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MOVEMENTS Booklet Joan Albert Amargós (b.1950) movements Northern Concerto (2005) 1 Allegro guisto . 07:43 2 Molto expressivo e rubato . 08:39 3 Allegro moderato . 09:57 Daniel Börtz (b.1943) 4 Pipes and Bells (2002) . 17:44 Steven Stucky (b.1949) Etudes (2000) 5 Scales . 03:10 6 Glides . 06:04 Cover painting “Movements” by Lars Physant 7 Arpeggios . 04:11 Recorded in cooperation with Total time: . 57:28 Danish Broadcasting Corporation Produced by Distributed by OUR Recordings MVD Music & Video Distribution GmbH Nordskraenten 3 | 2980 Kokkedal | Denmark Michael-Haslbeck-Str. 22 | D-85640 Putzbrunn www.our-recordings.com Munich, Germany movements by Lars Hannibal He has during years felt that Michala and Joan In its own way, it explores the various possibili- The piece – as in other concertos by Börtz – is Albert could give each other something both ties of the recorder in each of the three move- in one long movement ”in order not to disturb The cover painting Movements, by Barcelona- musically and spiritually. I suggested to Joan ments – each titled as clearly as Steven the symphonic story”; it is a dialogue between based Danish painter Lars Physant, visually Albert that he should write a concerto for Stucky’s music itself: Scales, Glides and the soloist, symbol of the human individual expresses three very different contemporary Michala, where he should feel free to work with- Arpeggios. Etudes was premiered at the Tivoli voice, and the orchestra. In his beautifully recorder concertos composed for Michala out limits. Joan Albert has a great ability to Concert Hall in Copenhagen on June 17th expressive work Börtz responded to Michala’s Petri. combine unusual components in a natural way 2000, with Giordano Bellincampi conducting wish to explore new and stronger dynamics, – in this case the small recorder and the full the Copenhagen Philharmonic, during a con- recently made possible thanks to some newly The sun’s reflections in the water could be from symphony orchestra. Michala is constantly cert celebrating Michala’s award of the Lèonie acquired instruments: he wrote dramatic dyna- the Mediterranean up the coast from seeking challenges to explore new avenues for Sonning Music Prize. On January 29th 2002, mic changes and quick passages for the large Barcelona, or the Baltic Sea outside her instrument; for Lars Physant and myself it Etudes had its U.S. premiere in Los Angeles, and usually soft tenor recorder; conversely, the Stockholm, or even the North Pacific Ocean would be a great artistic experience to hear the performed by the Los Angeles Philharmonic small, normally penetrating and aggressive outside Los Angeles - and of course, all around combination of Michala’s precise playing, New Music Group, conducted by Steven sopranino is asked to produce soft, long-held Michala’s native Denmark. The movement of together with Joan Albert’s intense musical Stucky. tones. This approach affected not only the con- the waves unites the different kinds of music, complexity and fierce rhythmical strength. trast between the two instruments, but also the and creates a special light, perhaps a special During the next three years, it was very inspi- Pipes and Bells, by Swedish composer Daniel extreme dynamics between the soloist and the Northern Light. ring to follow the progress of this work, until its Börtz, was commissioned for Michala and the orchestra, through a mixture of soft, delicate completion in 2005. Danish National Symphony Orchestra. The world and angelic passages and loud, almost diaboli- For Spanish composer Joan Albert Amargós, premiere took place on September 26th 2005, cal passages. the process of composing Northern Concerto Etudes, by American composer Steven Stucky, under chief conductor Thomas Dausgaard, started in 2002, when we were both invited to a was initiated by another friend and great arts in the Danish Radio Concert Hall during the private dinner at our mutual friend Lars Physant. supporter, Linda Attiyeh in Los Angeles. orchestra’s 70th anniversary celebration. 2 3 movements by Lars Hannibal He has during years felt that Michala and Joan In its own way, it explores the various possibili- The piece – as in other concertos by Börtz – is Albert could give each other something both ties of the recorder in each of the three move- in one long movement ”in order not to disturb The cover painting Movements, by Barcelona- musically and spiritually. I suggested to Joan ments – each titled as clearly as Steven the symphonic story”; it is a dialogue between based Danish painter Lars Physant, visually Albert that he should write a concerto for Stucky’s music itself: Scales, Glides and the soloist, symbol of the human individual expresses three very different contemporary Michala, where he should feel free to work with- Arpeggios. Etudes was premiered at the Tivoli voice, and the orchestra. In his beautifully recorder concertos composed for Michala out limits. Joan Albert has a great ability to Concert Hall in Copenhagen on June 17th expressive work Börtz responded to Michala’s Petri. combine unusual components in a natural way 2000, with Giordano Bellincampi conducting wish to explore new and stronger dynamics, – in this case the small recorder and the full the Copenhagen Philharmonic, during a con- recently made possible thanks to some newly The sun’s reflections in the water could be from symphony orchestra. Michala is constantly cert celebrating Michala’s award of the Lèonie acquired instruments: he wrote dramatic dyna- the Mediterranean up the coast from seeking challenges to explore new avenues for Sonning Music Prize. On January 29th 2002, mic changes and quick passages for the large Barcelona, or the Baltic Sea outside her instrument; for Lars Physant and myself it Etudes had its U.S. premiere in Los Angeles, and usually soft tenor recorder; conversely, the Stockholm, or even the North Pacific Ocean would be a great artistic experience to hear the performed by the Los Angeles Philharmonic small, normally penetrating and aggressive outside Los Angeles - and of course, all around combination of Michala’s precise playing, New Music Group, conducted by Steven sopranino is asked to produce soft, long-held Michala’s native Denmark. The movement of together with Joan Albert’s intense musical Stucky. tones. This approach affected not only the con- the waves unites the different kinds of music, complexity and fierce rhythmical strength. trast between the two instruments, but also the and creates a special light, perhaps a special During the next three years, it was very inspi- Pipes and Bells, by Swedish composer Daniel extreme dynamics between the soloist and the Northern Light. ring to follow the progress of this work, until its Börtz, was commissioned for Michala and the orchestra, through a mixture of soft, delicate completion in 2005. Danish National Symphony Orchestra. The world and angelic passages and loud, almost diaboli- For Spanish composer Joan Albert Amargós, premiere took place on September 26th 2005, cal passages. the process of composing Northern Concerto Etudes, by American composer Steven Stucky, under chief conductor Thomas Dausgaard, started in 2002, when we were both invited to a was initiated by another friend and great arts in the Danish Radio Concert Hall during the private dinner at our mutual friend Lars Physant. supporter, Linda Attiyeh in Los Angeles. orchestra’s 70th anniversary celebration. 2 3 movements por Lars Hanníbal ambos fuimos invitados a una cena en casa de Etudes, del compositor americano Steven bajo la dirección de Thomas Dausgaard en el nuestro amigo mutuo Lars Physant. Lars Stucky, fue iniciado por una amiga, gran apa- Danish Radio Concert Hall, durante la celebra- El cuadro de la portada, titulado “Movimien- Physant presentía desde hacía muchos años sionada por las artes, Linda Attiyeh, en Los ción del 70 aniversario de dicha orquesta. Esta tos”, del pintor danés Lars Physant, afincado que Michala y Joan Albert podrían intercambiar Angeles. A su manera, explora las diferentes obra – como sucede en otros conciertos de en Barcelona, expresa visualmente los tres algo muy especial, tanto musical como espiri- posibilidades de la flauta dulce en cada uno de Börtz – consta de un solo movimiento largo, conciertos para flauta dulce contemporáneos, tualmente. Así pues, fue en aquella ocasión los movimientos – cada uno titulado tan clara- “para no interferir en la historia sinfónica”; es muy diferentes entre si, compuestos para cuando sugerí a Joan Albert que escribiera un mente como la propia música de Steven un diálogo entre el solista, símbolo de la voz Michala Petri. concierto para Michala en el que se sintiera Stucky: Scales, Glides y Arpeggios. Etudes se humana individual y la orquesta. Börtz colmó el totalmente libre y sin límites. Joan Albert tiene estrenó en la Sala de Conciertos de Tivoli en deseo de Michala de explorar dinámicas nue- Los reflejos del sol en el agua podrían encon- una gran habilidad para combinar elementos Copenhague el 17 de junio del año 2000, con vas y más intensas, que se habían hecho posi- trarse en el Mediterráneo en la costa al norte de muy dispares de una manera natural – en este Giordano Bellincampi dirigiendo la Copen- ble recientemente gracias a la adquisición de Barcelona, o quizás en el mar Báltico cerca de caso, una flauta dulce y una orquesta sinfónica hagen Philharmonic en el concierto de celebra- nuevos instrumentos: escribió dramáticos Estocolmo, o incluso al norte del Océano al completo. Michala está constantemente bus- ción de la entrega del premio Lèonie Sonning cambios dinámicos y rápidos pasajes para la Pacífico en los alrededores de Los Angeles - y, cando retos para explorar nuevos caminos Music Prize. El 29 de enero de 2002, Études se gran y normalmente suave flauta dulce tenor.; por supuesto, en toda la costa de Dinamarca. para su instrumento, y para Lars y para mi sería estrenó en U.S.A.
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