Voskresenie Details

Voskrenie (2022) for vocals, piano, synth, kaval, gaida, and percussion.

Duration 7.25″

Programme Note

Voskresenie (2022) (Resurrection) operates with two musical themes –  death and resurrection. The death theme is represented through chant-like singing to portray a kind of lament associated with morbid pain after the loss of life.

Tibetan singing bowls are struck and played to create a sense of calm and peace that follows after one ceases to exist. The tranquil state is portrayed through resonating pads and singing bowls that texturally evolve with a spontaneous rhythmic pattern that weaves in and out. The theme Resurrection is rhythmic with the textural build-up of timbres and spontaneous rhythm. Symbolically it can suggest the body is lifeless and dead while the spirit or energy source is born out of death. At the start, it smolders but then erupts and brings about the Resurrection. 

The theme Resurrection works with odd time signatures such as 11/8, 7/8, and 9/8 derived from traditional Macedonian folk music. Musical instruments such as the kaval (wooden flute) and the gaida (bagpipe) are employed to enrich the sonic palette. A sense of “awakening” is expressed through low octaves on the piano that resemble a drone. A chord progression on an electronic synth complements the drone. This so-called “awakening” moment is heightened through orchestral cymbals and timpani to produce a powerful sonic transition into the resurrection theme

Vocals develop into a rhythmic pattern that takes flight and drives the melody alongside the lyrical flute passage. The bagpipe plays a sad tune that sonically highlights pain, suffering, and injuries endured. It is a reflection of the burdens and torments inflicted through living. The piano takes on the role of playing blocked chords that dissipate instantly. In the blink of an eye, our life flashes before us. In other words, life is short. 

In contrast, the 4/4 section has a repetitive and stringent melodic pattern on the piano that doubles on the flute. The kaval plays a solo followed by a return to the 11/8 section. A three-part voice harmony is heard that enhances the section by singing a melodic pattern. The bagpipe plays an interjecting passage in juxtaposition with the vocal harmonies. The melodic line of the bagpipe reveals that the torments inflicted on one are still repeated even in the present. The three-voiced melody sounds mighty and leads towards a direction that signifies “life goes on.” The torment remains no matter how strong we think we are trying to suppress and ignore the past.