rose of Dilsberg) depicts the story of Rose, who chose death rather than marrying a man she didn't love. The story is performed by Dilsberg residents each Summer on an outdoor stage. A solemn version of Wagner's Bridal Chorus and a short fragment of Chopin's Funeral March permeate the middle section. The final movement (Triumphal March) celebrates Dilsberg's 800th anniversary, which was celebrated in the year 2008 during the Borowsky's stay in Dilsberg. A DVD recording (including scenic photos of Dilsberg) was released by ICRecords in 2009 and is available for purchase (http://www.intermusearts.org/shop/).
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"What a beautiful performance - the three of you are exquisite! And I loved your compositions. My husband and I were so moved by Postcards - so poignant. When I think of you three playing it brings me to tears - I know how much commitment, strength, and emotional openness is required musically, interpersonally, artistically to be able to do what you and your family do. It’s quite amazing. I wish I had the relationships with my siblings that you must have..." (Suzanne) |
HARDY
Dedicated to Hardy von Auenmueller, President of the German Society of Pennsylvania.
Composed by Elizabeth, Emmanuel, and Frances Borowsky in December 2010-January 2011 .
Premiered January 30, 2011 in Philadelphia, PA
This group of five little pieces (in the vein of Schoenberg) is an exploration of moods, styles, timbres, harmonies, and textures. Each movement is based on a note associated with a letter in the name "Hardy" - the "H" in German usage corresponding to the English "B", the "R" borrowed from the solfege scale degree "ra" (lowered second degree of the scale), the "Y" being changed to "E" as it is pronounced in the name, and the "A" and "D" corresponding with their matching pitches. The first three pieces are more pensive and dark in nature; the last two are decidedly playful. The trio begins with "H" written for solo cello. The piece uses only the five pitches corresponding to the name (B-A-D flat-D-E) and is meditative, somewhat reminiscent of the opening of Aaron Copland's Appalachian Spring. The second piece begins on A and is in the Dorian mode. The theme is presented by all members of the trio unison - the piano presenting soft commentary at the end of phrases - and then is immediately repeated in the violin while the cello plays the theme in inversion. The piece is in ABA' form. The third piece, "R" begins with melodic conversation between the cello and violin. The theme is closely related, however the surprising harmonic changes in the piano part changes the context of the melody and thus the meaning. The fourth piece is a Scherzo in triple meter. Though the piano beings with a short four-note introduction, the melody - a German folksong (Hop-Hop-Hop)- is carried by the violin and played pizzicato. The piano performs rapid-fire arpeggios up and down the keyboard. The final piece, "E" is based on an ostinato of the five notes of HARDY transposed to E major (F sharp - E - G sharp - A - B). The piano beings with 7/8 ostinato sequence, the strings enter after a few moments. The middle section is a chorale in 6/4 time - also heavily based on "HARDY". A fragment of the A section returns at the end.
Dedicated to Hardy von Auenmueller, President of the German Society of Pennsylvania.
Composed by Elizabeth, Emmanuel, and Frances Borowsky in December 2010-January 2011 .
Premiered January 30, 2011 in Philadelphia, PA
This group of five little pieces (in the vein of Schoenberg) is an exploration of moods, styles, timbres, harmonies, and textures. Each movement is based on a note associated with a letter in the name "Hardy" - the "H" in German usage corresponding to the English "B", the "R" borrowed from the solfege scale degree "ra" (lowered second degree of the scale), the "Y" being changed to "E" as it is pronounced in the name, and the "A" and "D" corresponding with their matching pitches. The first three pieces are more pensive and dark in nature; the last two are decidedly playful. The trio begins with "H" written for solo cello. The piece uses only the five pitches corresponding to the name (B-A-D flat-D-E) and is meditative, somewhat reminiscent of the opening of Aaron Copland's Appalachian Spring. The second piece begins on A and is in the Dorian mode. The theme is presented by all members of the trio unison - the piano presenting soft commentary at the end of phrases - and then is immediately repeated in the violin while the cello plays the theme in inversion. The piece is in ABA' form. The third piece, "R" begins with melodic conversation between the cello and violin. The theme is closely related, however the surprising harmonic changes in the piano part changes the context of the melody and thus the meaning. The fourth piece is a Scherzo in triple meter. Though the piano beings with a short four-note introduction, the melody - a German folksong (Hop-Hop-Hop)- is carried by the violin and played pizzicato. The piano performs rapid-fire arpeggios up and down the keyboard. The final piece, "E" is based on an ostinato of the five notes of HARDY transposed to E major (F sharp - E - G sharp - A - B). The piano beings with 7/8 ostinato sequence, the strings enter after a few moments. The middle section is a chorale in 6/4 time - also heavily based on "HARDY". A fragment of the A section returns at the end.
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IN MEMORIAM
Composed by Elizabeth, Emmanuel, and Frances Borowsky in May 2013.
Premiered in Kaunas, Lithuania on June 14, 2013 - the Day of Mourning and Hope - at the foremost Lithuanian music festival, under the patronage of the President of Lithuania, and then performed throughout Lithuania, Estonia, and Latvia.
This composition (which includes arrangements of symbolic songs associated with this chapter of history) was acknowledged as the most expressive venue honoring the victims of the Nazi and Communist inhumanities. The music depicts the deportations, suffering, and liberation of the Baltic nations. As the Supreme Rabbi of Estonia, Shmuel Kot, concluded, "It is not only honoring the victims, but the best bridge for all people to live in harmony and peace."
I. Deportations. This movement depicts the terrifying experience of sudden capture and forced evacuation of homes at gunpoint. Countless people -- including women and children -- were deported by train in the middle of the night. Crammed into the wagons, they endured a hopeless journey.
II. Gulag. Arriving at their destination imposed by their oppressors, their worst fears were realized. They would not be going home anytime soon, if ever. The abhorrent conditions of the slave-labor camps meant that excruciating suffering and death was a daily experience. Those that survived have been haunted by the trauma and the ghosts of their family, friends, and neighbors that they were helpless to protect.
III. (Resurrection) The blood and tears became the seeds for freedom of the next generation. Estonia, Latvia, and Lithuania regained freedom and independence in the 1990s, most famously portrayed through the singing revolution. This is an arrangement of the song, "Wake Up, Baltics" that was sung across three nations in three languages.
Composed by Elizabeth, Emmanuel, and Frances Borowsky in May 2013.
Premiered in Kaunas, Lithuania on June 14, 2013 - the Day of Mourning and Hope - at the foremost Lithuanian music festival, under the patronage of the President of Lithuania, and then performed throughout Lithuania, Estonia, and Latvia.
This composition (which includes arrangements of symbolic songs associated with this chapter of history) was acknowledged as the most expressive venue honoring the victims of the Nazi and Communist inhumanities. The music depicts the deportations, suffering, and liberation of the Baltic nations. As the Supreme Rabbi of Estonia, Shmuel Kot, concluded, "It is not only honoring the victims, but the best bridge for all people to live in harmony and peace."
I. Deportations. This movement depicts the terrifying experience of sudden capture and forced evacuation of homes at gunpoint. Countless people -- including women and children -- were deported by train in the middle of the night. Crammed into the wagons, they endured a hopeless journey.
II. Gulag. Arriving at their destination imposed by their oppressors, their worst fears were realized. They would not be going home anytime soon, if ever. The abhorrent conditions of the slave-labor camps meant that excruciating suffering and death was a daily experience. Those that survived have been haunted by the trauma and the ghosts of their family, friends, and neighbors that they were helpless to protect.
III. (Resurrection) The blood and tears became the seeds for freedom of the next generation. Estonia, Latvia, and Lithuania regained freedom and independence in the 1990s, most famously portrayed through the singing revolution. This is an arrangement of the song, "Wake Up, Baltics" that was sung across three nations in three languages.
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"This was the most moving experience I've had in a long time... or even ever. Most music performances I go to just make me feel good. This one motivated me to think deeper about myself, my world, my emotions, the people in my life, and even history and current events. In Memoriam made me realize that that we cannot be too comfortable with our world and our life, as there are potential tyrants in every generation, culture, and country. We must be aware and actively fight and work for justice and peace. We must allow ourselves to feel through music - it's the best chance we have to travel through time, space, culture, and emotions and to better understand and help others. These are all thoughts that came through the music. Thank you." (Anne) |
THESE THREE REMAIN: FAITH, HOPE, AND LOVE
Commissioned by the Madrona Viola Duo.
Composed by Elizabeth, Emmanuel, and Frances Borowsky, Fall 2013.
Premiered December 14, 2013 in Portland OR.
The word “gifts” conjures a history of images and experiences, of family, friends, and strangers who have touched our lives with their words, actions, and love. We think of beauty, we think of gratitude. The inspiration for this composition written for the Madrona Viola Duo at their Aurora Chorus December 2013 concert performances entitled “Simple Gifts” was inspired by three specific memories of gifts that the three of us received. We assigned ourselves the homework to write a movement about a memorable gift, and then came together to discuss what we had written. It was surprising even to us that we each selected a gift that evoked bittersweet memories. Perhaps this is a reminder that beauty, love, and pain are more often on the same end of the spectrum than on opposite ends. Each has changed our lives in some way, and has inspired a sense of gratitude for their lasting influence on our life. To quote 1 Corinthians 13:13 “And now these three remain: faith, hope and love. But the greatest of these is love.”
FAITH (Emmanuel)
I remember my lessons with Erick Friedman clearly. Although, I wasn’t fully cognizant of his status as a legendary violinist, I was intimidated enough by his strong presence that I often felt nauseated. He made it clear to me that the reason he pushed me so hard was because he had faith in me as a young violinist who would continue to grow. This unconditional gift of another person’s faith and confidence is something that I have grown to appreciate more and more as the years go by. Friedman’s generosity is the kind of gift that helps shape a life into something meaningful. Its positive effect remains forever as reflected in this movement.
HOPE (Elizabeth)
This movement is a tribute to my dear friend, Dean, who gave me a flashlight as a gift for one of my birthdays. I took it, put it in a drawer, and it remained there for years. Then, in June 2012 at age 30, Dean was critically injured in a motorcycle accident, only a month after his wedding. In addition to serious ailments that severely limit his physical health and cognition, Dean has become entirely blind. Now his wife, his family, and his faith are his guiding light. In the meantime, I have rediscovered the flashlight and found it to be an incredible tool; it has helped come to my rescue numerous times. The music is simple and dark, with glimmers of light and hope, and includes a fragment of his favorite hymn: How Great Thou Art.
LOVE (Frances)
As I was trying to decide what piece of jewelry to take on my year-long sojourn to Germany, I picked up a light, silver pendant. It was the outline of a heart, with a cross in the middle. My Opa (German for “grandfather”) had lovingly carved it. He had created many pendants with other motifs, but this one stood out to me. Simple, and yet profound. I tucked the pendant into the "to take" box. The traditional tune of "Simple Gifts" is used in this movement and reminds us that simplicity is a gift, and that the simplest gifts are often the most meaningful.
Commissioned by the Madrona Viola Duo.
Composed by Elizabeth, Emmanuel, and Frances Borowsky, Fall 2013.
Premiered December 14, 2013 in Portland OR.
The word “gifts” conjures a history of images and experiences, of family, friends, and strangers who have touched our lives with their words, actions, and love. We think of beauty, we think of gratitude. The inspiration for this composition written for the Madrona Viola Duo at their Aurora Chorus December 2013 concert performances entitled “Simple Gifts” was inspired by three specific memories of gifts that the three of us received. We assigned ourselves the homework to write a movement about a memorable gift, and then came together to discuss what we had written. It was surprising even to us that we each selected a gift that evoked bittersweet memories. Perhaps this is a reminder that beauty, love, and pain are more often on the same end of the spectrum than on opposite ends. Each has changed our lives in some way, and has inspired a sense of gratitude for their lasting influence on our life. To quote 1 Corinthians 13:13 “And now these three remain: faith, hope and love. But the greatest of these is love.”
FAITH (Emmanuel)
I remember my lessons with Erick Friedman clearly. Although, I wasn’t fully cognizant of his status as a legendary violinist, I was intimidated enough by his strong presence that I often felt nauseated. He made it clear to me that the reason he pushed me so hard was because he had faith in me as a young violinist who would continue to grow. This unconditional gift of another person’s faith and confidence is something that I have grown to appreciate more and more as the years go by. Friedman’s generosity is the kind of gift that helps shape a life into something meaningful. Its positive effect remains forever as reflected in this movement.
HOPE (Elizabeth)
This movement is a tribute to my dear friend, Dean, who gave me a flashlight as a gift for one of my birthdays. I took it, put it in a drawer, and it remained there for years. Then, in June 2012 at age 30, Dean was critically injured in a motorcycle accident, only a month after his wedding. In addition to serious ailments that severely limit his physical health and cognition, Dean has become entirely blind. Now his wife, his family, and his faith are his guiding light. In the meantime, I have rediscovered the flashlight and found it to be an incredible tool; it has helped come to my rescue numerous times. The music is simple and dark, with glimmers of light and hope, and includes a fragment of his favorite hymn: How Great Thou Art.
LOVE (Frances)
As I was trying to decide what piece of jewelry to take on my year-long sojourn to Germany, I picked up a light, silver pendant. It was the outline of a heart, with a cross in the middle. My Opa (German for “grandfather”) had lovingly carved it. He had created many pendants with other motifs, but this one stood out to me. Simple, and yet profound. I tucked the pendant into the "to take" box. The traditional tune of "Simple Gifts" is used in this movement and reminds us that simplicity is a gift, and that the simplest gifts are often the most meaningful.
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"I would definitely pay to have seen something, and have, of this calibre at the Kennedy Center. I can feel and see the picture you are painting through music. I feel your passion and only wished I had not stopped taking piano after 3 years." (Dale) |
THE KESSEL TRIO
Commissioned by Gail Kessel for her husband Martin Kessel's 80th birthday
Composed by Elizabeth Borowsky, 2018
Premiered August 2018 in Bethlehem, NH (Bethlehem Hebrew Congregation: Sounds in the Sanctuary)
About the Music (Elizabeth Borowsky)
I have always been a Romantic at heart; as a child my favorite composers were Frederic Chopin and Johannes Brahms (and, embarrassing for me to admit now, but at some point I relayed to my teacher that Debussy’s “Golliwogg’s Cakewalk” was “too modern” for my young taste). Over time, my musical taste expanded and new favorites included Maurice Ravel, Dmitri Shostakovich, Francis Poulenc, George Gershwin, and Leonard Bernstein, among others.
The Kesssel Trio explores my appreciation for rich melodic and harmonic beauty with a passion for distinctly modern -- and especially American -- twists. The thematic material is original, with excerpts of familiar ideas incorporated to support the programmatic form of this work. The piano serves as the narrator; introducing each movement and creating a connection from one to the next. You may consider each opening as a mini-overture to an opera; it sets the mood and stages the scene. Note the tonal connection between the end of each movement and the beginning of the next, and the attaca indication.
The first movement, South Africa, starts off with a majestic overture with a hint of jazz that portrays Martin’s childhood in Johannesburg, South Africa. When the strings enter you may be able to make out the car horns of city life, and a playful youthful curiosity and optimism. This section soon enough spirals into a passage of searching, seeking, and growing: the foreshadowing of Martin’s interest in Zionism. The music merges into a veiled rendition of the beloved South African song Shoshaloza. The lyrics of this song (“Go forward from those mountains on this train from South Africa. Go forward. You are running away from those mountains on this train from South Africa.”) as well as the significance of it being heralded as the “unofficial anthem” of South Africa seemed a perfect fit for this moment in Martin’s life. The piano becomes the train, moving relentlessly forward until it finally disappears into the distance.
The second movement, Israel, reflects Martin's life in Israel. This lyrical work begins with Hatikvah, the national anthem of Israel that is music to the lyrics of the Jewish poem “The Hope.” The middle section of the movement is based on scale systems that are traditionally used in Jewish music: altered Dorian and altered Phrygian. This section includes a reference to Martin’s three children (the ascending “chime” motif in mm.16-18, 25-27, 33-35) as well as his career as a scientist: the violin and cello switch parts between mm.10-27 and 27-41, while the piano is the “control group”). Then, during the third iteration of this thematic material (mm. 43-51), the chromatic half-step intervals in the right-hand of the piano signify the smallest interval possible on the piano; a reference to Martin’s work in microbiology. The end of the movement finishes with a reiteration of Hatikvah, however with an unexpected chord that reflects the reality that the journey is continuing on.
The third movement begins with a calm sense of flight and exploration and is marked “soaring freely.” To me, triplets have always symbolized motion, like wheels turning or the earth revolving. As the piano solo progresses in this minimalism-inspired style, it leads to a subtle choreography that resembles the wings of a butterfly or a bird: the pianist’s hands mirror each other with the thumbs close together, peeling outwards. The strings enter with a soothing, if curious, melody: Martin is taking on his new life and settings. The music signifies Martin’s hiking through the New Hampshire mountains (three iterations of the same material, at various altitudes) and skiing (listen for the descending whole-tone scale). The core of the movement is a lively jazz section with a strong bass line and rhythmic pulse. Martin certainly shared his passion for music with his deaf son, realizing that although music would be experienced in a different way, it can be felt, understood, appreciated, and loved. For the deaf, music is not about hearing sound: it is about feeling it and experiencing it. A majestic rendition of the opening material leads to an excerpt of the Hatikvah motif from the second movement that returns in the violin, with a hint of Shoshaloza in the cello. The movement comes to a close with a reiteration of the very opening -- alluding to synchronicity and oneness in life, and the occasional realization that moments that we are only noticing now have been there all along -- and finishes with a triumphant virtuosic passage.
Duration: 11:00
Commissioned by Gail Kessel for her husband Martin Kessel's 80th birthday
Composed by Elizabeth Borowsky, 2018
Premiered August 2018 in Bethlehem, NH (Bethlehem Hebrew Congregation: Sounds in the Sanctuary)
About the Music (Elizabeth Borowsky)
I have always been a Romantic at heart; as a child my favorite composers were Frederic Chopin and Johannes Brahms (and, embarrassing for me to admit now, but at some point I relayed to my teacher that Debussy’s “Golliwogg’s Cakewalk” was “too modern” for my young taste). Over time, my musical taste expanded and new favorites included Maurice Ravel, Dmitri Shostakovich, Francis Poulenc, George Gershwin, and Leonard Bernstein, among others.
The Kesssel Trio explores my appreciation for rich melodic and harmonic beauty with a passion for distinctly modern -- and especially American -- twists. The thematic material is original, with excerpts of familiar ideas incorporated to support the programmatic form of this work. The piano serves as the narrator; introducing each movement and creating a connection from one to the next. You may consider each opening as a mini-overture to an opera; it sets the mood and stages the scene. Note the tonal connection between the end of each movement and the beginning of the next, and the attaca indication.
The first movement, South Africa, starts off with a majestic overture with a hint of jazz that portrays Martin’s childhood in Johannesburg, South Africa. When the strings enter you may be able to make out the car horns of city life, and a playful youthful curiosity and optimism. This section soon enough spirals into a passage of searching, seeking, and growing: the foreshadowing of Martin’s interest in Zionism. The music merges into a veiled rendition of the beloved South African song Shoshaloza. The lyrics of this song (“Go forward from those mountains on this train from South Africa. Go forward. You are running away from those mountains on this train from South Africa.”) as well as the significance of it being heralded as the “unofficial anthem” of South Africa seemed a perfect fit for this moment in Martin’s life. The piano becomes the train, moving relentlessly forward until it finally disappears into the distance.
The second movement, Israel, reflects Martin's life in Israel. This lyrical work begins with Hatikvah, the national anthem of Israel that is music to the lyrics of the Jewish poem “The Hope.” The middle section of the movement is based on scale systems that are traditionally used in Jewish music: altered Dorian and altered Phrygian. This section includes a reference to Martin’s three children (the ascending “chime” motif in mm.16-18, 25-27, 33-35) as well as his career as a scientist: the violin and cello switch parts between mm.10-27 and 27-41, while the piano is the “control group”). Then, during the third iteration of this thematic material (mm. 43-51), the chromatic half-step intervals in the right-hand of the piano signify the smallest interval possible on the piano; a reference to Martin’s work in microbiology. The end of the movement finishes with a reiteration of Hatikvah, however with an unexpected chord that reflects the reality that the journey is continuing on.
The third movement begins with a calm sense of flight and exploration and is marked “soaring freely.” To me, triplets have always symbolized motion, like wheels turning or the earth revolving. As the piano solo progresses in this minimalism-inspired style, it leads to a subtle choreography that resembles the wings of a butterfly or a bird: the pianist’s hands mirror each other with the thumbs close together, peeling outwards. The strings enter with a soothing, if curious, melody: Martin is taking on his new life and settings. The music signifies Martin’s hiking through the New Hampshire mountains (three iterations of the same material, at various altitudes) and skiing (listen for the descending whole-tone scale). The core of the movement is a lively jazz section with a strong bass line and rhythmic pulse. Martin certainly shared his passion for music with his deaf son, realizing that although music would be experienced in a different way, it can be felt, understood, appreciated, and loved. For the deaf, music is not about hearing sound: it is about feeling it and experiencing it. A majestic rendition of the opening material leads to an excerpt of the Hatikvah motif from the second movement that returns in the violin, with a hint of Shoshaloza in the cello. The movement comes to a close with a reiteration of the very opening -- alluding to synchronicity and oneness in life, and the occasional realization that moments that we are only noticing now have been there all along -- and finishes with a triumphant virtuosic passage.
Duration: 11:00
- South Africa 3 minutes, 30 seconds
- Israel 2 minutes, 45 seconds
- America 4 minutes, 50 seconds
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