Czarivna
Czarivna
A selection of Ukrainian ritualistic songs arranged and conducted by Arthur Polson
Arthur Polson: Leader/violin 
Alexis Kochan-Budyk: Vocals/vocal overdubs
Rennie Regehr: Viola
Bryan Epperson: Cello
Laurel Ridd: Flute/piccolo
Kenneth Strahl: Horn
Gregory Hodgson: Timpani/percussion
Johanathan Jensen: Bass
Mark Friedman: violin
Douglas Bairstow: Oboe/English Horn
(All players on this album are associated with the Winnipeg Symphony Orchestra)
Produced by: Alexis Kochan-Budyk with Arthur Polson
Orchestral Arrangements: Arthur Polson
Record and mixed at: Century 21 Studios, Winnipeg, Manitoba
Recorded in 1982
Play List
Spring
The first season of the year, spring, was marked by a large number of folk songs pertaining to the earth and rebirth. The change from winter to spring marked the fertility and rebirth of the soil.
- The Call for Spring – Is a call by the women of the village to spring itself: "Give the blessing Mother Nature ... Call in Spring, see off winter." The calling of life is foremost here, but more importantly, it was done by the women, symbols of fertility themselves.
- Czarivna – To increase the tempo of the oncoming spring, a serious dance or game was performed by the men of the villages.
- Oksanna – Deals with the theme of marriage and fertility symbolized by a myrtle wreath.
- Footbridge – A dance performed by men to not only hurry the arrival of spring, but also to initiate courting. Spring was the season of wooing, when promises of love were intermingled with promises of life.
- Ivan – Also deals with the theme of marriage and fertility symbolized by a myrtle wreath.
- Oh Willow
- Crooked Dance
Ivan Kupala
The courting games continued well into the summer, reaching their pinnacle with the midsummer festival of Ivana Kupala. Ivana Kupala, the festival of the sun god, was celebrated by an evening of magic, superstition, mating games, and fire and water rituals. However, this festival was more than just merry abandonment. In its symbols of fire, water and nature, the promises of love, matchmaking, and marriage were intensified, especially for women.
- Sowing the Rose – The color red, as in the red rose, suggest passion, if not definite eroticism. The symbolism of the rose is combined with that of water. Here a young woman begs for rain so that her rose might bloom - so that her wish for love might end with marriage.
- Kupala – The red berries of Kupala suggest passion and eroticism. A wish for marriage was stronger among women than men. A woman not chosen in midsummer was left alone again for another fall and winter. Promises of love were not fulfilled. This tragedy is reflected in Kupala where only Mary does not pick the red berries.
- Ulianna – The red shoes of Ulianna also suggest passion and eroticism. All women, except one, are fortunate, for the end of summer brings them the promise of marriage.
- Maryna – Young women make wreaths from the roses and myrtle, then ritually dance around a tree (symbol of growth and life).
- Rituals of Ivan Kupala – Only one young woman meets disaster in a match-making game by the river.
Wedding Songs
Most marriage ceremonies would usually take place during the early fall. Though wedding celebrations were stereotyped as joyous occasions, many of the wedding folk songs were morose. Sung by the future bride, the songs lament the woman's loss of youth and the separation from her family. Frequently, these laments were not expressions of real fear, but only rituals used to express respect for the original family.
- Silver Geese – A young man is idealized as the perfect husband.
- Marika – This folk song expresses both the respect, and the fear of separation by offering the young woman an alternative: "Marika – think it over, while you still have a chance and you're happy."
- Sunday Morning – The young bride asks her brother to rescue her from her fate.
- Mother, Gaze at Me – The ritual combing of the braid signifies that the young girl shall very soon be a "hospodinya", a married woman. She will be the wife of the young man idealized in the song "Silver Geese".
- Marika's Parting – Happiness is short-lived. This farewell song sung at the end of the wedding drama, brings back a note of sadness to the celebrations. The loss of the bride's freedom is reaffirmed by the young husband who is now the "hospodar", master of the house: "It's not for intimacy that I marry her, but to say whether or not she may go dancing." This loss of freedom was no surprise to the young bride. Through the songs, dances and rituals of each season, she was prepared for her fate.
About
Alexis Kochan-Budyk is a Winnipegger of Ukrainian descent. Several years ago, she studied music in Kyiv with the folk ensemble Veryovka. This experience stimulated interest in researching early Ukrainian folk songs dating back to pre-Christian times. Ms. Kochan-Budyk felt that the preservation of this uncommon music was important because it reflected many of the rich traditions and rituals of the Ukrainian culture. The early folk songs she selected for this first album - Czarivna - illustrate many of the important customs still observed by modern Ukrainians.
The collection of songs on this album strongly reflects the importance of seasons in Ukrainian culture. Since Ukraine is, and was, primarily an agricultural society, much of life's important activities, such as social gatherings, courting, marriages, and festivals were held during the most productive times of the year: spring, summer, and autumn. Each season was celebrated by festivals, dances, and songs laden with the rich symbols and rituals.
Arthur Polson is a noted Canadian violinist, composer and conductor. He was the Concert Master of the Winnipeg Symphony Orchestra, the CBC Orchestra, and the Manitoba Chamber Orchestra. He has worked extensively in many CBC broadcasts for radio and television and is a member of the Canadian League of Composers and the Composers, Authors and Publishers Association of Canada. His most recent work includes a concerto written for Ramon Parcells that has been performed by the Winnipeg Symphony Orchestra.
Mr. Polson's arrangements for this album took two months to complete. The interludes for Call for Spring and Crooked Dance, as well as the "chimes" preluding Silver Geese are all original compositions by Mr. Polson composed specifically for this album.
Source: LP Cover
