Boris Kovac and Ladaaba Orchestra «Ballads at the End of Time», «La Danza Apocalypsa Balcanica»
Bogdan Rankovic - clarinet, bass clarinet
Goran Penic - accordion
Milos Matis - double bass, tamburitza
Istvan Cik - drums, percussions
Olah Vince - guitar
Boris Kovac - alto, soprano saxes, sampler
01 Danza Transilvanica.mp3 9.3M
02 Interlude.mp3 2.5M
03 Damar Of Istanbul.mp3 9.1M
04 Early Morning Waltz.mp3 6.0M
05 Beguine At The End.mp3 5.2M
06 Interlude At The Gang.mp3 4.8M
07 Midnight Memories.mp3 9.1M
08 Waltz From Careless Street.mp3 4.3M
09 Cha Cha.mp3 5.1M
10 Colour Of Remembrance.mp3 6.6M
11 Broken Waltz.mp3 4.5M
12 The Last Interlude.mp3 6.8M
13 At The End Of Time.mp3 9.9M
14 Birds.mp3 688k
Compositions have different bit rate.
mp3s' were taken from site http://www.zomba.com.ru . It seems that wondeful site is not accessible for some foreigners. It's sad.
About Boris Kovac.
Boris Kovac, born in 1955, is a composer, instrumentalist and multimedia artist from Novi Sad, capital of the multiethnic region Vojvodina in the Pannonian Plains. Formerly, this area was known as legendary cross point for all sorts of migrants from the Mediterranean to the Baltic. Till now Pannonia is characterized by the juxtaposition of Catholizism, Islam and Slavic Orthodoxy. Boris writes music for chamber groups that he rehearses and leads. Many of his projects are to some extent connected with theatre. In 1982 the composer created the Ritual Nova Ensemble, an ever-changing, flexible group made up of musicians as well as visual artists, dancers and performers, acting as sole composer and director. Since 1989 he has been the leader of the "Chamber Theatre of Music OGLEDALO" from Novi Sad.
After staying in Italy, Slovenia, Austria and Canada for several years, Boris Kovac came back to Yugoslavia to participate on the cultural reconstruction of his home country in numerous projects in the reflourishing theatre scene. As Bela Bartok 70 years before, Boris Kovac wants to stand out as cultural intersection between traditional music culture and the young contemporary music scene of Yugoslavia. By leading his RITUAL NOVA ensemble, LaDaABa orchest, Chamber Theatre of Music OGLEDALO, Academy of Fine Skills and working with students he attempts to reestablish the contemporary music/theatre scene in his country.
He has shared his artistic talents at approximately 30 festivals of new music and contemporary theater in many different countries.
"Our advantage is, that people from 20 different nationalities lived together in the pannonian plains, so today no one can say from which folklore my music comes exactly. Anyway for us, living in an urban situation, having no contact to the little villages, it is not comprehensible where the music comes from. But I think that is not even necessary: decisive is, to use the sources as food for my own creativity." The mixture of Boris' music continues in the background of his band member's lives: accordion, violin, bass and drums are played by Halfserbians, Halfhungarians and Halfmacedonians, the guitarrist is Roma and the clarinettist a proper Serbian, but lived for several years in the Vojvodina and took over many musical technics from the Hungarian and Romanian. Anamnesis, Ecumenical Mysteries, dedicated to mystics N. Berdjiaev and G. I. Gurdjieff, was premiered by Ritual Nova, featuring musicians from Slovenia, Croatia and Serbia, at Ljubljana's Druga Godba festival in June 1993 which took place in the city's Catholic church. Nevertheless, Kovac's music language is far more impure and contaminated. It reveals the composer's Serbian, Hungarian and Rumanian roots and discloses similarities with the darker side of Rock In Opposition (bands such as France's Art Zoyd and Belgium's Univers Zero, which, paradoxically, were the less "rock" of the groups involved), as well as with the Third Ear Band, combined with the manifest influence of Bйla Bartуk and Balkan folk music. As Boris Kovac stated : "Music is the last consolation between heaven and earth".
Materials were taken from http://www.cdroots.com/hm-kovac-ballads.html
Now about songs.
Transylvania... a mist hangs over the gently rolling ground, the odd lone dried-up tree, blades of light streaking across the horizon the setting for the end of time: the performance may begin ... The scenery slowly reveals itself... at the top of the hilly proscenium a magnificently decorated cart appears ... on top of the cart stands an orchestra in white... to no visible cue, simultaneously... they start playing: the dance at the end of time...
... sounds from a farm, a music box, a gingerbread heart hanging from a nightstand, given as a present who knows when and on who knows what occasion... The main theme, brought as anticipation ... gentle, crystal clear... The main theme, as something unspeakable, is not to be talked about... in it you should listen for all the others... Just imagine what you would be like at the end of the time - that is just what you should put in this theme...
Damar of Istanbul
At the end of time is where all the time is: from Transylvania, through the music box, to Istanbul... The Center of the world... the city of light and darkness, glory and doom, of the grandiose and the intimate, the exalted and the trivial... an ideal setting for a journey, directed like a film - another perfect missed scene for the album theme... the music does not depict Istanbul, instead it follows my «damar» in it... «Damar» is the heartbeat of light, spirit and the flesh... (Damar - Serbian word of Turkish origin meaning hart beat/pulls of soul).
Early Morning Waltz
Early morning in the world at the end of time... water at sunrise... a wake-up call played by panpipes... the bank of the Danube... sandbanks: the wheel of waltz slowly gathers momentum... At the height of the rapture elegant, smartly dressed couples from the Viennese court appear along the bank and the sandbanks and waltz as «The Blue Danube Waltz»... The image becomes more and more distant, like the view of a seagull leaving the Danube panorama... once it begins; a waltz has, in fact, no end...
Beguine at the End...
Ask for a dance ... the girl you wish to be with at the end... A balcony, starry sky, the ensemble plays reminiscence on a familiar theme ... Innocently and lasciviously... pathos to which we consciously give ourselves... (Kitsch what meaning does that has any more?...)
Interlude at the «GANG»
After all, this is a moment to be home, whatever that means and wherever that is... Al home, on the porch... the band and their dog howd at the moon... (GANG - the porch German word common in Vojvodina).
The «ground» has been prepared for the main theme... All alone... at midnight at the end of time... Memories well up... they are more palpable than reality... The love that has never been realized is the greatest... it is timeless and thus it lives in a song...
Waltz from Careless street
Musicians, stop fucking around, play Milos's waltz properly...
Insane, erotic, bizarre... cha, cha, cha...
Color of Remembrance
It is best not to speak of this song... it is meant to be played. Softly, more softly, most loudly...
Slowly we take off, dancing the broken waltz with the birds, and now that we have taken off let us no look down under any circumstances...
The Last Interlude: Doina
If I had to decide on one and only one song this would be it...
HEY IN BUKOVAC... THERE IS NOT A THING... HEY IN BUKOVAC... THERE IS NOT A THING... HEY, NOTHING BUT MUD AND WOMEN YAPPING... HEY, NOTHING BUT MUD AND WOMEN YAPPING.
At the End of Time
Oh horses, you are my clouds... summer swims, grapes ripen, first kisses, a door ajar, thirsty water silence... (meditations by Miroslav Mandic) The ensemble dressed in white plays something resembling Bach... on a dancing terrace by the sea... dancers are no more. Brother musicians, let us finally play for our own pleasure, we have no longer any use for tips anyway...
Materials were taken from http://www.accordion.ru/index.php?PHPSESSID=a502eeaf13e41b41935fa0521f130a99&mark=5&vote=11