Soulful violist and composer/arranger Lev ‘Ljova’ Zhurbin was featured in Ljova and the Kontraband’s Sunday afternoon concert at Brooklyn’s new home for the all-inclusive new music scene, National Sawdust. Going by ‘Ljova,’ the kindred version of his traditional Russian-Hebrew name, Lev, the artist and his Kontraband filled the room, which had been arranged cabaret-style, with tuneful energy. Folksy tango tunes with virtuosic viola passages next to Yiddish folk songs performed with great gusto by Ljova’s wife, singer Inna Barmash, pulled young and old alike into ethnic rhythmic soundscapes.
Says Barmash: “If you’ve been here in Brooklyn long enough, you have certainly heard Yiddish spoken by many of its Jewish, Eastern European inhabitants.” But while songs were sung in Yiddish, and some of the tango arrangements, especially those for accordion (virtuosic accordionist Julian Labro was sitting in for band member Patrick Farrell), were reminiscent of Piazzolla, there was also something very different present in the compositions, giving the music a unique artistic characteristic of its own. As the program promised: “You will think you have heard it, but didn’t…at least not quite like this.”
Quite far removed from the repertoire of his traditional classical music training, Ljova’s music stays alive through its own magic, fostered by intense rhythms of klezmer, tango, jazz, gypsy music and soaring melodic structures, many of which seem to originate in the eastern shtetl, rather than in Schubert.
The son of Russian Jewish émigrés – the famed Moscow composer Alexander Zhurbin, most renowned for his 1975 rock opera Orpheus and Eurydice, and poet Irena Ginzburg – Ljova always managed to stay closely connected to the nurturing roots of his heritage without being stuck in the generational gap.
Born into a Russian musician’s home, with violin lessons with the renowned Galina Turchaninova, teacher to talents like Maxim Vengerov and Vadim Repin, were part of Ljova’s Moscow routine from age four on. He left this part of his life behind when he immigrated in 1990 at age 11 to New York, along with his parents. It may have been the influence of his uncle, Yuri Gandelsman, former principal violist of the Moscow Virtuosi and the Israel Philharmonic Orchestra, that caused Ljova to choose to enroll at Juilliard, where he became a student of the eminent Samuel Rhodes, violist of the Juilliard String Quartet.
Ljova might have continued to follow this road if it had not been for his curiosity and willingness to try on other musical hats. Making music within “the other” non-classical world of music, whether at jazz gigs at nightclubs, weddings, or folk festivals, taught Ljova to improvise and compose, and opened a different worldview for him to absorb, first reluctantly, then eagerly, eventually making it his own.
Ljova’s first solo recording, World on Four Strings, released in 2006 on his own Kapustnik label, features the viola dominantly, yet with atmospheric multi-tracked recorded viola parts it gracefully departs from the classical genre.
An array of musical arrangements for artists like Yo-Yo Ma and the Silk Road Ensemble, Brooklyn Rider, The Knights, the Kronos Quartet and artists as diverse as rapper Jay-Z and Alondra de la Parra, among others, added greatly to Ljova’s exposure and experience. Composing for his beloved viola or his Kontraband or an entire orchestra, Ljova has developed a varied and consistently unique voice of a deeply felt, personal perception of musical delight. He came to realize that there are only two kinds of music, good – and bad.
Ljova’s musical ideas flow from a space within his very “normal” life. His persona does not present extravagancy, or any romantic ideal of an artist who seeks the stardom of a celebrated idol; his viola strapped on his back, Ljova travels mostly by bike from his Upper West Side neighborhood. On occasion, he will leave himself a message on his cell phone with a reminder of a new musical idea that just came to him in that moment. His warm, unpretentious personality comes across as genuine to a fault: whether on stage or a broadcasted talk show, of which he has done several, or as a family man, a good neighbor and friend, he manages to stay relevant, doing whatever it takes to live a life that includes music on a daily basis.
Ljova is in high demand as a film composer. Some of his recent credits include scores to Finding Babel, a documentary about the Russian-Ukrainian-Jewish writer Isaak Babel and Datuna: Portrait of America, about the Georgian artist David Datuna, which just won a prize at the Raindance Film Festival. Ljova has composed music for documentaries produced by the BBC, and contributed music to documentaries by NHK and HBO. He has also scored nearly three dozen short-subject films.
Ljova also collaborates extensively with choreographers, including two ballets with Aszure Barton & Artists, as well as commissions from Parsons Dance, Ballet Hispanico, New Dialect and others.
The connections that Ljova makes with people are lasting and meaningful; his relationship with Brooklyn Rider goes back to 2008, when he shared the bill with the group at Joe’s Pub. It was the highly successful string quartet’s first year in existence, with violinist Johnny Gandelsman, violist Nicholas Cords and the two Jacobsen brothers, Eric on cello and Colin on violin. It was Ljova’s second year performing with the Kontraband. The lines between Ljova’s collaboration and friendship with the Brooklyn-based quartet, inspired by the “Blue Rider,” were blurred from the beginning. At their first performance, Brooklyn Rider performed several of Ljova’s pieces, including “Plume,” “Crosstown” and “Budget Bulgar.” The quartet also went with Ljova’s arrangement for Silk Road Ensemble, “Brîu,” a tune from the repertoire of Taraf de Haïdouks, originally composed for the project. “Plume” and “Crosstown” also appeared on the group’s debut recording, Passport.
Eric Jacobsen says: “I can’t help but be inspired by Ljova. His imagination is fascinating and endless. He is one of those people, that when I see an opportunity for collaboration, I immediately think of him. He is true to his nature and creative spirit, however incredibly able to adapt to all situations and relationships.” One of Ljova’s new works in the making is a commission by Eric Jacobsen, who is currently starting to serve as conductor for the Orlando Philharmonic and the Bridgeport Symphony.
It is unsurprising that the afternoon at National Sawdust had the intimacy of a family affair. Ljova aims for personal connection, as he laments: “Everyone has moved on into different neighborhoods. Even when planning concerts, it has become difficult to find an area that is convenient for everyone…” It was therefore an important gesture that children were admitted to Sunday’s concert for free. Ljova’s cousin, Johnny Gandelsman, violinist of Brooklyn Rider, which had just performed at Sawdust the previous week, was in attendance with his animated kids.
But beyond the literal family connections – Ljova is of course married to his Kontraband’s vocalist – the familiarity with which the performers demonstrated their instruments, percussionist Mathias Künzli most intricately, or talked about their music, held an informal objective, which created an intimate, family-friendly milieu.
The artists, belonging to a generation of New York musicians who are grown up with families of their own, look to develop the musician’s ideal of the hip nightlife performance venue into one that allows their friends and fans to bring their kids. “So many performances I give cannot be frequented by many of my colleagues and friends, since they don’t have babysitting available,” he says.
The practical answer for Ljova is to perform in spaces conducive to bringing people together, uniting young and old and making the community grow a little closer. Remarkably, this is exactly what his performance proved to represent. If smaller performance venues typically fill with the artists’ followings to begin with, why not make it possible to include all of them? This is a valid question which Ljova answers with low-key performances with communal character. Already, his shtick has gained traction with new audiences, and major concert venues like Lincoln Center seem to be following suit. While composer and Artistic Director of Sawdust, Paola Prestini, has, in her own words, aimed to create a forward-thinking laboratory to explore unknown artistic territory, she has in the process established a communal hub that satisfies a popular demand and community need.
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