The Music of

Chamber Domaine Thomas Kemp Rakastava, Op. 14 15. Nocturne [3:28] Rakastava for strings, triangle & (arr. John Amans) The Music of Jean Sibelius (1865-1957) 1. Rakastava [3:36] for & 2. Rakastetun tie [2:02] 3. Hyvää iltaa... Jää hyvästi [5:19] 16. [4:18] for strings & timpani Impromptus, Op. 5 for piano Total playing time [63:22] Sami Junnonen flute 4. Moderato [2:11] Adrian Bradbury 5. Lento [2:02] Sophia Rahman piano 6. Moderato (alla marcia) [2:24] 7. Andantino [1:45] Chamber Domaine 8. Vivace [4:03] 9. Commodo [5:05] Thomas Kemp conductor

10. Impromptu [6:19] for strings

11. Malinconia, Op. 20 [10:25] for cello & piano

12. Romance in C major, Op. 42 [4:22] for strings

13. The Oak-tree, Op. 109, No. 2 [3:14] About Chamber Domaine & Thomas Kemp: (arr. ) for flute & piano

‘Thomas Kemp’s ever-reliable Chamber Domaine play with consummate 14. Flute Solo from assurance, insightful detail and pleasing feeling and verve’ , Op. 71 [2:39] Classical Ear (arr. Jussi Jalas) for flute & piano ‘Committed performances from Chamber Domaine, definitely an ensemble from whom much can be expected, under the incisive leadership of Thomas Kemp’ Gramophone Rakastava: The Music of Jean Sibelius whilst Sibelius was studying there.

Sibelius became the musical voice and The combination of Finnish texts linked to a expression of as the result of the distant past; melodies and rhythms inspired legendary premiere of the tone poem, by Finnish folk music and highly original , Op. 7, on 28th April 1892 – one orchestration give this music a realism and of the key cultural events prior to Finnish naturalism that made the premiere of Independence in 1917. Sibelius conducted Kullervo a focus of national expression and the work in the Great Hall of established Sibelius as a national icon. This University to a capacity audience and work and its genesis were to inform his received a rapturous reception. subsequent compositions.

Kullervo is based on poems from the Like Kullervo, Rakastava, Op. 14 – The Lovers – poems that were collected in the – was based on ancient Finnish poems, this early-nineteenth century by the writer time from Kanteletar – a collection of lyric Elias Lonnrot, from shamans and singers poetry compiled by Elias Lonnrot and of Karelia. published in 1840. Originally for male voices, Sibelius wrote the work in 1894 and made In 1891, whilst a student, Sibelius spent the version for strings, timpani and triangle time listening to the runic singer, Larin in 1912. When considering how to revise Paraske: ‘I listened to her with great Rakastava, Sibelius wrote: ‘If I were to make attention and made notes on her inflections all these changes, much would be lost of the and rhythms.’ overall atmosphere. There is some fertile soil in this work. Earth and Finland.’ The idea for a large symphonic work developed whilst he was studying in Vienna This arrangement develops the material: and his teachers, and Robert the first and last movement are much more Fuchs, encouraged the young composer to polyphonic than the declamatory choral explore his ‘barbaric’ roots. The subject originals and the second movement – matter of Kullervo – a tale of broken described by the Sibelius scholar, Erik relationships, incest and suicide, also chimed Tawastjerna as ‘ethereal polyphony’ - has with the prevailing Viennese fascination with more complex cross rhythms than the death and the emergence of Freudian ideas original and anticipates minimalism fashionable in the 1960s. The string version Kantele and wrote several pieces for it including that of Impromptu No. 6. With the material There are moments of hope but the pervading of Rakastava immediately captivated a March and a Waltz. This influence can be from Impromptu No. 5, Sibelius creates space mood is one of utter despair and regret. audiences and Sibelius would regularly particularly heard in the Impromptu No. 4 – and intensity by taking our the arabesques Sibelius wrote to his wife a few months after perform it alongside his symphonies. ‘Andantino’ – which employs the repetition of heard in the piano version – distilling the Kirsti’s death: ‘I think of you very often. If simple stepwise cells which are highly music to its essence. The middle section – only you could get over it. I don’t know what Whilst he was making this version of idiomatic on the Kantele. based on Impromptu No. 6 – is more driven I ought to do. My dearest, don’t look back on Rakastava, Sibelius was writing his Fourth than the original with an energised, dancing the past but forward […] the countryside is Symphony, Op. 63, and elements of this stark There is also a Russian flavour to this music. motor heard in the second (saltando) so beautiful and besides that you have other and highly original work can be heard in this The Impromptu No. 1 – ‘Moderato’ – recalls which accompanies the expressive, arching children and dare I say it – me.’ Malinconia arrangement. For example, the linear and the sparseness of Mussorgsky; the Impromptu melody played by the first violins and . was a way for Sibelius to express his grief, hushed string phrases accompanied by an No. 2 features a Trepak – Russian Dance; the which was such that he never mentioned ominous roll of the timpani heard towards harp-like arabesques in Impromptu No. 5 The movement then returns to the opening his daughter again. the end of the first movement: ‘The Lover’ recall the magical ballet music of Tchaikovsky. material from Impromptu No. 5 in a highly and the somewhat schizophrenic writing Despite these influences, there is a truncated version: a sombre sublimation The Romance in C major, Op. 42 for Strings, that forms the middle section of the third distinctiveness about the piano writing. With of the piano original. was composed in 1903 and was originally movement: ‘The Farewell’. the exception of the Impromptu No. 5, entitled Andante for Strings. Written at the virtuosity is never in the foreground and On 2 March 1900, Sibelius’ daughter, Kirsti same time as the Second Symphony, the By removing the text, Sibelius creates a there is an earthy realism to the piano died from typhoid fever: a tragic event that work is short but has great emotional spiritualised version of the original – this is writing based on the repetition of simple led to suffer from severe range: it expresses a lot with very little. like a miniature tone poem with allusions melodic and rhythmic cells. Sibelius depression and her husband, to turn to The work begins with a volatile, fiery entry to a plot but none of the narrative that the commented: ‘Whereas most other modern drink. Malinconia, Op. 20 for Cello and from the violins and this opening, provides text lends to the choral version. Every note composers are engaged in manufacturing Piano is an outpouring of grief written in the material for the entire work: giving the in this work counts and it recalls what cocktails of every line and description, I the aftermath. Sibelius originally named Romance a feeling of inner unity and Sibelius said about the Fourth Symphony: offer the public pure cold water.’ this work Fantasia but later changed the structural strength. The movement has a ‘I cannot find a single note of it that I could name to reflect the sombre and tragic real feeling of development and direction: remove, nor can I find anything to add.’ Sibelius made an arrangement of Impromptus painting Malinconia by the Finnish Symbolist it is a miniature symphony and recalls the No. 5 and No. 6 for string orchestra and this painter Magnus Enckell that dates from 1895. composer’s comment that: ‘The framework The Impromptus, Op. 5 for Piano has six was first performed under the composer’s of a symphony must be so strong that it movements which have a patriotic flavour baton on 24 February 1894 in – the The work begins with eulogies from solo cello forces you to follow it, regardless of rooted in Finnish folk music. In particular, ancient capital of Finland and a symbolic and then solo piano. There are moments of environment and circumstances.’ the influence of the Kantele can be heard – centre of nationalism. Sibelius creates a great intensity and drama. The piano writing an ancient plucked string instrument that ternary structure from the two movements: is often extremely virtuosic, but due to the The Oak Tree is an arrangement for Flute would accompany songs. Sibelius played the the music from the Impromptu No. 5 framing subject matter sounds empty and hollow. and Piano of a movement from Act 2 of . Written between 1925 and 1926 only recording Sibelius made and is very at the same time as the tone poem, , slow, intense and deliberate. Indeed Sibelius Op. 112, this music expresses the magical and asked the players of the Finnish Radio seductive power of a dryad who inhabits the Symphony to ‘show more humanity’ when forest – a character that also found expression playing this work which is like a solemn in an earlier work: The Woodnymph, Op. 15, hymn of praise. which in its original form is a melodrama with narrator and also a tone poem for Sibelius spent the last thirty-two years of symphony orchestra dating from 1894. his life ‘in the silence of Jarvenpaa’ at his beloved house, . He attempted to The meditative Flute Solo from Scaramouche write an eighth symphony and destroyed dates from 1913 and was written as much of the work that he could not incidental music to a tragic pantomime by complete or was dissatisfied with. Whilst Paul Knudsen. The simplicity and delicacy primarily known as a symphonist, his other of the accompaniment together with the works have the same emotional range and understated melody and subject matter extraordinary variety: a striking and from commedia dell’arte, demonstrate distinctive sound world inspired by his Thomas Kemp the influence of neo-classicism on Sibelius surroundings and culture. and the influence of French composers such as Debussy, Ravel and Faure. His stature as a living legend was almost enhanced by his compositional silence and The Nocturne from Belshazzar’s Feast, absence from the concert stage with the Op. 51, is from the incidental music written exception of this one transatlantic broadcast in 1906 for a play by Hjalmar Procope. In just before the outset of the Second World War. 1907, Sibelius arranged this score into an orchestral suite which is more widely known. Sibelius commented towards the end of his life that: ‘music begins where the possibilities Dating from the same year, Andante Festivo of language end.’ Andante Festivo was played was originally written for string quartet and in at his funeral on 30th September 1957: a 1938, Sibelius arranged it for String Orchestra fitting tribute to a composer who distilled and Timpani – giving his only broadcast in music to its essence. January 1929 celebrating the New York World Fair. This recording is fascinating as it is the © 2018 Thomas Kemp

Sami Junnonen Adrian Bradbury (cello) Professor for the National Youth Orchestra He is the flute player for Chamber Domaine Alongside her touring schedule she has of Great Britain, and to teach and examine and plays on a 24-carat gold Murmatso Flute. given masterclasses at conservatoires Adrian Bradbury began playing the cello at cello students at the Royal Academy of Music, throughout the UK and in Russia, China, the age of seven and became a principal player London, where he is also Music and Science www.samijunnonen.com Kazakhstan, Sweden, Finland (coaching of the National Youth Orchestra of Great Coordinator. Adrian also holds a degree in chamber music at Sibelius Junior Academy), Britain. After studying Veterinary Science natural science from Cambridge University Sophia Rahman (piano) Estonia, Sri Lanka and New Zealand. She is and Music at Churchill College, Cambridge and has collaborated with neuroscientists also a member of Trittico with John Anderson he won a scholarship to the Royal Academy in studies on behavioural and neurological Sophia Rahman has recorded concertos () and Nancy Ruffer (flute). She has of Music, after which he continued his studies changes in string players during performances. with the Scottish Ensemble, the BBC National appeared in recital with Steven Isserlis, in Berlin with Berlin Philharmonic solo-cellist Orchestra of Wales and twenty-five chamber Thomas Riebl, distinguished wind players Goetz Teutsch. He has performed concertos Sami Junnonen (flute) discs for companies including Linn records, such as Karl Leister and Alex Klein, and also in seven European countries, and is in cpo, Guild, Naxos, ASV, Dutton/Epoch, Meridian works regularly with her partner, the violinist, demand as guest principal with orchestras Sami Junnonen is a Finnish flautist that has and Resonus Classics. violist and conductor Andres Kaljuste. such as the London Sinfonietta and the established a versatile international career, Royal Philharmonic Orchestra. performing as a flute soloist with a wide She has acted as a class pianist for IMS/ Sophia studied at the Yehudi Menuhin School repertoire ranging from early music to Prussia Cove for Kim Kashkashian, Atar Arad, with Peter Norris, with additional guidance He makes regular chamber music broadcasts contemporary works. He has frequently Hartmut Rohde and, for the last six years, from Vlado Perlemuter and Louis Kentner. on BBC Radio with The Composers Ensemble, collaborated with some of the most Steven Isserlis. Since 1994 she has acted as She has a first-class honours degree in London Sinfonietta, Jane’s Minstrels, Chamber celebrated composers of our time and has official accompanist for the Lionel Tertis English from King’s College, London and Domaine, Endymion, Trio Gemelli, Scottish given world and territorial premieres of International Competition, and has also completed her piano studies at the Royal Ensemble and Touchwood piano quartet – many new works. In 2012, he made his appeared for the Barbirolli International Academy of Music with Alexander Kelly and such concerts involve repeated appearances debut recital at the Oboe Competition and the Samling Malcolm Martineau. at the Wigmore Hall, the Southbank Centre receiving outstanding reviews. Foundation, as well as the 2013/14 inaugural and Carnegie Hall, together with major Australian Cello Awards. She was a class She was the winner of the Royal Overseas festivals (Cheltenham, Aldeburgh, City of Sami trained at the , pianist for the last few years of masterclasses League’s Accompanist Award and the Liza London, Spitalfields, Huddersfield, Orkney, Conservatoire National Musique et Dance given by William Pleeth at the Britten Pears Fuchsova Memorial Prize for a chamber Nuremberg, Turku and Aarhus) and the BBC in Lyon and the Royal Danish Academy of School. Together with colleagues Robert Plane music pianist in consecutive years. Promenade chamber music season. He has Music. He graduated from the Sibelius () and Philip Dukes (viola), she was recorded with all these groups (gaining Academy with distinction in 2008. He works Artist-in-Residence at Queen’s University, www.sophiarahman.com ‘Editor’s Choice’ in Gramophone and ‘CD worldwide as a soloist, chamber musician Belfast for eight years, where she developed of the Month’ in The Daily Telegraph). and orchestral principal and has taught at her love of teaching. She is currently a guest- many leading conservatoires. coach on the string Masters programme at Adrian is regularly invited to be Cello the University of Limerick. Chamber Domaine Chamber Domaine gave its highly praised Thomas Kemp (conductor) Thomas is regularly in demand as a guest Southbank and Wigmore Hall debuts in 1999 conductor with orchestras and ensembles in Chamber Domaine is a trailblazing ensemble and has since performed at leading festivals Thomas Kemp is a highly acclaimed musician the UK and Europe. Forthcoming engagements acclaimed for its virtuosity, distinctive and concert series in the United Kingdom, and one of the most versatile and eclectic include tours of Asia and Europe with The programming and passionate advocacy of Europe and North America including conductors of his generation, acclaimed for Orchestra of the Age of Enlightenment the music from the twentieth and twenty-first Cheltenham, Brighton, Vale of Glamorgan, his innovative programming and passionate conducting the 1926 film version of Richard centuries. Chamber Domaine is project based City of London and Edinburgh Festivals. The advocacy in concerts, opera, ballet and as Strauss’s Der Rosenkavalier together with and has a modular lineup of outstanding ensemble has also had groundbreaking an award winning recording artist. arrangements of Strauss songs made for instrumentalists and vocalists ranging from residencies at the Victoria and Albert Museum, silent film which receive their modern duos to chamber orchestra. Under its The Imperial War Museum, Arnold Schonberg Thomas is the Music Director of the premieres. He is an acclaimed exponent of Music Director, Thomas Kemp the ensemble Centre in Vienna, Gresham College and internationally acclaimed ensemble Chamber late-nineteenth and early-twentieth-century aims to bring new work to new audiences Bargemusic in New York. Domaine, which is at the forefront of music as well as collaborating with many placing the music of our time into its ensembles focusing on twentieth- and leading composers. context, illuminated by music from across Chamber Domaine is the resident ensemble twenty-first-century music. He has directed three centuries. Its innovative programming, for Music@Malling and has a year around Chamber Domaine in festivals and concert In 2012, he made his operatic debut in a collaborations, recording and outreach place outreach programme engaging hundreds of series in the UK, Europe and North America new production of Mozart’s Così fan tutte for the ensemble at the forefront of music- children from across Kent in creative activities. and has a distinguished discography with Opera Holland Park with the City of London making today. This groundbreaking programme has included the ensemble including world premiere Sinfonia to widespread praise. Thomas has collaborations with national, regional and recordings of Britten, Bridge, Bliss, Turnage, performed at many leading festivals in the The ensemble has worked with many of the local organisations to create an artistic Pärt, Górecki, Rorem and Bingham. He is a UK and overseas including the Edinburgh, world’s leading composers including Mark- resource for the local area that is of outstanding recording artist for Resonus Classics. Cheltenham, City of London, Huddersfield Anthony Turnage, Judith Bingham, Ned quality. Music@Malling was recently one of the Contemporary, Wien Modern, , Rorem, Arvo Pärt, Mark Simpson, Henryk classical events of the year in The Arts Desk. He is Artistic Director of Music@Malling – an Vale of Glamorgan, Aldeburgh and Brighton Górecki, Piers Hellawell, Stuart MacRae, The ensemble has a distinguished and highly international festival that promotes the Festivals. He has broadcast regularly on BBC Huw Watkins, Judith Weir, Brian Ferneyhough, acclaimed discography with recordings winning works of contemporary composers alongside Radio 3, Classic FM, ORF (Austria), ABC H.K. Gruber and David Horne giving many international plaudits and regularly broadcasts masterworks from the Classical and Romantic (Australia), WNYC (USA), RNZ (New Zealand) territorial and world premieres in concerts worldwide. Chamber Domaine are recording periods. The festival is held each September and SR (Sweden). He has regularly performed and recordings. The ensemble regularly artists with Resonus Classics and further in historic venues in and around West at the Wigmore Hall, Southbank Centre and collaborates with leading figures from across releases for 2018 include the flute quartets Malling, Kent, and has a year-round outreach as a guest artist for Bargemusic, New York. the arts world, including Sir Anish Kapoor, of Mozart. programme that engages hundreds of young Edward Fox, Nicky Spence, Helen Lederer, people in creative activities from across the www.thomaskemp.eu Yeree Suh, Sara Fulgoni, Craig Ogden, Irina county. Takahashi and Anna Grevelius. More titles from Resonus Classics Mark-Anthony Turnage: A Constant Obsession Nicky Spence (tenor) Chamber Domaine Thomas Kemp (conductor) RES10106

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© 2018 Resonus Limited è 2018 Resonus Limited Recorded in the Chapel of Sidney Sussex College, Cambridge on 23 March 2017 by kind permission of the Master & Fellows, and in St Mary’s Church, West Malling, Kent on 29 April 2017 Producer, engineer & editor: Adam Binks Recorded at 24-bit/96kHz resolution Session photoraphy © Resonus Limited Cover image: Sibelius at his home in Sweden, ‘Ainola’ (The Finnish Museum of Photography)

Grateful thanks are due to Rev David Green and Dr David Skinner for their kind assistance in making this recording.

RESONUS LIMITED – UK

[email protected] www.resonusclassics.com RES10205