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Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985). -
Timothy M. Page, Composer
Timothy M. Page, composer Vanha viertotie 21, 311 00350 Helsinki tel: +358 41 536 4867 [email protected] www.timothypage.net b. June 17, 1975, Chicago, IL, USA resident of Finland since 2000 Curriculum Vitae, March 2010 Education Sibelius Academy, Helsinki, Finland M.M. in composition, under professor Veli-Matti Puumala 2010 5/5 (exceptional) on composition diploma Amherst College, Amherst, Mass., USA B.A., Physics, Phi Beta Kappa 1998 Relevant Work Experience, Membership International Society of Contemporary Music (ISCM), Finnish Selection Committee 2010 Finnish Composers’ Society 2007- Sibelius Academy, lecturer in music theory 2006- Ears Open! New Music Society, vice president 2003-2006 University of California at Berkeley, physics instructor, lab researcher 1998-2000 Master Classes Denys Bouliane, Martin Matalon (Domaine Forget, Quebec) 2009 Magnus Lindberg, Jouni Kaipainen (Sännäs) 2003, 2007 Tristan Murail 2006 Bent Sorensen 2006 Awards, Honors International Society of Contemporary Music (ISCM), Sweden 2009 Ung Nordisk Musik, Norway 2008 Ung Nordisk Musik, Denmark 2006 Tokyo International Chamber Music Composition Competition (3rd Prize) 2005 Ung Nordisk Musik, Sweden 2004 Ung Nordisk Musik, Norway 2003 Ung Nordisk Musik, Iceland 2002 US Fulbright Grant 2000 Recent Commissions Anna Laakso – concerto for piano and chamber orchestra (fp. to be announced) Steve Reich Guitar Ensemble – work for ten guitarists, fp. Ja Kitara Soi! festival, Lapeenranta, 2011 Tomas Gricius and Kristina Gricius – duo for organ and trumpet, fp. Lieksa Brass Week, 2010 Le Nouvel Ensemble Moderne – chamber orchestra work, fp. Domaine Forget concert series, St. Irénée, Quebec 2009 Linnea Hurttia – concerto for violin and orchestra (fp. to be announced) Uusi Carelia Trio: trio for harp, accordion, and guitar Helsinki University of Technology – 80 min. -
NMC227-Matthews-Wyastone Booklet-28-04-16.Indd
Colin Matthews Violin Concerto Cortège Cello Concerto No.2 Leila Josefowicz violin BBC Symphony Orchestra Oliver Knussen conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra Riccardo Chailly conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 Leila Josefowicz violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms 3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09 Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Music Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments. -
SAARIAHO Let the Wind Speak
KAIJA SAARIAHO Let the wind speak Camilla Hoitenga, flutes Anssi Karttunen, cello Daniel Belcher, baritone Héloïse Dautry, harp Da Camera of Houston KAIJA SAARIAHO (b. 1952) 1 Tocar (2010) 7:22 2 Mirrors I (1997) 3:29 3 Couleurs du vent (1998) 9:01 Sombre (2012) 20:40 4 I Canto CXVIII 5:57 5 II Canto CXX 8:51 6 III Fragment (1966) 5:52 7 Dolce tormento (2004) 6:31 8 Mirrors III (1997) 3:40 9 Oi Kuu (1990) 6:41 10 Laconisme de l’aile (1982) 8:52 11 Mirrors II (1997) 3:27 CAMILLA HOITENGA, flutes ANSSI KARTTUNEN, cello (2, 8, 9, 11) DANIEL BELCHER, baritone (4–6) HÉLOÏSE DAUTRY, harp (1) DA CAMERA OF HOUSTON (4–6): Paul Ellison, double bass Bridget Kibbey, harp Matthew Strauss, percussions 2 Aleksi Barrière: What really strikes me in this anthology is that it is a unique record of the history and dynamics of your rather special collaboration with Kaija Saariaho. At the beginning, there was your common classic, which you have been performing around the world for over thirty years now, Laconisme de l’aile, and to which the CD returns in its final part like to a distant memory, a ‘primal scene’ of sorts… Camilla Hoitenga: Right. Kaija gave me Laconisme de l’aile in Darmstadt, when we first met, in 1982. Although we soon became friends, I didn’t immediately play the piece. I had just been working intensively with Stockhausen at the time, and in comparison to his very exacting notation, Kaija’s score looked pretty vague. -
Philharmonia Orchestra Ducted by Valery Gergiev
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, November 9, 2012, 8pm Esa-Pekka Salonen (b. 1958) Zellerbach Hall Helix Composed in 2005. Premiered on August 29, 2005, in London by the World Orchestra for Peace con- Philharmonia Orchestra ducted by Valery Gergiev. Esa-Pekka Salonen, Principal Conductor & Artistic Advisor Conducting is tough, composing probably even harder, but some of the most brilliant musi- PROGRAM cians—Busoni, Mahler, Bernstein, Boulez, Previn—have pursued parallel careers in both fields that enriched all the facets of their creative Esa-Pekka Salonen (b. 1958) Helix (2005) personalities. To this select company must now be added the Finnish composer-conductor Esa- Pekka Salonen. Born in Helsinki on June 30, 1958, Salonen majored in horn at the Sibelius Ludwig van Beethoven (1770–1827) Symphony No. 7 in A major, Op. 92 Conservatory, where he founded a “collective” (1811–1812) called Ears Open for promoting and perform- I. Poco sostenuto — Vivace ing new music with Jouni Kaipainen, Magnus II. Allegretto Lindberg, and Kaija Saariaho, now all major Esa-Pekka Salonen III. Presto — Assai meno presto musical figures in Finland. After graduating IV. Allegro con brio in 1977, Salonen studied composition privately Illustration by Tom Bachtell with Einojuhani Rautavaara and conducting with Jorma Panula, and attended conducting He also continues to guest conduct concerts and INTERMISSION courses in Siena and Darmstadt; he also stud- opera throughout the world and to serve as ar- ied composition with Niccolò Castiglioni and tistic director of the Baltic Sea Festival, which Franco Donatoni in Italy. In 1979, Salonen he co-founded in 2003. -
Benjamin Britten's Temporal Variations An
Benjamin Britten’s Temporal Variations An Enigma Explored: Part Two George Caird Oxford, England, UK In this second of two articles (first article see The Double Reed Vol. 42 No. 3, pp. 64-96) George Caird discusses Benjamin Britten’s interest in writing for the oboe and compares the Composition Sketch and Fair Copy of Temporal Variations with the published editions in probing many questions on the creation of this remarkable work. ARTICLES Britten and the Oboe Britten wrote four works for the oboe during his lifetime, a number only exceeded by works for piano, voice, violin and cello. No other wind instrument received such attention from the composer and it is therefore worthwhile to reflect on why this might be. Having included the oboe, oboe d’amore and cor anglais in some of his earliest works, Britten records his fas- cination with the instrument on hearing Léon Goossens perform at a Queen’s Hall Prom on 2 October 1930: ‘Goossen’s Oboe Concerto (‘beautiful, monotonous, impos- sibly gorgeously, immortally played by Léon’).1 There are subsequent diary entries which Léon Goossens, photo by Peggy Delius, c. 1934 confirm Britten’s admiration for Goossens’ playing such as on 27 November 1930: ‘Orchestra not too good, but L. Goossens adorable’ and on 25 February 1932: ‘ Léon plays Eugene Goosen’s attractive(ly) Oboe Conc. superbly as can only he’. There is no hard evidence that Goossens directly commissioned the Phantasy Quartet Op. 2 on which Britten began work on the 9 September 1932 but on 17 October, the composer records ‘Go to R.C.M. -
Reinterpreting the Concerto Three Finnish Clarinet Concertos Written For
Reinterpreting the Concerto Three Finnish clarinet concertos written for Kari Kriikku Sapphire Clare Littler MA by Research University of York Music December 2018 Reinterpreting the Concerto: Three Finnish clarinet concertos written for Kari Kriikku Abstract The origins of the word concerto can be traced to two different sources: the first is the Italian translation, to mean ‘agreement’, and the other stems from the Latin concertare, which means ‘to compete’. Ironically, the duality presented by these two translations encapsulates the true meaning of the concerto: opposition and resolution. This thesis focuses on Finnish works for clarinet and orchestra composed for Kari Kriikku in the last forty years, and seeks to analyse three in depth: Jukka Tiensuu’s Puro (1989); Magnus Lindberg’s Clarinet Concerto (2002); and Kaija Saariaho’s D’OM LE VRAI SENS (2010). The works have been chosen as these composers were all born around a similar time in Finland, and all worked with the same clarinettist, whom they all know personally. Through analysis, Reinterpreting the Concerto seeks to discover how each of these composers tackled the pre- existing model of the concerto, and suggest reasons for compositional decisions. The thesis will end with a discussion of clarinet technique, and how much writing for Kriikku in particular may have influenced the works. This essay will be formed of several sections, with the first examining the traits which could be considered important to each of the pieces: form, and how this results in the linear progression of the work; continuity and discontinuity created through melodic treatment, and how the soloist interacts with the ensemble. -
Light & Matter
THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC LIGHT & MATTER JENNIFER KOH, vIOLIN ANSSI KARTTUNEN, cELLO IEVA JOKUBAVICIUTE, pIANO Friday, May 22, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions, contemporary music and its performers. Presented in association with the European Month of Culture Part of National Chamber Music Month Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Friday, May 22, 2015 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC LIGHT & MATTER JENNIFER KOH, vIOLIN ANSSI KARTTUNEN, cELLO IEVA JOKUBAVICIUTE, pIANO • Program CLAUDE DEBUSSY (1862–1918) Sonate pour Violoncelle et Piano (1915) Prologue: Lent, Sostenuto e molto risoluto–(Agitato)–au Mouvt (largement déclamé)–Rubato–au Mouvt (poco animando)–Lento Sérénade: Modérément animé–Fuoco–Mouvt–Vivace–Meno mosso poco– Rubato–Presque lent–1er Mouvt–au Mouvt– Finale: Animé, Léger et nerveux–Rubato–1er Mouvt–Con fuoco ed appassionato–Lento. -
TORSTAISARJA 4 Hannu Lintu, Kapellimestari Karita Mattila
20.12. TORSTAISARJA 4 Musiikkitalo klo 17.00 Hannu Lintu, kapellimestari Karita Mattila, sopraano Anssi Karttunen, sello Kari Kriikku, klarinetti Claude Debussy: Faunin iltapäivä 10 min Yuki Koyama, huilu Magnus Lindberg: Sellokonsertto nro 2, 25 min ensiesitys Suomessa I-II-III Jean Sibelius: Luonnotar op. 70 9 min VÄLIAIKA 20 min Jouni Kaipainen: Nyo ze honmak kukyo to op. 59b 6 min Kaija Saariaho: Mirage 12 min Maurice Ravel: Daphnis & Chloe, sarja nro 2 16 min I Lever du jour (Päivänkoitto) II Pantomime (Pantomiimi) III Danse générale Konsertissa soittaa Sibelius-Akatemian ja RSO:n koulutusyhteistyön myötä viisi Sibelius-Akatemian opiskelijaa: Johannes Hakulinen, 1-viulu, Khoa-Nam Nguyen, 2-viulu, Aino Räsänen, alttoviulu, Sara Viluksela, sello ja Joel Raiskio, kontrabasso. Väliaika noin klo 18.00. Konsertti päättyy noin klo 19.25. 1 JOUNI KAIPAINEN IN MEMORIAM Säveltäjä Jouni Kaipainen menehtyi pit- ja yhteistyökumppania, ikään kuin ohjel- käaikaiseen sairauteen 23. marraskuu- mistosuunnittelun jumalatar olisi tarkoi- ta. Olemme ennenaikaisesti kadottaneet tuksellisen kaukonäköisesti suunnitellut ystävän ja suuren säveltäjän, ja siksi hä- tämän kokoontumisen. Jopa Jounin hauta- nen tuotantonsa on meille entistäkin jaiset ajoittuvat näiden konserttien väliin. rakkaampi. Jounin teokset kunnioittavat Jounin suhde Radion sinfoniaorkesteriin syvästi traditiota mutta julistavat silti oli kiinteä. RSO on kantaesittänyt mm. vahvasti omalla äänellään. Yksikään län- 2. ja 4. sinfonian sekä piano- ja viulukon- simaisen kulttuurikaanonin teos tai hen- serton. Viides sinfonia oli tilattu ja viimei- kilö ei ollut hänelle vieras; kuuluihan hän nen keskusteluni Jounin kanssa koski tuon siihen itsekin. Hänen sävellystapansa to- teoksen dramaturgiaa. Lisäksi hän kirjoit- disti ainutlaatuisesta sisäisestä korvasta: ti meille satoja ohjelmakommentteja joi- teokset olivat valmiita hänen päässään or- den laaja-alainen sivistyneisyys ja teos- kestraatiota myöten, vasta sitten hän alkoi ten ymmärrys ovat vertaansa vailla. -
Press Release Shortlists Announced
Press Release For release: strictly embargoed until 7pm, Thursday 8 April 2010 Shortlists announced for RPS Music Awards Shortlists have been announced for this year’s RPS Music Awards, the UK’s most prestigious accolade for live classical music. Presented in association with BBC Radio 3, this year’s shortlists, for outstanding achievement in 2009, celebrate an astonishingly diverse range of music and music makers from across the UK. They reveal an exciting new generation of artists and ensembles who are firmly establishing themselves alongside distinguished performers; all demonstrate vision and boldness. The shortlists celebrate opera in CornwallCornwall, pianos in HuddersfieldHuddersfield, nationwide singing and outstanding celebrations of the year’s big anniversaries: Purcell, Handel, Haydn and Martinu. English National Opera, the London Sinfonietta, Southbank CentreCentre, conductor Oliver Knussen and pianist Stephen Hough are amongst the big names to make the cut. Young artists include violinist Alina IbragimovaIbragimova,Ibragimova 22 year old flautist Adam WalkerWalker, singers Iestyn Davies and Lucy CroweCrowe, conductor Kirill Karabits and ensembles the London Contemporary Orchestra and Aurora Orchestra in only their second and fourth seasons respectively. Huddersfield Contemporary MusicMusic FFestivalestival tops the list with three nominations, with the Philharmonia Orchestra, Wigmore Hall, BBC Symphony OrchestraOrchestra, and the City of Birmingham Symphony Orchestra with its conductor Andris Nelsons each shortlisted twice. Graham SheffieldSheffield, Chairman of the Royal Philharmonic Society comments: “These shortlists have been debated and chosen by independent juries of incisive minds and strong opinions, and reflect the nominations of musicians and music lovers nationwide. What they reveal is the breadth of talent and invention in classical music in the UK on an unprecedented scale, and it is particularly refreshing to see so many young artists making a splash in 2009.