To The New World A Tone Poem For Symphony Orchestra By Composer Alla Borzova, youtube mp3 indir

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To The New World, a tone poem for symphony orchestra, by composer Alla Borzova

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To The New World (2001-2002) is a programmatic work that seeks to evoke in music the great nineteenth-century influx of immigrants to America from all over the world. The scenario is an imaginary ship bringing immigrants of various national and cultural origins to America’s shores. Commissioned by the Renée B. Fisher Family and Brooklyn College Foundations, the work was premiered on November 1, 2003, at the Whitman Hall of Brooklyn College under the composer's direction. Among other performances are those by the Belarusian State Philharmonic Symphony Orchestra under Alexander Anissimov’s direction, at the acclaimed Cabrillo Festival of Contemporary Music under Marin Alsop’s direction, and by the Detroit Symphony Orchestra under Leonard Slatkin’s direction. That performance was recorded live and released by Naxos in «American Classics» series in 2012. The work is scored for full orchestra, plus tenor and alto saxophones.

There are several leitmotifs in the composition. The most important is the “poignant, yet hopeful” (Santa Cruz Sentinel) “immigration theme,” with which alto flute begins the introductory Andante. I develop the theme in several contrapuntal “lyrical digressions” throughout the work. Other leitmotifs include the ship’s horn (tuba); the ascending 5-note call (brass); and two successive “immigrant chords” (high woodwinds, then low brass), symbolizing the ups and downs of immigrant life.

The main Allegro section begins with impressions of the ethnic music of the various immigrant groups: an Irish reel; the well-known German “Grossvater” melody (the only quotation in the piece) followed by a leisurely Ländler; a Klezmer-like tune and an Italian tarantella. Subsequent episodes bring to mind the music of Africa (the “bell rhythm” heard from two cowbells), Latin America, and China. These styles are matched by what might be called “leit-timbres” that help to convey the various ethnic flavors: solo violin and bodhran (Irish drum) for the Irish music; French horns and trombone for the German melodies; solo clarinet and clarinet/violin duo for the Klezmer music; solo trombone and tambourine for the Italian tarantella; percussion instruments of African and Latin American origin in their respective episodes; and finally a low piccolo imitating a Chinese flute.

After the mysterious Chinese episode comes a final “gathering” of all the previously heard national styles, each in its own tempo, timbre, and tonality: a distinctly chaotic section that symbolizes the great American cultural “melting pot.” Following this gathering is a uniquely American jazz episode (featuring saxophones), reflecting the sounds that the immigrants on the ship might hear from the American shore. This passage gets gradually louder and louder as the ship approaches land.

After the jazz episode, the music quiets down, leaving only the work’s opening note (a “D”) to grow again into a reprise of the first immigration theme. This time, it is heard only in the strings: first in unison, then in octaves, and finally in double octaves – as more and more people on the ship experience the same thought: “Happiness is possible, but difficult.” (Randall Jarrell). The initial immigration theme returns, leading into the two immigration chords, followed by the cowbell’s African rhythm – representing the passage of Time.
© Alla Borzova