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Bruno Pasquier Der zweite Satz beginnt mit klangvoller, elegischer einziges Cello-Pizzicato stört die Ruhe des DDD Bruno Pasquier made his artistic breakthrough as a member of a string quartet at an international competition in Musik für die Streicher über einer Klavierphrase. Die verklingenden Satzes. Munich, and this led to section leader engagements with the Paris Opéra and the Orchestre National de France. His Klarinette tritt mit einer sich entfaltenden Melodielinie Die Drei Miniaturen für Klarinette und Klavier, PENDERECKI 8.557052 own commitments nevertheless took an increasing share of his time, and today he is one of the few performing hinzu, wonach die Musik in nachdenkliche Melancholie entstanden während Pendereckis Studienjahren an der viola soloists on the world concert circuit. As well as his concert appearances he teaches at the Paris Conservatoire versinkt, deren Melodik hauptsächlich von Klarinette Krakauer Universität, lassen kaum ahnen, welch and arranges master-class courses around the world. He plays a fine instrument made by the Italian master Paolo und Horn vorgetragen wird. Die dramatische Intensität radikalen Weg der Komponist in seiner späteren Musik Sextet Maggini in the early seventeenth century. äußert sich in chromatischen, für den Komponisten beschreiten sollte. Das Allegro beginnt mit lebhaftem typischen stufenähnlichen Anstiegen, während einige Klavierspiel, mit dem sich die Klarinette auf einen Régis Pasquier kurze, zerklüftete Höhepunkte die nachdenkliche engagierten Dialog einlässt. Es folgt ein ernsthaftes Clarinet Quartet In 1958, at the age of twelve, Régis Pasquier took Premier Prix in violin and chamber music at the Paris Stimmung untergraben. Nach und nach wird der Andante cantabile, das sich auf eine Pause zubewegt, Conservatoire National Supérieur. Two years later he made his New York recital début. He is now a much sought- Ausdruck belebter, was den leidenschaftlichen die wie eine Frage im Raum steht. Ein kraftvolles, Michel Lethiec, Clarinet • Régis Pasquier, Violin after guest soloist both in France and abroad. Since 1972 he has also performed extensively as a chamber musician. Klagegesang des Violoncellos, der erst von der Viola, resolutes Allegro ma non troppo bildet den Schluss der Since 1985 he has also held a professorship in the violin and chamber music at the Paris Conservatoire. dann von der Klarinette übernommen wird, umso Dreierfolge. Bruno Pasquier, Viola • Arto Noras, Cello inniger erscheinen lässt. Danach breitet sich die Musik Geschrieben für Mstislaw Rostropowitsch, dem das Markus Maskuniitty, French Horn • Juhani Lagerspetz, Piano in düsterer, geradezu trauerkonduktartiger Intensität Stück auch gewidmet ist, stellt das Divertimento für aus, um in den letzten Takten einen stets mehr nach Solovioloncello (1994) Pendereckis Anerkennung für Krzysztof Penderecki (geb.1933) innen gerichteten Charakter anzunehmen. zwei Jahrzehnte künstlerischer Zusammenarbeit – Kammerwerke Das Klarinettenquartett, im August 1993 in Lübeck u.a. der bemerkenswerten Uraufführung des Zweiten uraufgeführt, ist sowohl konziser als auch Violoncellokonzerts (1982) – mit dem berühmten Im Laufe seiner kompositorischen Karriere hat sich Jahrzehnt sowie einige kürzere Stücke vom Beginn ausdrucksmäßig prägnanter. Im vorspielartigen Cellisten dar. Nach einer würdevollen Sarabande gibt Krzysztof Penderecki, wenngleich nur am Rande, auch seiner Karriere und aus jüngerer Zeit. Notturno: Adagio stellt die Klarinette in den sich die Serenade mit häufigem Pizzicato- und Col der Kammermusik gewidmet. Er spielte ausgezeichnet Geschrieben für Klarinette, Horn, Violine, Eröffnungstakten das melodische Hauptmaterial vor, legno-Spiel eher kapriziös. Es folgt ein energisches Geige (eine Sonate für Violine und Klavier aus seiner Viola, Violoncello und Klavier, stellt das Sextett wobei Violoncello, Viola und Violine den Scherzo, in dem Pendereckis unverwechselbare Studienzeit wurde schließlich vier Jahrzehnte später (2000) Pendereckis bislang substanziellstes atmosphärischen Hintergrund liefern. Nach einer Pause Chromatik mit lebhafter Virtuosität einhergeht. Ein veröffentlicht) und schrieb vor seinem Ersten Kammermusikwerk dar. Der erste Satz beginnt über hebt das Scherzo: Vivacissimo mit aggressiven introspektives, intensives Notturno beschließt dieses Streichquartett (1960) eine Reihe von Stücken für schreitender Klavierbegleitung mit einer Reihe von wiederholten Mustern in den Streichern an, eine grelle facettenreiche Porträt eines großen Künstlers. kleine Instrumentalbesetzungen. Danach, mit charakteristischen, in ihrer leichten Ironie an Antwort der Klarinette provozierend. Dieser Prozess Das Prélude für Klarinette solo, 1987 zum 40. Ausnahme seines Zweiten Streichquartetts aus dem Schostakowitsch erinnernden Motiven in den anderen wiederholt sich, bevor er direkt in die kurze Serenade: Geburtstag des britischen Komponisten Paul Patterson Jahr 1969, begann er sich fast ausschließlich mit der Instrumenten. Danach gewinnt die Musik rhythmische Tempo di valse mit ihrem leicht ironischen Rhythmus entstanden, ist ein charakteristisches Beispiel für Oper sowie Chor und Orchesterwerken zu beschäftigen Energie – zweimal von Violoncello und Horn mit überleitet. Nachdem die Bewegung zum Stillstand Pendereckis melodische Expressivität. Das Stück führt und beschränkte seine Beiträge zur Kammermusik auf expressiveren Ideen unterbrochen, wobei beim zweiten gekommen ist, beginnt das Finale, überschrieben die B-Klarinette auf eine nachdenkliche, der kurze, Hommage-ähnliche Stücke für Freunde und Mal die schreitende Bewegung des Beginns Abschied: Larghetto – der längste Satz des Werks und Tempobezeichnung ‚Lento sostenuto’ treu bleibende Musikerkollegen. Erst 1990 wandte er sich wieder zurückkehrt. Die Instrumente werden sodann in einen ein weiteres Beispiel für die ausgedehnten, das spätere musikalische Reise. ernsthaft dieser Gattung zu. Abgesehen von dem gewaltigen, wirbelnden Sog hineingezogen, der das Schaffen Pendereckis kennzeichnenden Elegien. Die Richard Whitehouse virtuosen Streichtrio enthält diese Einspielung seine bisher intensivste Zusammenspiel ankündigt und den Streicher öffnen einen weiten harmonischen Raum, in Deutsche Fassung: Bernd Delfs beiden bedeutendsten Kammermusikwerke aus jenem Satz zu einem kraftvollen, entschiedenen Schluss führt. dem die Klarinette ihre Melodielinie entfaltet. Nur ein

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Krzysztof Penderecki (b.1933) the composer was soon to introduce into his music. A précis of Penderecki’s melodic expression, the Juhani Lagerspetz Chamber Music Indeed, the influence of Bartók is a reminder that the Prelude for Solo Clarinet, written in 1987 as a fortieth Juhani Lagerspetz was born in 1959 and began studying the piano at the age of six at the Turku Conservatory. Dance Preludes (1954) by Witold Lutoslawski were birthday tribute to the British composer Paul Patterson, He continued his studies at the Sibelius Academy and the Leningrad (now St Petersburg) Conservatory in Russia. Chamber music has featured intermittently in the output settles into a mood of pensive melancholy, clarinet and then current in Polish new music. The Allegro opens takes the B flat instrument on a thoughtful journey He made his début as a soloist at the age of thirteen, playing Shostakovich’s Second Piano Concerto with the of Krzysztof Penderecki. Born in Krakow in 1933, he horn carrying the brunt of the melodic writing. with lively piano writing, with which the clarinet which remains true to the Lento sostenuto marking at Finnish Radio Symphony Orchestra. Juhani Lagerspetz has won competitions in Finland and done well in was an accomplished violinist as a student, and a Dramatic intensity is maintained through some pursues an engaging discourse. There follows a the beginning of the score. international competitions too, his most significant achievement being special prize of the jury at the Tchaikovsky Sonata for Violin and Piano from 1953 was finally typically Pendereckian ‘stepwise’ chromatic ascents, plaintive Andante cantabile which wanders towards a Composed in 1959, just before the start of his Competition in Moscow in 1982. He is also active as a chamber musician, and appears regularly at the Kuhmo and published some four decades later. He wrote numerous while several brief but jagged climaxes undermine the questioning pause, from which the closing Allegro ma international career, the Three Miniatures for Violin Naantali music festivals. In spring 1993 he received glowing reviews for his recital at the Wigmore Hall in works for small instrumental ensembles up until the mood of regret. Gradually the expression becomes non troppo launches itself in a vigorous and decisive and Piano suggest the influence of Webern in their London. He teaches at the Sibelius Academy, and has also made numerous recordings. In 1994 he was awarded the First String Quartet of 1960. Thereafter, with the more animated and ironic, making the cello’s rounding-off of the sequence. concision, expressive intensity and dynamic subtlety. Alfred Kordelin Foundation Price for his achievemnts as a performing artist. exception of a Second String Quartet in 1969, the impassioned threnody, taken up by viola and then Written for and dedicated to Mstislav No. 1 contrasts detached piano chords with extended emphasis was firmly on operatic, choral and orchestral clarinet, all the more heartfelt. From here the music Rostropovich, the Divertimento for Solo Cello (1994) violin techniques, No. 2 is a fractured violin solo, while Michel Lethiec works. Chamber composition was restricted to short draws itself out in a conclusion of sombre, even honours a creative association going back over two No. 3 goes some way towards reconciling the The clarinettist Michel Lethiec studied in Bordeaux, and at the Conservatoire National in Paris, where he took ‘homages’ to friends and musicians until, in the 1990s, funereal intensity, becoming increasingly spare and decades, including the notable première of the Second instruments in a dialogue of often unpredictable Premier Prix in clarinet and chamber music. After victory in an international competition in Belgrade, he travelled he returned to the medium in earnest. Apart from the inward as the final bars are reached. Cello Concerto in 1982. After a nobly-wrought prelude, contrasts. Although wholly abstract in their musical to America, giving his first concert in 1980 at New York’s Carnegie Hall. This was soon followed by invitations virtuosic String Trio (1992), the present disc features First given in Lübeck in August 1993, the Clarinet the scherzo is of a capricious nature, with much use of import, each piece is intriguingly prefaced in the score elsewhere, even as far afield as China, where he was the first West European clarinettist to perform in public. In the two most significant chamber works of that decade, Quartet is both more concise and more succinct in pizzicato and col legno, playing with the wood of the with a poem from Jerzy Harasymowicz’s cycle addition to his solo work with orchestras he is also Artistic Director of the Pablo Casals Festival in Prades. as well as several shorter pieces from either end of the expression. In the preludial Notturno: Adagio, the solo bow, in the writing. There follows a strenuous toccata, Genealogy of the Instruments. composer’s career, which place his approach to clarinet introduces the main melodic material in the Penderecki’s distinctive chromatic writing allied to Markus Maskuniitty instrumental writing in context. opening bars, with cello, viola and violin almost an cello playing of bracing virtuosity. An introspective yet Markus Maskuniitty was born in Finland in 1967. After studying at the Sibelius Academy of Music in Helsinki, he Written for clarinet, horn, violin, viola, cello and atmospheric backdrop. After a pause the Scherzo: intense elegy concludes this wide-ranging portrait of a became first French horn in the Finnish Radio Symphony Orchestra and later in the Deutsche Symphonie piano, the Sextet (2000), in two contrasting movements, Vivacissimo opens with aggressive repeated patterns in great artist. Richard Whitehouse Orchester in Berlin. He was chosen brass-player of the year 1992 in Finland. He has won several international is Penderecki’s most substantial chamber work to date. the strings, provoking a strident response from the prizes, including second prize at the International Horn Competition in Markneukirchen in 1991 and third prize at The first movement opens understatedly, as, over clarinet. The process is repeated, before moving straight the ARD Competition in Munich in 1994. Currently he holds the position of horn player with the Deutsche tramping piano, the other instruments introduce a into the brief Serenade: Tempo di Valse, with its lightly Symphonie of Berlin and a professorship at Hanover Music Academy. number of salient motifs with a Shostakovich-like ironic gait. The motion stills, and the finale begins. ironic tinge. The music gathers rhythmic momentum, Marked Abschied: Larghetto, this is as long as the Arto Noras twice interrupted by cello and horn with a more previous movements combined, another example of the Arto Noras is one of the world’s leading cellists today. He began learning the instrument at the age of five, and expressive idea, the second time leading to a return of sustained elegies that feature prominently in from the age of eight he was a pupil at the Sibelius Academy. In 1962-1964 he studied in Paul Tortelier’s master the tramping motion. This draws the instruments into a Penderecki’s later output. Strings open up a wide class at the Paris Conservatoire and gained his diploma (premier prix) there in 1964. Two years later he was a fearsome whirling motion, presaging the most intensive harmonic space in which the clarinet musingly pursues runner-up in the Moscow Tchaikovsky competition. Arto Noras appears regularly with major orchestras all over instrumental interplay yet heard. From here, the music its melodic line. A single cello pizzicato ruffles the the world. His repertoire encompasses almost the entire cello literature, and he has recorded extensively. He is also drives to a forceful and decisive ending. The second prolonged fade-out. well-known as a distinguished chamber musician, collaborating with the most famous instrumentalists in the movement opens with sonorous, elegiac music for the Composed in 1956, while Penderecki was still a world. He is the founder and Artistic Director of the Naantali Music Festival as well as the founder of the strings over a rhetorical-sounding piano. The clarinet student at Krakow University, the Three Miniatures for International Paulo Cello Competition. Since 1970 he has served as professor of cello at the Sibelius Academy. In enters with an unwinding melody line, and the music Clarinet and Piano give little hint of the radical features addition to his master-classes all over the world, he has also acted as a jury member in all major cello competitions.

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Krzysztof Penderecki (b.1933) the composer was soon to introduce into his music. A précis of Penderecki’s melodic expression, the Juhani Lagerspetz Chamber Music Indeed, the influence of Bartók is a reminder that the Prelude for Solo Clarinet, written in 1987 as a fortieth Juhani Lagerspetz was born in 1959 and began studying the piano at the age of six at the Turku Conservatory. Dance Preludes (1954) by Witold Lutoslawski were birthday tribute to the British composer Paul Patterson, He continued his studies at the Sibelius Academy and the Leningrad (now St Petersburg) Conservatory in Russia. Chamber music has featured intermittently in the output settles into a mood of pensive melancholy, clarinet and then current in Polish new music. The Allegro opens takes the B flat instrument on a thoughtful journey He made his début as a soloist at the age of thirteen, playing Shostakovich’s Second Piano Concerto with the of Krzysztof Penderecki. Born in Krakow in 1933, he horn carrying the brunt of the melodic writing. with lively piano writing, with which the clarinet which remains true to the Lento sostenuto marking at Finnish Radio Symphony Orchestra. Juhani Lagerspetz has won competitions in Finland and done well in was an accomplished violinist as a student, and a Dramatic intensity is maintained through some pursues an engaging discourse. There follows a the beginning of the score. international competitions too, his most significant achievement being special prize of the jury at the Tchaikovsky Sonata for Violin and Piano from 1953 was finally typically Pendereckian ‘stepwise’ chromatic ascents, plaintive Andante cantabile which wanders towards a Composed in 1959, just before the start of his Competition in Moscow in 1982. He is also active as a chamber musician, and appears regularly at the Kuhmo and published some four decades later. He wrote numerous while several brief but jagged climaxes undermine the questioning pause, from which the closing Allegro ma international career, the Three Miniatures for Violin Naantali music festivals. In spring 1993 he received glowing reviews for his recital at the Wigmore Hall in works for small instrumental ensembles up until the mood of regret. Gradually the expression becomes non troppo launches itself in a vigorous and decisive and Piano suggest the influence of Webern in their London. He teaches at the Sibelius Academy, and has also made numerous recordings. In 1994 he was awarded the First String Quartet of 1960. Thereafter, with the more animated and ironic, making the cello’s rounding-off of the sequence. concision, expressive intensity and dynamic subtlety. Alfred Kordelin Foundation Price for his achievemnts as a performing artist. exception of a Second String Quartet in 1969, the impassioned threnody, taken up by viola and then Written for and dedicated to Mstislav No. 1 contrasts detached piano chords with extended emphasis was firmly on operatic, choral and orchestral clarinet, all the more heartfelt. From here the music Rostropovich, the Divertimento for Solo Cello (1994) violin techniques, No. 2 is a fractured violin solo, while Michel Lethiec works. Chamber composition was restricted to short draws itself out in a conclusion of sombre, even honours a creative association going back over two No. 3 goes some way towards reconciling the The clarinettist Michel Lethiec studied in Bordeaux, and at the Conservatoire National in Paris, where he took ‘homages’ to friends and musicians until, in the 1990s, funereal intensity, becoming increasingly spare and decades, including the notable première of the Second instruments in a dialogue of often unpredictable Premier Prix in clarinet and chamber music. After victory in an international competition in Belgrade, he travelled he returned to the medium in earnest. Apart from the inward as the final bars are reached. Cello Concerto in 1982. After a nobly-wrought prelude, contrasts. Although wholly abstract in their musical to America, giving his first concert in 1980 at New York’s Carnegie Hall. This was soon followed by invitations virtuosic String Trio (1992), the present disc features First given in Lübeck in August 1993, the Clarinet the scherzo is of a capricious nature, with much use of import, each piece is intriguingly prefaced in the score elsewhere, even as far afield as China, where he was the first West European clarinettist to perform in public. In the two most significant chamber works of that decade, Quartet is both more concise and more succinct in pizzicato and col legno, playing with the wood of the with a poem from Jerzy Harasymowicz’s cycle addition to his solo work with orchestras he is also Artistic Director of the Pablo Casals Festival in Prades. as well as several shorter pieces from either end of the expression. In the preludial Notturno: Adagio, the solo bow, in the writing. There follows a strenuous toccata, Genealogy of the Instruments. composer’s career, which place his approach to clarinet introduces the main melodic material in the Penderecki’s distinctive chromatic writing allied to Markus Maskuniitty instrumental writing in context. opening bars, with cello, viola and violin almost an cello playing of bracing virtuosity. An introspective yet Markus Maskuniitty was born in Finland in 1967. After studying at the Sibelius Academy of Music in Helsinki, he Written for clarinet, horn, violin, viola, cello and atmospheric backdrop. After a pause the Scherzo: intense elegy concludes this wide-ranging portrait of a became first French horn in the Finnish Radio Symphony Orchestra and later in the Deutsche Symphonie piano, the Sextet (2000), in two contrasting movements, Vivacissimo opens with aggressive repeated patterns in great artist. Richard Whitehouse Orchester in Berlin. He was chosen brass-player of the year 1992 in Finland. He has won several international is Penderecki’s most substantial chamber work to date. the strings, provoking a strident response from the prizes, including second prize at the International Horn Competition in Markneukirchen in 1991 and third prize at The first movement opens understatedly, as, over clarinet. The process is repeated, before moving straight the ARD Competition in Munich in 1994. Currently he holds the position of horn player with the Deutsche tramping piano, the other instruments introduce a into the brief Serenade: Tempo di Valse, with its lightly Symphonie of Berlin and a professorship at Hanover Music Academy. number of salient motifs with a Shostakovich-like ironic gait. The motion stills, and the finale begins. ironic tinge. The music gathers rhythmic momentum, Marked Abschied: Larghetto, this is as long as the Arto Noras twice interrupted by cello and horn with a more previous movements combined, another example of the Arto Noras is one of the world’s leading cellists today. He began learning the instrument at the age of five, and expressive idea, the second time leading to a return of sustained elegies that feature prominently in from the age of eight he was a pupil at the Sibelius Academy. In 1962-1964 he studied in Paul Tortelier’s master the tramping motion. This draws the instruments into a Penderecki’s later output. Strings open up a wide class at the Paris Conservatoire and gained his diploma (premier prix) there in 1964. Two years later he was a fearsome whirling motion, presaging the most intensive harmonic space in which the clarinet musingly pursues runner-up in the Moscow Tchaikovsky competition. Arto Noras appears regularly with major orchestras all over instrumental interplay yet heard. From here, the music its melodic line. A single cello pizzicato ruffles the the world. His repertoire encompasses almost the entire cello literature, and he has recorded extensively. He is also drives to a forceful and decisive ending. The second prolonged fade-out. well-known as a distinguished chamber musician, collaborating with the most famous instrumentalists in the movement opens with sonorous, elegiac music for the Composed in 1956, while Penderecki was still a world. He is the founder and Artistic Director of the Naantali Music Festival as well as the founder of the strings over a rhetorical-sounding piano. The clarinet student at Krakow University, the Three Miniatures for International Paulo Cello Competition. Since 1970 he has served as professor of cello at the Sibelius Academy. In enters with an unwinding melody line, and the music Clarinet and Piano give little hint of the radical features addition to his master-classes all over the world, he has also acted as a jury member in all major cello competitions.

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Krzysztof Penderecki (b.1933) the composer was soon to introduce into his music. A précis of Penderecki’s melodic expression, the Juhani Lagerspetz Chamber Music Indeed, the influence of Bartók is a reminder that the Prelude for Solo Clarinet, written in 1987 as a fortieth Juhani Lagerspetz was born in 1959 and began studying the piano at the age of six at the Turku Conservatory. Dance Preludes (1954) by Witold Lutoslawski were birthday tribute to the British composer Paul Patterson, He continued his studies at the Sibelius Academy and the Leningrad (now St Petersburg) Conservatory in Russia. Chamber music has featured intermittently in the output settles into a mood of pensive melancholy, clarinet and then current in Polish new music. The Allegro opens takes the B flat instrument on a thoughtful journey He made his début as a soloist at the age of thirteen, playing Shostakovich’s Second Piano Concerto with the of Krzysztof Penderecki. Born in Krakow in 1933, he horn carrying the brunt of the melodic writing. with lively piano writing, with which the clarinet which remains true to the Lento sostenuto marking at Finnish Radio Symphony Orchestra. Juhani Lagerspetz has won competitions in Finland and done well in was an accomplished violinist as a student, and a Dramatic intensity is maintained through some pursues an engaging discourse. There follows a the beginning of the score. international competitions too, his most significant achievement being special prize of the jury at the Tchaikovsky Sonata for Violin and Piano from 1953 was finally typically Pendereckian ‘stepwise’ chromatic ascents, plaintive Andante cantabile which wanders towards a Composed in 1959, just before the start of his Competition in Moscow in 1982. He is also active as a chamber musician, and appears regularly at the Kuhmo and published some four decades later. He wrote numerous while several brief but jagged climaxes undermine the questioning pause, from which the closing Allegro ma international career, the Three Miniatures for Violin Naantali music festivals. In spring 1993 he received glowing reviews for his recital at the Wigmore Hall in works for small instrumental ensembles up until the mood of regret. Gradually the expression becomes non troppo launches itself in a vigorous and decisive and Piano suggest the influence of Webern in their London. He teaches at the Sibelius Academy, and has also made numerous recordings. In 1994 he was awarded the First String Quartet of 1960. Thereafter, with the more animated and ironic, making the cello’s rounding-off of the sequence. concision, expressive intensity and dynamic subtlety. Alfred Kordelin Foundation Price for his achievemnts as a performing artist. exception of a Second String Quartet in 1969, the impassioned threnody, taken up by viola and then Written for and dedicated to Mstislav No. 1 contrasts detached piano chords with extended emphasis was firmly on operatic, choral and orchestral clarinet, all the more heartfelt. From here the music Rostropovich, the Divertimento for Solo Cello (1994) violin techniques, No. 2 is a fractured violin solo, while Michel Lethiec works. Chamber composition was restricted to short draws itself out in a conclusion of sombre, even honours a creative association going back over two No. 3 goes some way towards reconciling the The clarinettist Michel Lethiec studied in Bordeaux, and at the Conservatoire National in Paris, where he took ‘homages’ to friends and musicians until, in the 1990s, funereal intensity, becoming increasingly spare and decades, including the notable première of the Second instruments in a dialogue of often unpredictable Premier Prix in clarinet and chamber music. After victory in an international competition in Belgrade, he travelled he returned to the medium in earnest. Apart from the inward as the final bars are reached. Cello Concerto in 1982. After a nobly-wrought prelude, contrasts. Although wholly abstract in their musical to America, giving his first concert in 1980 at New York’s Carnegie Hall. This was soon followed by invitations virtuosic String Trio (1992), the present disc features First given in Lübeck in August 1993, the Clarinet the scherzo is of a capricious nature, with much use of import, each piece is intriguingly prefaced in the score elsewhere, even as far afield as China, where he was the first West European clarinettist to perform in public. In the two most significant chamber works of that decade, Quartet is both more concise and more succinct in pizzicato and col legno, playing with the wood of the with a poem from Jerzy Harasymowicz’s cycle addition to his solo work with orchestras he is also Artistic Director of the Pablo Casals Festival in Prades. as well as several shorter pieces from either end of the expression. In the preludial Notturno: Adagio, the solo bow, in the writing. There follows a strenuous toccata, Genealogy of the Instruments. composer’s career, which place his approach to clarinet introduces the main melodic material in the Penderecki’s distinctive chromatic writing allied to Markus Maskuniitty instrumental writing in context. opening bars, with cello, viola and violin almost an cello playing of bracing virtuosity. An introspective yet Markus Maskuniitty was born in Finland in 1967. After studying at the Sibelius Academy of Music in Helsinki, he Written for clarinet, horn, violin, viola, cello and atmospheric backdrop. After a pause the Scherzo: intense elegy concludes this wide-ranging portrait of a became first French horn in the Finnish Radio Symphony Orchestra and later in the Deutsche Symphonie piano, the Sextet (2000), in two contrasting movements, Vivacissimo opens with aggressive repeated patterns in great artist. Richard Whitehouse Orchester in Berlin. He was chosen brass-player of the year 1992 in Finland. He has won several international is Penderecki’s most substantial chamber work to date. the strings, provoking a strident response from the prizes, including second prize at the International Horn Competition in Markneukirchen in 1991 and third prize at The first movement opens understatedly, as, over clarinet. The process is repeated, before moving straight the ARD Competition in Munich in 1994. Currently he holds the position of horn player with the Deutsche tramping piano, the other instruments introduce a into the brief Serenade: Tempo di Valse, with its lightly Symphonie of Berlin and a professorship at Hanover Music Academy. number of salient motifs with a Shostakovich-like ironic gait. The motion stills, and the finale begins. ironic tinge. The music gathers rhythmic momentum, Marked Abschied: Larghetto, this is as long as the Arto Noras twice interrupted by cello and horn with a more previous movements combined, another example of the Arto Noras is one of the world’s leading cellists today. He began learning the instrument at the age of five, and expressive idea, the second time leading to a return of sustained elegies that feature prominently in from the age of eight he was a pupil at the Sibelius Academy. In 1962-1964 he studied in Paul Tortelier’s master the tramping motion. This draws the instruments into a Penderecki’s later output. Strings open up a wide class at the Paris Conservatoire and gained his diploma (premier prix) there in 1964. Two years later he was a fearsome whirling motion, presaging the most intensive harmonic space in which the clarinet musingly pursues runner-up in the Moscow Tchaikovsky competition. Arto Noras appears regularly with major orchestras all over instrumental interplay yet heard. From here, the music its melodic line. A single cello pizzicato ruffles the the world. His repertoire encompasses almost the entire cello literature, and he has recorded extensively. He is also drives to a forceful and decisive ending. The second prolonged fade-out. well-known as a distinguished chamber musician, collaborating with the most famous instrumentalists in the movement opens with sonorous, elegiac music for the Composed in 1956, while Penderecki was still a world. He is the founder and Artistic Director of the Naantali Music Festival as well as the founder of the strings over a rhetorical-sounding piano. The clarinet student at Krakow University, the Three Miniatures for International Paulo Cello Competition. Since 1970 he has served as professor of cello at the Sibelius Academy. In enters with an unwinding melody line, and the music Clarinet and Piano give little hint of the radical features addition to his master-classes all over the world, he has also acted as a jury member in all major cello competitions.

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Bruno Pasquier Der zweite Satz beginnt mit klangvoller, elegischer einziges Cello-Pizzicato stört die Ruhe des DDD Bruno Pasquier made his artistic breakthrough as a member of a string quartet at an international competition in Musik für die Streicher über einer Klavierphrase. Die verklingenden Satzes. Munich, and this led to section leader engagements with the Paris Opéra and the Orchestre National de France. His Klarinette tritt mit einer sich entfaltenden Melodielinie Die Drei Miniaturen für Klarinette und Klavier, PENDERECKI 8.557052 own commitments nevertheless took an increasing share of his time, and today he is one of the few performing hinzu, wonach die Musik in nachdenkliche Melancholie entstanden während Pendereckis Studienjahren an der viola soloists on the world concert circuit. As well as his concert appearances he teaches at the Paris Conservatoire versinkt, deren Melodik hauptsächlich von Klarinette Krakauer Universität, lassen kaum ahnen, welch and arranges master-class courses around the world. He plays a fine instrument made by the Italian master Paolo und Horn vorgetragen wird. Die dramatische Intensität radikalen Weg der Komponist in seiner späteren Musik Sextet Maggini in the early seventeenth century. äußert sich in chromatischen, für den Komponisten beschreiten sollte. Das Allegro beginnt mit lebhaftem typischen stufenähnlichen Anstiegen, während einige Klavierspiel, mit dem sich die Klarinette auf einen Régis Pasquier kurze, zerklüftete Höhepunkte die nachdenkliche engagierten Dialog einlässt. Es folgt ein ernsthaftes Clarinet Quartet In 1958, at the age of twelve, Régis Pasquier took Premier Prix in violin and chamber music at the Paris Stimmung untergraben. Nach und nach wird der Andante cantabile, das sich auf eine Pause zubewegt, Conservatoire National Supérieur. Two years later he made his New York recital début. He is now a much sought- Ausdruck belebter, was den leidenschaftlichen die wie eine Frage im Raum steht. Ein kraftvolles, Michel Lethiec, Clarinet • Régis Pasquier, Violin after guest soloist both in France and abroad. Since 1972 he has also performed extensively as a chamber musician. Klagegesang des Violoncellos, der erst von der Viola, resolutes Allegro ma non troppo bildet den Schluss der Since 1985 he has also held a professorship in the violin and chamber music at the Paris Conservatoire. dann von der Klarinette übernommen wird, umso Dreierfolge. Bruno Pasquier, Viola • Arto Noras, Cello inniger erscheinen lässt. Danach breitet sich die Musik Geschrieben für Mstislaw Rostropowitsch, dem das Markus Maskuniitty, French Horn • Juhani Lagerspetz, Piano in düsterer, geradezu trauerkonduktartiger Intensität Stück auch gewidmet ist, stellt das Divertimento für aus, um in den letzten Takten einen stets mehr nach Solovioloncello (1994) Pendereckis Anerkennung für Krzysztof Penderecki (geb.1933) innen gerichteten Charakter anzunehmen. zwei Jahrzehnte künstlerischer Zusammenarbeit – Kammerwerke Das Klarinettenquartett, im August 1993 in Lübeck u.a. der bemerkenswerten Uraufführung des Zweiten uraufgeführt, ist sowohl konziser als auch Violoncellokonzerts (1982) – mit dem berühmten Im Laufe seiner kompositorischen Karriere hat sich Jahrzehnt sowie einige kürzere Stücke vom Beginn ausdrucksmäßig prägnanter. Im vorspielartigen Cellisten dar. Nach einer würdevollen Sarabande gibt Krzysztof Penderecki, wenngleich nur am Rande, auch seiner Karriere und aus jüngerer Zeit. Notturno: Adagio stellt die Klarinette in den sich die Serenade mit häufigem Pizzicato- und Col der Kammermusik gewidmet. Er spielte ausgezeichnet Geschrieben für Klarinette, Horn, Violine, Eröffnungstakten das melodische Hauptmaterial vor, legno-Spiel eher kapriziös. Es folgt ein energisches Geige (eine Sonate für Violine und Klavier aus seiner Viola, Violoncello und Klavier, stellt das Sextett wobei Violoncello, Viola und Violine den Scherzo, in dem Pendereckis unverwechselbare Studienzeit wurde schließlich vier Jahrzehnte später (2000) Pendereckis bislang substanziellstes atmosphärischen Hintergrund liefern. Nach einer Pause Chromatik mit lebhafter Virtuosität einhergeht. Ein veröffentlicht) und schrieb vor seinem Ersten Kammermusikwerk dar. Der erste Satz beginnt über hebt das Scherzo: Vivacissimo mit aggressiven introspektives, intensives Notturno beschließt dieses Streichquartett (1960) eine Reihe von Stücken für schreitender Klavierbegleitung mit einer Reihe von wiederholten Mustern in den Streichern an, eine grelle facettenreiche Porträt eines großen Künstlers. kleine Instrumentalbesetzungen. Danach, mit charakteristischen, in ihrer leichten Ironie an Antwort der Klarinette provozierend. Dieser Prozess Das Prélude für Klarinette solo, 1987 zum 40. Ausnahme seines Zweiten Streichquartetts aus dem Schostakowitsch erinnernden Motiven in den anderen wiederholt sich, bevor er direkt in die kurze Serenade: Geburtstag des britischen Komponisten Paul Patterson Jahr 1969, begann er sich fast ausschließlich mit der Instrumenten. Danach gewinnt die Musik rhythmische Tempo di valse mit ihrem leicht ironischen Rhythmus entstanden, ist ein charakteristisches Beispiel für Oper sowie Chor und Orchesterwerken zu beschäftigen Energie – zweimal von Violoncello und Horn mit überleitet. Nachdem die Bewegung zum Stillstand Pendereckis melodische Expressivität. Das Stück führt und beschränkte seine Beiträge zur Kammermusik auf expressiveren Ideen unterbrochen, wobei beim zweiten gekommen ist, beginnt das Finale, überschrieben die B-Klarinette auf eine nachdenkliche, der kurze, Hommage-ähnliche Stücke für Freunde und Mal die schreitende Bewegung des Beginns Abschied: Larghetto – der längste Satz des Werks und Tempobezeichnung ‚Lento sostenuto’ treu bleibende Musikerkollegen. Erst 1990 wandte er sich wieder zurückkehrt. Die Instrumente werden sodann in einen ein weiteres Beispiel für die ausgedehnten, das spätere musikalische Reise. ernsthaft dieser Gattung zu. Abgesehen von dem gewaltigen, wirbelnden Sog hineingezogen, der das Schaffen Pendereckis kennzeichnenden Elegien. Die Richard Whitehouse virtuosen Streichtrio enthält diese Einspielung seine bisher intensivste Zusammenspiel ankündigt und den Streicher öffnen einen weiten harmonischen Raum, in Deutsche Fassung: Bernd Delfs beiden bedeutendsten Kammermusikwerke aus jenem Satz zu einem kraftvollen, entschiedenen Schluss führt. dem die Klarinette ihre Melodielinie entfaltet. Nur ein

8.557052 5 6 8.557052 8.557052bk Penderecki EC 12/05/2003 11:53 am Page 5

Bruno Pasquier Der zweite Satz beginnt mit klangvoller, elegischer einziges Cello-Pizzicato stört die Ruhe des DDD Bruno Pasquier made his artistic breakthrough as a member of a string quartet at an international competition in Musik für die Streicher über einer Klavierphrase. Die verklingenden Satzes. Munich, and this led to section leader engagements with the Paris Opéra and the Orchestre National de France. His Klarinette tritt mit einer sich entfaltenden Melodielinie Die Drei Miniaturen für Klarinette und Klavier, PENDERECKI 8.557052 own commitments nevertheless took an increasing share of his time, and today he is one of the few performing hinzu, wonach die Musik in nachdenkliche Melancholie entstanden während Pendereckis Studienjahren an der viola soloists on the world concert circuit. As well as his concert appearances he teaches at the Paris Conservatoire versinkt, deren Melodik hauptsächlich von Klarinette Krakauer Universität, lassen kaum ahnen, welch and arranges master-class courses around the world. He plays a fine instrument made by the Italian master Paolo und Horn vorgetragen wird. Die dramatische Intensität radikalen Weg der Komponist in seiner späteren Musik Sextet Maggini in the early seventeenth century. äußert sich in chromatischen, für den Komponisten beschreiten sollte. Das Allegro beginnt mit lebhaftem typischen stufenähnlichen Anstiegen, während einige Klavierspiel, mit dem sich die Klarinette auf einen Régis Pasquier kurze, zerklüftete Höhepunkte die nachdenkliche engagierten Dialog einlässt. Es folgt ein ernsthaftes Clarinet Quartet In 1958, at the age of twelve, Régis Pasquier took Premier Prix in violin and chamber music at the Paris Stimmung untergraben. Nach und nach wird der Andante cantabile, das sich auf eine Pause zubewegt, Conservatoire National Supérieur. Two years later he made his New York recital début. He is now a much sought- Ausdruck belebter, was den leidenschaftlichen die wie eine Frage im Raum steht. Ein kraftvolles, Michel Lethiec, Clarinet • Régis Pasquier, Violin after guest soloist both in France and abroad. Since 1972 he has also performed extensively as a chamber musician. Klagegesang des Violoncellos, der erst von der Viola, resolutes Allegro ma non troppo bildet den Schluss der Since 1985 he has also held a professorship in the violin and chamber music at the Paris Conservatoire. dann von der Klarinette übernommen wird, umso Dreierfolge. Bruno Pasquier, Viola • Arto Noras, Cello inniger erscheinen lässt. Danach breitet sich die Musik Geschrieben für Mstislaw Rostropowitsch, dem das Markus Maskuniitty, French Horn • Juhani Lagerspetz, Piano in düsterer, geradezu trauerkonduktartiger Intensität Stück auch gewidmet ist, stellt das Divertimento für aus, um in den letzten Takten einen stets mehr nach Solovioloncello (1994) Pendereckis Anerkennung für Krzysztof Penderecki (geb.1933) innen gerichteten Charakter anzunehmen. zwei Jahrzehnte künstlerischer Zusammenarbeit – Kammerwerke Das Klarinettenquartett, im August 1993 in Lübeck u.a. der bemerkenswerten Uraufführung des Zweiten uraufgeführt, ist sowohl konziser als auch Violoncellokonzerts (1982) – mit dem berühmten Im Laufe seiner kompositorischen Karriere hat sich Jahrzehnt sowie einige kürzere Stücke vom Beginn ausdrucksmäßig prägnanter. Im vorspielartigen Cellisten dar. Nach einer würdevollen Sarabande gibt Krzysztof Penderecki, wenngleich nur am Rande, auch seiner Karriere und aus jüngerer Zeit. Notturno: Adagio stellt die Klarinette in den sich die Serenade mit häufigem Pizzicato- und Col der Kammermusik gewidmet. Er spielte ausgezeichnet Geschrieben für Klarinette, Horn, Violine, Eröffnungstakten das melodische Hauptmaterial vor, legno-Spiel eher kapriziös. Es folgt ein energisches Geige (eine Sonate für Violine und Klavier aus seiner Viola, Violoncello und Klavier, stellt das Sextett wobei Violoncello, Viola und Violine den Scherzo, in dem Pendereckis unverwechselbare Studienzeit wurde schließlich vier Jahrzehnte später (2000) Pendereckis bislang substanziellstes atmosphärischen Hintergrund liefern. Nach einer Pause Chromatik mit lebhafter Virtuosität einhergeht. Ein veröffentlicht) und schrieb vor seinem Ersten Kammermusikwerk dar. Der erste Satz beginnt über hebt das Scherzo: Vivacissimo mit aggressiven introspektives, intensives Notturno beschließt dieses Streichquartett (1960) eine Reihe von Stücken für schreitender Klavierbegleitung mit einer Reihe von wiederholten Mustern in den Streichern an, eine grelle facettenreiche Porträt eines großen Künstlers. kleine Instrumentalbesetzungen. Danach, mit charakteristischen, in ihrer leichten Ironie an Antwort der Klarinette provozierend. Dieser Prozess Das Prélude für Klarinette solo, 1987 zum 40. Ausnahme seines Zweiten Streichquartetts aus dem Schostakowitsch erinnernden Motiven in den anderen wiederholt sich, bevor er direkt in die kurze Serenade: Geburtstag des britischen Komponisten Paul Patterson Jahr 1969, begann er sich fast ausschließlich mit der Instrumenten. Danach gewinnt die Musik rhythmische Tempo di valse mit ihrem leicht ironischen Rhythmus entstanden, ist ein charakteristisches Beispiel für Oper sowie Chor und Orchesterwerken zu beschäftigen Energie – zweimal von Violoncello und Horn mit überleitet. Nachdem die Bewegung zum Stillstand Pendereckis melodische Expressivität. Das Stück führt und beschränkte seine Beiträge zur Kammermusik auf expressiveren Ideen unterbrochen, wobei beim zweiten gekommen ist, beginnt das Finale, überschrieben die B-Klarinette auf eine nachdenkliche, der kurze, Hommage-ähnliche Stücke für Freunde und Mal die schreitende Bewegung des Beginns Abschied: Larghetto – der längste Satz des Werks und Tempobezeichnung ‚Lento sostenuto’ treu bleibende Musikerkollegen. Erst 1990 wandte er sich wieder zurückkehrt. Die Instrumente werden sodann in einen ein weiteres Beispiel für die ausgedehnten, das spätere musikalische Reise. ernsthaft dieser Gattung zu. Abgesehen von dem gewaltigen, wirbelnden Sog hineingezogen, der das Schaffen Pendereckis kennzeichnenden Elegien. Die Richard Whitehouse virtuosen Streichtrio enthält diese Einspielung seine bisher intensivste Zusammenspiel ankündigt und den Streicher öffnen einen weiten harmonischen Raum, in Deutsche Fassung: Bernd Delfs beiden bedeutendsten Kammermusikwerke aus jenem Satz zu einem kraftvollen, entschiedenen Schluss führt. dem die Klarinette ihre Melodielinie entfaltet. Nur ein

8.557052 5 6 8.557052 K Y M C

NAXOS PENDERECKI: Sextet • Clarinet Quartet 8.557052 h 2003 & g 2003 HNH International Ltd. Booklet notes in English • Kommentar auf Deutsch Made in E.C. 67:48 DDD 8.557052 Playing Time www.naxos.com – as well as – as well works of the of works Sextet avant garde avant (Little Legs) (Pastel, 1997) Ma1e nózki SarabandeSerenadeScherzoNotturno forPrelude Solo Clarinet (1959) 3:59 3:05 2:00 3:28 3:46 Divertimento forDivertimento (1994) Solo Cello 12:19 0 ! @ # $ (b.1933) ius (b.1949) (by kind permission) Krzysztof ã PENDERECKI by Stasys Eidrigievi Booklet Notes: Richard Whitehouse • Cover Painting: Booklet Notes: Richard Recorded at Naantali Parish Hall, Finland, from 19th to 20th June, 2001 • Producer: Pekka Savijoki Recorded at Naantali Parish Hall, Finland, from 19th to 20th Michel Lethiec, Clarinet • Régis Pasquier, Violin • Bruno Pasquier, Viola • Bruno Pasquier, Violin Michel Lethiec, Clarinet • Régis Pasquier, AllegroAndante cantabile ma non troppo Allegro 1:15 1:45 0:56 Notturno: AdagioScherzo: VivacissimoSerenade:Valse di Tempo Abschied: Larghetto 1:29 2:31 3:27 8:28 Allegro moderatoAllegro Larghetto 10:09 21:30 Engineer: • Matti Heinonen • Executive Producer: Naantali Festival Publisher: Schott Musik International ola, Cello and Piano (2000) 31:39

Three Miniatures for Miniatures Three Clarinet and Piano (1956) 3:56 Clarinet Quartet (1993) 15:55 7 8 9 3 4 5 6 Sextet for Violin, Clarinet, Horn, Vi 1 2

Arto Noras, Cello • Markus Maskuniitty, French Horn • Juhani Lagerspetz, Piano Horn French Arto Noras, Cello • Markus Maskuniitty, several shorter either pieces from place Penderecki’s which career, end of the composer’s in context. to instrumental writing approach Chamber composer Polish the of output the in intermittently has featured music for notorious is most he Although Penderecki. Krzysztof his 1960s, his later1960s, his careerthroughout but approachable, more deal is a great music he has of the two disc features The present expression. powerful of undeniably music created chamberrecent significant most – works the impressive including

AXOS N PENDERECKI: PENDERECKI: Sextet • Clarinet Quartet Clarinet • Sextet 8.557052