GrantParkMusicFestival Grant Park Orchestra and Chorus … · Christopher Bell, Chorus Director ......

Program Notes A��

GrantParkMusicFestivalSeventy-fifth Season

Grant Park Orchestra and ChorusCarlos Kalmar, Principal ConductorChristopher Bell, Chorus Director

Second Program: Bernstein on the WaterfrontFriday, June 12, 2009 at 5:30 p.m. Jay Pritzker PavilionGRANT PARK ORChESTRA AND ChORUSCarlos Kalmar, ConductorChristopher Bell, Chorus DirectorJohn horton Murray, TenorDenis Sedov, BassChicago Children’s Chorus, Josephine Lee, Artistic Director

KERNIS Too Hot Toccata

BERNSTEIN Symphonic Suite from On the Waterfront

ShOSTAKOVICh The Song of the Forests for Tenor, Bass, Children’s Chorus, Mixed Choir and Orchestra, Op. 81

When the War Was Over (Bass, Men’s Chorus) The Call Rings Throughout the Land (Mixed Chorus) Memory of the Past (Bass, Mixed Chorus) — The Pioneers Plant the Forest (Children’s Chorus) — The Young Communists Forge Onwards (Mixed Chorus) A Walk Into the Future (Tenor, Mixed Chorus) Glory (Bass, Tenor, Mixed Chorus, Children’s Chorus)

John horton Murray DeniS SeDovThe Chicago Community Trust,

our region’s community foundation, is proud to support the Grant Park Music Festival on its 75th anniversary.

For more information about The Chicago Community Trust, please go to www.cct.org.

“To stop the flowof music would belike the stopping of

time itself, incredibleand inconceivable.”

AAron CoPelAnd


Friday, June 12, 2009 GRANT PARK MUSIC FESTIVAL

CARlOS kAlMAR’s biography can be found on page A2.

ChRiSTOPheR Bell’s biography can be found on page A3.

hailed by Opera Now for his “believably heroic figure with a gleaming ring at the top of his vocal register,” JOhn hORTOn MURRAy has recently added several new roles to his repertoire at the Nationaltheater Mannheim where his performances included the title roles in Lohengrin, Parsifal, and Otello, Jason in Medée, Alvaro in La forza del destino, Kaiser in Die Frau ohne Schatten, Max in Der Freischütz, Siegmund in Die Walküre, Sergei in Lady Macbeth von Mtsensk, and Canio in Pagliacci. highlights of his engagements in America include The Metropolitan Opera, Seattle Opera, Lyric Opera of Chicago, Utah Opera, Tulsa Opera, Santa Fe

Opera, New York City Opera, houston Grand Opera and Opera Company of Philadelphia. Among his many international engagements are performances at the Deutsche Oper Berlin, the Frankfurt Opera, the Royal Opera at Covent Garden, the Scottish Opera, Opera North Ireland, the Gran Teatre del Liceu, Teatro alla Scala. On the concert stage, John horton Murray recently performed at the Concertgebouw in Amsterdam, Vancouver Symphony Orchestra, the Royal Philharmonic Orchestra, Kansas City, the Toronto Symphony Orchestra, the Atlanta Symphony Orchestra, the Pittsburgh Symphony, the Colorado Symphony and the San Francisco Symphony. A frequent guest at festivals around the world, the tenor has been featured at the Spoleto Festival, Antiken Fesitval, Bard Music Festival, the Baden-Baden Festival and the Bellingham Festival. Mr. Murray has recorded on numerous labels including Naxos, London, Decca and Sony.

Opera News hails DeniS SeDOV as “tall and commanding, gifted with a splendid physique and a bass to match” and his ability to “seduce with his voice as well as with his presence.” his engagements in the 2008-09 season include Washington National Opera, Al Ayre Español, the Grant Park Music Festival and the Casals Festival in Puerto Rico. In future seasons, he returns to the Cincinnati, Atlanta and Vancouver Symphonies and the Atlanta Opera. In the 2007-08 season he sang with Seattle Opera, L’Opera de Montreal, Atlanta Symphony Orchestra, and Quebec Symphony, as well as with L’Orchestre de Paris. Mr. Sedov’s recent international engagements include his debut with the Royal Opera house at Covent Garden, Teatro alla Scala and the Paris Opera. he made his Metropolitan Opera debut as Colline in La Bohème after having been one of very few non-American singers ever invited to join the company’s prestigious Lindemann Young Artist Development program. Mr. Sedov is also a frequent guest of the world’s most noted summer festivals, such as the Aix-en-Provence Festival, Italy’s Spoleto Festival and the Aspen Music Festival. Mr. Sedov is also an equally engaging concert performer, having performed at the winter Olympics in Japan in 1998, the Spoleto Festival, Los Angeles Philharmonic, San Francisco Symphony and Israel Philharmonic Orchestra. Many of Mr. Sedov’s recordings may be found on the Deutsche Grammophon label.

A�0 Program Notes

Founded in 1956, ChiCAGO ChilDRen’S ChOiR is a multiracial, multicultural choral music education organization, shaping the future by making a difference in the lives of children and youth through musical excellence. The Choir currently serves 2,800 children, ages 8-18 through choirs in 45 schools, after-school programs in 8 Chicago neighborhoods and the internationally acclaimed Concert Choir. Under Artistic Director Josephine Lee, the Choir has undertaken many highly successful national and international tours,

received an Emmy Award for the 2008 documentary Songs on the Road to Freedom, and has been featured in nationally broadcast television and radio performances, including PBS’s From the Top: Live from Carnegie Hall. Today’s performance features treble voices selected from the Concert Choir and Neighborhood Choirs. As a national and international touring ensemble, the Choir has performed throughout the United States, Europe, South Africa, South Korea, Japan and Canada, and for such dignitaries as former President and Senator Clinton, former South African President Nelson Mandela, the Dalai Lama, Archbishop Desmond Tutu, International and United States Olympic Committees and Mayor Richard M. Daley. The Choir has also performed with or for such celebrities as Luciano Pavarotti, Quincy Jones, Enrique Iglesias, Celine Dion, Denyce Graves, Samuel Ramey, Bobby McFerrin, Sweet honey In The Rock and Ladysmith Black Mambazo, and collaborates regularly with Lyric Opera of Chicago, Chicago Symphony Orchestra, Steppenwolf Theatre Company, Joffrey Ballet, River North Chicago Dance Company, Millennium Park, Ravinia Festival and Grant Park Music Festival. The Choir has three studio-recordings available from Amazon.com, iTunes and www.ccchoir.org.

Born in Chicago, JOSePhine lee is a classically trained pianist, conductor and producer. Appointed in 1999, Ms. Lee is the youngest Artistic Director in the history of Chicago Children’s Choir. Under her direction, the Choir tours nationally and internationally, and collaborates regularly with renowned choral, orchestral, opera, theatre and dance organizations. In April, she led the Choir in concert at the Lincoln Memorial in Washington D.C. with Denyce Graves and Sweet honey In The Rock, honoring the 70th Anniversary of Marian Anderson’s historic concert at that site. In 2007, she was the music

director for cultural programming featuring the Chicago Children’s Choir surrounding the Dalai Lama’s public appearance at Millennium Park. Ms. Lee has received numerous honors including the 2008 3Arts Artist Award and was named a 2006 “Chicagoan of the Year in the Arts” by the Chicago Tribune. In 2002, Chorus America named Ms. Lee the first Robert Shaw Conducting Fellow, recognizing outstanding, emerging conductors who will exemplify the highest standards of choral performance. In 2007, she was honored as a Distinguished Musician by The Union League Club of Chicago. Ms. Lee has conducted and performed concerts and master classes in Austria, Czech Republic, Germany, South Korea, Thailand, Canada and Japan, in addition to conducting the Chicago Symphony Orchestra, Lyric Opera Orchestra, Grant Park and Oregon symphony orchestras. She received her bachelor’s degree in piano performance from DePaul University studying with Dmitry Paperno, as well as a master’s degree in conducting from Northwestern University.

GRANT PARK MUSIC FESTIVAL Friday, June 12, 2009



too hot toccata (1996)aaron Jay Kernis (born in 1960)Kernis’s Too hot Toccata is scored for timpani, piccolo, flute, two oboes, eb clarinet, clarinet, bass clarinet, two bassoons, two horns, two trumpets, percussion, piano and strings. The performance time is six minutes. The Grant Park Orchestra first per-formed the Toccata on June 29, 2007, Carlos Kalmar conducting.

“I want to write music that is visceral, that is moving, and that is im-peccably put together. I don’t want classical music to be a passive experi-ence. I want it to have as much impact as the best rock concerts.” Aaron Jay Kernis, who distilled the essence of his art in these words, is very much a composer for the turn of the millennium — eclectic, brazen, exuberant, aggressive, plugged-in. “I want everything to be included in music,” he says, “soaring melody, consonance, tension, dissonance, drive, relaxation, color, strong harmony and form — and for every possible emotion to be elicited actively by the passionate use of these elements.” Passion, laced with chutzpah, marked his earliest recognition by the music world: when Jacob Druckman, his teacher at Yale and then Composer-in-Residence with the New York Phil-harmonic, scheduled an open reading of Kernis’ Dream of the Morning Sky at the Philharmonic’s horizons Festival of new music in June 1983, Kernis vigorously defended his handling of the orchestra after the conductor, Zubin Mehta, criticized it from the podium. Audience and critics were won over, and Kernis was news.

Aaron Jay Kernis was born in Philadelphia on January 15, 1960, and started teaching himself piano and violin at age twelve; he began composing soon thereafter. he took his professional training at the San Francisco Conservatory of Music (with John Adams), the Manhattan School of Music (Elias Tanenbaum and Charles Wuorinen), Yale (Morton Subotnik, Bernard Rands and, principally, Jacob Druckman) and the American Academy in Rome; he was appointed to the faculty of the Yale School of Music in 2003. Since his coming-out with Dream of the Morning Sky at the New York Philharmonic concert in 1983, Kernis has created an impressive catalog: significant scores for orchestra (three symphonies, New Era Dance, Invisible Mosaic III, Musica Celestis, a double concerto for guitar and violin, a concerto for English horn titled Colored Field); numerous compositions for varied chamber ensembles; pieces for piano, organ and accordion; and many works for solo voices and for chorus. he was Composer-in-Residence with the St. Paul Chamber Orchestra from 1993 to 1996; he began a similar post with the Minnesota Orchestra in September 1998. In 1998, Ker-nis won the Pulitzer Prize for his String Quartet No. 2, “Musica Instrumentalis”; his most recent recognition is the University of Louisville’s prestigious Grawemeyer Award for 2002 for the cello concerto Colored Field. Among his other distinctions are the Stoeger Prize from the Chamber Music Society of Lincoln Center, a Guggenheim Fellowship, a Rome Prize, a grant from the National Endowment for the Arts, a Bearns Prize, a New York Foundation for the Arts Award, a Tippett Award, an Award in Music from the American Academy of Arts and Letters, and awards from BMI and ASCAP, as well as commissions from the New York Philharmonic, Baltimore Symphony, St. Paul Chamber Orchestra, San Francisco Symphony, Los Angeles Chamber Orchestra, Aspen Music Festival, the Koussevitzky, Naumburg and Fromm foundations, American Public Radio and others. He fulfilled commissions for works for two significant occasions in the year 2000: one for the centennial celebrations of the Philadelphia Orchestra; the other, from Michael Eisner and the Disney Corporation, observing the arrival of the new millennium. In February 2000, his “perma-nently installed ambient music” for the Rose Center for Earth and Space at New York’s Museum of Natural history, titled Cosmic Cycle, was first heard. In 1995, Kernis signed an exclusive recording contract with Decca/London, which has released several highly acclaimed albums of his music. his recent works include Color Wheel, commissioned for the Philadelphia Orchestra’s opening concert at the new Kimmel Center on December 15, 2001. Kernis’ current commissions include works for his residency with the Minnesota Orchestra, a toy piano concerto for Margaret Leng Tan, and a new opera for Santa Fe Opera.

Too Hot Toccata, written in 1996 to mark the end of Kernis’ residency with the St. Paul Chamber Orchestra, is a brilliant reworking of the finale of his Double Concerto for Violin, Guitar and

A�� Program Notes


Orchestra, jointly commissioned by that ensemble, the Aspen Music Festival and the Los Angeles Chamber Orchestra for Nadja Salerno-Sonnenberg and Sharon Isbin. The toccata is an old keyboard form meant to show off the skill of the performer — the Italian word “toccare” means “to touch” the keys in a virtuosic fashion — and Kernis said that his Too Hot Toccata “features just about all of the principal players and treats all of the various orchestral sections as soloists. There is also a horribly difficult honky-tonk piano solo, as well as a fiendish clarinet solo and a big part for the piccolo trumpet, in addition to a lot of virtuoso percussion writing. The music is a little hyperactive — very high-energy and quite out-of-control, but with a slower middle section for balance.”

symPhoniC suite from on the Waterfront (1954)leonard Bernstein (1918-1990)Bernstein’s Suite from On the Waterfront is scored for piccolo, two flutes, two oboes, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, alto saxo-phone, four horns, three trumpets, three trombones, tuba, two timpani, percussion, harp, piano and strings. The performance time is �� minutes. The Grant Park Orchestra first performed the Suite on July 1, 1967, Samuel Krachmalnick conducting.

By early 1954, when Hollywood producer Sam Spiegel first approached him about writing the score for a new film, Leonard Bernstein had firmly established himself on the American musical scene as both conductor and composer. he had served as Assistant Conduc-tor of the New York Philharmonic, Music Director of the New York City Symphony and Musical Advisor to the Israel Philharmonic. As a composer, he had won the New York Music Critics Circle Award for his “Jeremiah” Symphony, and had completed his Second Symphony (“The Age of Anxiety”) and the ballets Fancy Free and Facsimile, as well as the scores for two Broadway shows (On the Town and Wonderful Town). During the middle 1950s, he was on the faculties of Brandeis Univer-sity and the Tanglewood Music Festival, and was much in demand as a guest conductor in Europe and America, having created a sensation in December 1953 as the first American to conduct at La Scala. Initially, Bernstein turned down Spiegel’s offer to supply the music for On the Waterfront, the film based on Budd Schulberg’s gritty novel about the docks protection rackets, but after seeing a screening of the work print in February 1954, he agreed to undertake the project. he took a leave of absence from his post at Brandeis, and moved to Hollywood. (It was not his first trip to the West Coast. In 1945 the star-struck Bernstein had taken a screen test to play the lead in a hal Wallis movie about Tchaikovsky that was never made.)

In an essay titled “Upper Dubbing, Calif.” that appeared in his book The Joy of Music (the third-floor room at Columbia Studios where sounds and images were mixed was known as “Upper Dubbing”), Bernstein wrote, “When I was first shown a rough cut of the picture I thought it a masterpiece of direction; and Marlon Brando seemed to me to give the greatest performance I had ever seen him give, which is saying a good deal. I was swept away by my enthusiasm into accepting the commission to write the score, although I had thereto resisted all such offers on the grounds that it is a musically unsatisfactory experience for a composer to write a score whose chief merit ought to be its unobtrusiveness.... But all such thoughts were drowned in the surge of excitement I felt upon first seeing this film. I heard music as I watched: that was enough.... Day after day I sat at a movieola, running the print back and forth, measuring in feet the sequences I had chosen for music, converting feet into seconds by mathematical formula, making homemade cue sheets; and every time I wept at the same speeches, chuckled at the same gestures. This continued right through the composing, orchestrating and recording of the music.... I was fortunate to be admitted to the dubbing sessions; I am told that usually the composer’s work is finished on the recording stage. By this time, I had become so involved in each detail of the score that it seemed to me perhaps the most important part of the picture. I had to keep reminding myself that it is really the least impor-tant part, that a spoken line covered by music is a line lost, and by that much a loss to the picture, while a bar of music completely obliterated by speech is only a bar of music lost and not necessarily a loss to the picture.... And so the composer sits by, protesting as he can, but ultimately accepting, be it with a heavy heart, the inevitable loss of a good part of his score. Everyone tries to comfort



him. ‘You can always use it in a suite.’ Cold comfort. But after all is said and done, the others are right.” Though Bernstein thrived on the collaborative theatrical process at that time in his life (West Side Story appeared three years later), he never returned to the film studio. On the Waterfront was his only movie score.

On the Waterfront, the story of Terry, a longshoreman (played by Brando) who defies the rack-eteers who had previously controlled him, enjoyed enormous success when it was released, earning seven Academy Awards, including those for Best Picture, Best Actor, Best Supporting Actress (Eva Marie Saint) and Best Director (Elia Kazan). Bernstein, however, was not content to have his music (which he insisted “had been planned as a composition with a beginning, middle and end”) remain in the background, and in 1955 he extracted from it a Symphonic Suite for large orchestra based on the half-dozen thematic ideas from which he wove the tightly integrated movie score. A broad horn melody (used in the film for the main title) opens the Suite, and recurs several times as a connective device. The following sections of the Suite, played without pause, are a powerful Presto barbaro led by the percussion (heard in the film to anticipate or heighten the scenes of violence); a warmly lyrical melody introduced by the solo flute (associated with the girl whose love is largely responsible for converting Terry to the forces of good); and a ferocious Allegro non troppo (which accompanies the fight scene between Terry and the racketeer, Johnny Friendly). The opening horn theme returns in a transfigured setting to close both the Suite and the movie, where it underlines Terry’s heroic walk to victory. The last measures, however, are marked by discordant cries from the full orchestra that recall the bitterness and suffering which characterize the story and preclude the conventional happy ending.

the song of the forests, oP. 81 (1949)dmitri shostakovich (1906-1975)Shostakovich’s Song of the Forests is scored for piccolo, two flutes, two oboes, Eng-lish horn, three clarinets, two bassoons, four horns, nine trumpets, nine trombones, tuba, timpani, percussion, two harps and strings. The performance time is �� minutes. This is the first performance of the work by the Grant Park Orchestra.

Much of the cultural and political history of Soviet Russia can be read from the events and creations of Dmitri Shostakovich’s life. his music of the 1920s — the impudent First Symphony, the satiric opera The Nose, the jingoistic Second and Third Symphonies — reflects the youthful exuberance and artistic avant-gardism of the first decade of the Soviet regime. After Lenin’s death in 1924, Joseph Stalin emerged victorious from the scramble for political power, and he solidified his dictatorship with the purges of the 1930s. Art and music did not escape Stalin’s repressions, and the vigorous, experimental styles of the preceding decade were attacked as “bourgeois decadence” and “formalistic.” Outright condemnation came upon Shostakovich in early 1936, when his lurid modernist opera Lady Macbeth of Mtsensk, which had been performed successfully dozens of times in Leningrad and Moscow following its premiere in 1934, incited Stalin’s vitriol. Stalin stormed out of a performance in Moscow, and within days an article in the Communist Party’s official newspaper, Pravda, perhaps written by Stalin himself, denigrated the opera as “Chaos Instead of Music.” Shostakovich, reeling from the blow, withdrew Lady Macbeth and his Fourth Symphony, already in rehearsal, and produced the Fifth Symphony in 1937 as “an artist’s response to just criticism.”

Welcomed back into the fold of repentant artists, Shostakovich became the leading Soviet composer during World War II. his Seventh Symphony, which recorded the misery and hoped-for triumph of the Russians in Leningrad under the ghastly Nazi siege, was a symbol of Russian courage and heroism to those at home and abroad, and it gained a Stalin Prize for the composer in 1942. The brooding Eighth Symphony (1943) and the sardonic Ninth (1945) met with less official approval, however, largely because they eschewed blatant patriotism at the time of the defeat of Germany. Again, in 1948, Shostakovich’s music was denounced, this time as “neo-classic” and “an escape from reality.” (The Soviet bureaucracy never gave clear definitions for any of these censori-ous terms.) Rather than a specifically artistic reason behind this condemnation, which also included


Prokofiev, Miaskovsky, Khachaturian and other leading Soviet composers, it seems to have arisen from Stalin’s consolidation of power after the war. (In his purported memoirs, Testimony, Shosta-kovich claimed that Stalin was jealous of the international acclaim the “Leningrad” Symphony had brought to the composer, and these purges were the dictator’s way of punishing the composer’s celebrity.) Other than the deeply expressive (but musically abstract) 24 Preludes and Fugues of 1950-1951, Shostakovich, motivated both by a sense of protest and by fear for his family, made public no music between 1948 and Stalin’s death in 1953 other than film scores dealing with epi-sodes in Soviet history (Encounter at the Elbe, The Fall of Berlin, The Memorable Year ��) and a series of Party-glorifying works for chorus and orchestra: Poem of the Motherland, The Sun Shines Over Our Motherland, March of the Defenders of Peace, Our Song and The Song of the Forests.

The Song of the Forests was one of some 220 new musical works created during 1949 to promote Soviet ideals and gratify Stalin’s ego. The text, by the conformist poet Yevgeny Dolmatovsky, is a paean to the government program intended to re-forest the vast swathes of the country devastated during the war — the wary poet made sure to include references to Stalin as “the great gardener,” but those were excised after the dictator’s death. (Shostakovich set other of Dolmatovsky’s verses, including a song [Op. 86, No. 1] that was used as a theme for Soviet news broadcasts and was sung by Yury Gagarin during the first manned space flight in 1961.) Shostakovich armored the text with a musical battalion comprising large orchestra, mixed chorus, children’s chorus and two male soloists, and The Song of the Forests excited such official acclaim at its premiere (December 15, 1949, Leningrad Philharmonic, Yevgeny Mravinsky conducting) that it received a Stalin Prize, a head-spinning turn of fortune for a composer whose work had been publicly condemned less than two years before. Though it stabilized his situation at home, The Song of the Forests dulled Shostakovich’s reputation abroad (a critic noted in a report of the work for Time magazine that Shostakovich had “once showed signs of becoming a great composer”) and apparently left him resigned but ambiva-lent about his place in the Soviet cultural machine (“I take responsibility for the music, but as for the words …”).

The Song of the Forests, which channels the revered idioms of Glinka, Tchaikovsky and Rimsky-Korsakov as much as Shostakovich’s own distinctive musical speech, comprises seven full-throated movements that encompass several traditional stylistic types: hymn (When the War Was Over), scher-zo (The Call Rings Throughout the Land), lament (Memory of the Past), intermezzo (The Pioneers Plant the Forest), march (The Young Communists Forge Onwards), meditation (A Walk Into the Future), apotheosis (Glory). It is built with consummate craftsmanship, and makes an absolutely splendid showcase for the chorus, but such elements as the conventionality of style, the breathless, superheated march strains of The Young Communists Forge Onwards, or the pile-on sonic slabs of the finale might cause some listeners to question the work’s emotional sincerity. It is not impossible that Shostakovich found in The Song of the Forests an ironic medium of protest through the very banality forced upon his music during the darkest days of Stalinist Russia.

©2009 Dr. Richard E. Rodda



Kogda Okonchilas Voina (“When the War Ended”)

Kogda okonchilas voina, When the war ended vzdokhnula radostno strana. the land breathed joyfully, Nastali solnechniye dni. sunny days began. Moi drug, tovarishch, My friend, comrade, posle boya domoi vernulis my s toboyu, we returned home after the battle, na kartu Rodini vzglyani: consulting the map of our homeland: tam ot Volgi i do Buga there, from the Volga to the Bug, i ot sevyera do yuga, and from north to south, gdye proshli wherever our victorious regiments pobyedniye polki, had passed, vstali krasniye flazhki. were placed red flags. Rodniye stepi i polya, Our native steppes and fields, mnogostradalnaya zemlya ... our long-suffering land. My zdyes voyevali, here we fought svobodu svoyu otstoyali, and defended our freedom, nas k podvigam novim these clear horizons summon us zovut eti yasniye dali, to new feats of valor,i, vnov oshchutiv, and our senses, like our broad fields, kak nashi polya shiroki, coming alive again, my krasniye s karti we remove the red flags snimayem flazhki. from our map, Snimayem krasniye flazhki, we remove the red flags, voinoyu oplanyonniye, scorched by war, i stavim noviye flazhki, and in their place we put new flags, kak tsvyet lesov, zelyoniye. green, the color of the forests. Ot reki i do reki, From river to river, ot Volgi i do Buga, from the Volga to the Bug, proidyot lesnaya polosa The forests spread ot sevyera do yuga. from north to south.

Odyenem Rodinu v Lesa (“We Will Clothe Our Homeland with Forests”)

Zvuchit priziv na vsyu stranu, The call rings out through all the land, raznosit vyeter golosa the voices are carried by the winds: obyavim zasukhye voinu, we will declare war on drought, odyenem rodinu we will clothe our homeland v lesa! with forests. Kovaren byl iyulski znoi, The intense heat of July was ominous, polyam grozili nyebesa. the heavens threatened the fields. Shtob novi mir So that a new world dyshal vesnoi, might breathe in spring, odyenem rodinu we will clothe our homeland v lesa! with forests. Svetla, kak pervaya lyubov, Pure and radiant, like first love, beryozok yunaya krasa. is the youthful beauty of the birches. Poseyem rozh We will sow rye pod syen dubov, in the shade of the oaks. odyenem rodinu We will clothe our homeland v lesa! with forests! My zashchitim svoi polya, We will protect our fields, yavlyaya miru chudesa. and show the world great wonders.Shtob krugli god So that the earth should bloom



tsvela zemlya, the whole year round, odyenem rodinu we will clothe our homeland v lesa! with forests. Po vsyem stepyam, Over the whole steppe, vdol russkikh ryek along the banks of the Russian rivers, proidyot lesnaya polosa. the forest spreads. Priblizim kommunizma vyek, We are nearing the age of Communism, odyenem rodinu we will clothe our homeland v lesa! with forests.

Vospominaniye o Proshlom (“Memories of the Past”)

My nye zabyli We have not forgotten gorkoi doli the cruel fate lyubimykh myest zemli svoyei: of our beloved land: stoit odna beryozka v polye, the birch tree stands alone in the field, i nyet zashchity u polyei! and the fields have no protection! Iz pustyni pyeschanoi The cursed wind blows vyetyer lyetit okayanny, from the sandy wasteland, iz-za Volgi lyetit sukhovyei. the dry wind blows from the Volga. Molodiye vzoidut zelenya — The young green shoots are sprouting, on sozhyot ikh bystryeye ognya ... they are consumed quicker than fire …Podnimayetsya The glorious ears of rye push up slavnaya rozh — through the earth, koloski on podryezhet, kak nosh … they are cut down as by a knife …God urozhaya A good harvest one year, i god nyedoroda, a poor one the next, kak vas uznat naperyod? how can you know in advance? Posle molyebna Despite prayers i krestnovo khoda and religious processions, dozhd na Russi nye idyot. no rain falls on Russia. Yesli uzh vydalsya god nyevyesyoli, In one bad year, dozhd probezhit storonoi. the rain passes by and misses the land. Zasukha, sgorbivshis, brodit po syolam Drought stalks the villagess nishchenskoi rvanoi sumoi. like a stooped, wretched beggar.Stonut polya The fields languish na zharye bezotradnoi, in the relentless heat, znoinomu vetru the tracks are open otkryty puti. to the burning wind: Dai nam khot kapelku tyeni prokhladnoi, oh, for a small spot of cool shade, nas, chelovyek, zashchitil! oh, man, protect us! Kak ty stradala kogdato, how you once suffered, milaya nasha zemlya! our dear land! Khlyeba prosili rebyata, The children begged for bread, vlagi prosili polya ... the fields begged for rain. Dyeti moi rodniye, dyeti moi, My children, my own children, nye plachtye: do not weep: vyrastitye bolshimi, you will grow up, zemlyu pereinachtye! you will alter the land!




Pionyery Sazhayut Lesa (“The Pioneers Plant the Forests”)

Topoli, topoli, The poplars, the poplars, skoryei iditye vo polye! hurry into the field! Pionyer vsyem primyer The pioneer, an example to us all, tam uzhe s rassvyeta! has been there since dawn! Yaseni, yaseni, Ash trees, ash trees rodnuyu step ukrasili, have adorned our native steppe, i beryoz nash kolkhoz and our collective farm posadil nyemalo. has planted many birch trees. Zholudi, zholudi, Acorns, acorns, kak zoloto tyazholiye, heavy as gold, dubdubok, nash druzhok, little oak tree, our little friend, vyrastai skoreye! grow quickly! Yabloni, yabloni, Apple trees, apple trees, vyrastaitye khrabrymi! grow bravely! Vas ni lyod nye vozmyot, Neither ice nor hard frost ni moroz treskuchi! shall harm you! S klyonami, klyonami, With the maples, the maples,stoinymi, zelyonymi, slender and green, nam rasti i tsvesti, grow and blossom for us, zemlyu ukrashaya, and adorn the land, nam rasti i tsvesti, grow and blossom for us slavya urozhai! and celebrate the harvest!

Komsomoitsy Vykhodyat Vperyod (“The Young Communists Go Forth”)

Vstavaitye na podvig, Arise, people of the great Soviet land, narody velikoi sovyetskoi strany! and do great deeds! Milostyei zhdat u prirody We must not now wait lyudi tepyer nye dolzhny. for nature’s bounties. Schastye vozmyom my svoimi rukami Let us grasp good fortune in our hands, zemlyu rodnuyu let us adorn our native land ukrasim sadami. with gardens. My prostiye sovyetskiye lyudi, We are simple Soviet people, kommunizm nasha slava i chest. Communism is our glory and honor. Kol narod govorit: As soon as the people say, “Eto budet!” “This will be,” my otvetim yemu: “Eto yest!” we reply, “It already is!” Vyshe znamya! Raise the banner higher, Vyshe znamya! raise the banner higher! Komsomolskiye The regiments of Young Communists vyshli polki, have gone forth shtob derevyev so that the trees should rise up zelyonoye plamya podnyalos in a blaze of green vozlye Volgiryeki. along the River Volga. Budet nashei pshenitsye ograda The Young Communists’ forests komsomolskykh lesov polosa will fence round our wheat ot Kamyshina do Volgograda, from Kamyshin to Volgograd, i na yug and southwards do Cherkesska lesa. to the forests of Cherkessk. Vyshe znamya! Raise the banner higher, Vyshe znamya! raise the banner higher! Komsomolskiye The regiments of Young Communists


vyshli polki, have gone forth, shtob derevyev so that the trees should flourish zelyonoye plamya rastsvyelo in a blaze of green vozlye Volgiryeki. along the River Volga. Slovno armiyu mirnuyu nashu, Just like our peaceful army, kol deryevya when the trees are lined up, vsye vystroit v ryad, as if on parade, to oni shar zemnoi opoyashut, they will encircle the earth, svetloi vlagoi yevo orosyat. and irrigate it with pure moisture. Vyshe znamya! Raise the banner higher, Vyshe znamya! raise the banner higher! Komsomolskiye The regiments of Young Communists vyshli polki, have gone forth shtob derevyev so that the trees should rise up zelyonoye plamya podnyalos in a blaze of green vozlye Volgiryeki. along the River Volga. Ekh, nye trogaitye sad etot divny, Ah, do not disturb this glorious garden. vy pred nim, Compared to it you are small, kak pigmyei, maly. like a pigmy. Krepche vashikh stvolov orudinykh Stronger than the barrels of your guns nashikh yunykh beryozok stvoly. are the trunks of our young birches. Gorodsoldat, nash geroi lyubimy, Soldier-city, our beloved hero, gordost i slava zemli rodimoi, pride and glory of our native land, nyeutomimy, nyepobyedimy, tireless, invincible, stroisya i slavsya grow and be famous, nash gorod geroi! our hero-city! Vyshe znamya! Raise the banner higher, Vyshe znamya! raise the banner higher! Slovno orden, Like a military decoration, listok u drevka! a leaf raised on a staff! Razlivaisya Overflow your banks i raduisya s nami, and rejoice with us, nyeobyatnaya Volgareka. boundless River Volga.

Budushchaya Progulka (“A Walk in the Future”)

A ... Ah ... Solovi poyut schastliviye, The silence is filled with the joyous oglashaya tishinu, song of the nightingales, nad polyami nad nivami above the cornfields slavyat yunost i vesnu. they celebrate youth and the spring. V stepi lesok zelyony vyros, On the steppe has sprung up lyubov moya, lyubov moya! a little green wood, my love, my love! A ranshe nam nye prikhodilos But here in the past, zdyes slishat we could not hear penye solovya. the song of the nightingale. Nashi lyudi bespokoiniye Our tireless people prevratili zemlyu v sad, have turned the earth into a garden: v tri ryada deryevya stroiniye, in rows of three, our slender trees vzyavshis za ruki, stoyat. join hands and stand straight. I nad shirokimi polyami — And above the broad fields —maya mechta, tvoya mechta — my dream and yours —listva zelyonaya nad nami, the green leaves above us, strany sovyetskoi krasota. the beauty of our Soviet land.



Shir stepyei The transformed wide expanse preobrazhonnaya — of the steppes —eto vsyo tvoi trudy. all this is the result of your work. Pust idut gulyat vlyublyonniye Go out and walk lovingly v nashi noviye sady. in our new gardens.

Slava (“Glory”)

Na polyakh kolkhozov Planted in squares vstali pa kvadratam on the fields of the collective farm stroiniye beryozy, grew the slender birches, rodiny soldaty, soldiers of our homeland, nashi klyony i beryozy. our maples and birches. Polya shirokiye, lesa zelyoniye, The broad fields and green forests, lesniye polosy — zashchita rodiny. the protective forests of our native land. Yasen, buk i grab The ash tree and beech,da iva — ivushka. hornbeam and willow. Mily krai russki, Our dear Russian land, stanesh yeshcho krashe, you will become still more beautiful. krai nash russki, krai nash slavny! Our Russian land, our glorious land! Nye strashitsya polye The field is not afraid grozovovo nyebo. of the threatening storm in the sky. Budet khleba v volyu, We will have bread in plenty, budut gory khleba. there will be mountains of bread. Sily nyet na svetye, There is no force on earth shtoby nas slomila. that can break us. Otstupayet vetyer pered nashei siloi. The wind abates before our strength. Polya shirokiye, lesa zelyoniye, The broad fields and green forests, lesniye polosy, nash russki krai! the tracts of forests, our Russian land! Slava komandiram Glory to the commanders bitvy za prirodu, of the battle for nature! slava brigadiru, slave polyevodu! Glory to the field cultivation teams! Slava agronomu, Glory to the agriculturalist, slava sadovodu! glory to the gardener! Parti nashei slava! Glory to our party! I vsemu narodu slava! Glory to all the people! Slava! Glory! Voskhodit zarya kommunizma! The day of Communism is dawning! Pravda s nami i schastiye u nas. Truth is with us, and good fortune. Yesli b nashu svyatuyu otchiznu If only Lenin could see mog Lenin uvidet seichas! our holy motherland now! Vedyot nashei Parti geni Our party is led by the genius nyepreklonnykh i vernykh synov. of loyal and indomitable sons. My za solntsye, We are for the sun, za schastye, za mir! for happiness and peace! My s prirodoi Together with nature, vstupayem v srazhenya we will march into battle vo imya qryadushchikh sedov. in the name of our gardens of the future. Deryevya vstayut velichavo The trees rise up majesticallyvozlye russkikh torzhestvennykh ryek. beside the solemn Russian rivers. Leninskoi parti slava! Glory to Lenin’s Party! Slava narodu navek! Glory to the people forever! Parti mudroi slava! Glory to our wise Party! Slava! Glory!


GrantParkMusicFestival Grant Park Orchestra and Chorus … · Christopher Bell, Chorus Director ......

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