SHOSTAKOVICH Violin Concerto No. 1 RIHM Gesungene Zeit

Jaap van Zweden, Violin Netherlands Radio Philharmonic Royal Orchestra Zoltán Peskó Dmitry Shostakovich (1905-1975): Violin Concerto No. 1 in A minor, Op. 77 These declamations build into upwardly striving many traditions, Rihm is in touch with his Austro-German Wolfgang Rihm (b. 1952): Gesungene Zeit arpeggios, announcing the intricate and substantial roots but he is just as likely to adopt a subversive approach cadenza, which goes beyond the customary testing of the to his heritage as he is to pay homage to it. Dmitry Shostakovich: Violin Concerto No. 1 a brief, desolate coda, the triplet-laced solo line vaporises player’s virtuosity. In addition to fulfilling the crucial role of a ‘To me, instrumental virtuosity is an enhancement of in A minor, Op. 77 (1947-48) into the ether and the ghostly episode on harp harmonics bridge between slow movement and finale, it develops vocal abilities. In the highest register of the instrument, the and celesta is summoned up once more before the ideas already encountered, such as the DSCH motif and drawn-out timbre of the violin develops, sung, not played’: The First Violin Concerto of Dmitry Shostakovich was movement closes with a soft tap on the tam-tam. Jewish dance from the scherzo and the passacaglia’s these words from the composer capture the essence of his completed in March 1948, just after he had been accused, In contrast to the repressed, meditative and virtually fanfares, as well as anticipating material from the ensuing solo instrumental writing in Gesungene Zeit (Time Chant). along with other leading Russian composers including monothematic opening movement, the following bitterly finale as it gathers pace. Virtually a separate movement, Subtitled ‘music for violin and orchestra’, it was Prokofiev and Myaskovsky, of Western-style ‘formalistic ironic scherzo is protean in its thematic invention, crackling this cadenza is almost the equal of the finale in terms of commissioned by Paul Sacher for violinist Anne-Sophie distortions and anti-democratic tendencies’ by party with febrile, mocking energy. Its garrulous main dance tune duration and surpasses it in symphonic weight. Mutter and Rihm had her playing in mind when he wrote the dogmatists led by Andrey Zhdanov. Shostakovich, is introduced on flute and bass clarinet, whilst the soloist Briefest and most Russian-sounding of the four piece, especially the vibrant and rich sound of her rendering therefore, felt compelled to suppress his concerto until 1955 gruffly spits out disjointed and sharply accented movements, the vigorous and lively closing Burlesque of high notes. In a score remarkable for its economy of (two years after Stalin’s death) when it was given its interjections. The woodwinds later generate a four-note revisits the scoring and character of the scherzo, including means, the solo violin part consists of one elongated and première by David Oistrakh, the work’s dedicatee, in figure taken up in declamatory octaves by the soloist: this is its dance-like elements. The opening rondo theme is written ever-flowing, fine-spun melody, commented upon and Leningrad on 29th October with the Leningrad Philharmonic the first incarnation of Shostakovich’s celebrated DSCH in the style of a trepak; originally Shostakovich gave it to the developed by the accompanying orchestral forces, which Orchestra under Yevgeny Mravinsky. During an (D – E flat – C – B natural) musical signature, anticipating its violin, but Oistrakh persuaded him to allow the soloist a are reduced and often chamber-textured. enthusiastic reception, the conductor lifted the score use in the Tenth Symphony (1953) and Eighth String crucial break after the emotional and physical strain of the At the start of the piece the soloist traces a few fragile high towards the audience as though to include the new work in Quartet (1960). A trio-like central section is dominated by a cadenza. Accordingly, the composer entrusted the notes, after which the orchestral violins join in imperceptibly, the ovation. wildly exuberant idea in a Chasidic dance rhythm. woodwinds and xylophone with the principal melody. The followed by piccolo, all inhabiting the same rarefied Shostakovich calls for large but distinctive forces, Throughout this movement the solo violin part is powered passacaglia theme reappears unexpectedly, like a spectre stratospheric register. Fresh ideas evolve freely, branching out including triple woodwind, four horns, tuba, two harps, by bravura passagework, culminating in the presto coda’s at the feast, in a bitingly sardonic version on woodwind and from the basic melody. Slowly the music descends from its celesta and a modest percussion section, but omits technical fireworks. xylophone, before the relentlessly knockabout coda leads to soaring heights and, with newfound confidence, the solo violin trumpets and trombones. Unusually, there are four Profound emotions resurface in the F minor Andante an abrupt, trenchant conclusion which avoids pessimism gives out a wide-ranging and rhythmically intricate idea, whilst movements, a design also employed in the First Cello slow movement. This nobly lamenting passacaglia – a set of rather than exuding optimism. brass and lower woodwind make their first appearance. Concerto of 1959, reflecting both works’ symphonic breadth variations above an unchanging bass line – forms the heart So ends one of Shostakovich’s most gripping and Tensions between soloist and orchestra are explored, reaching and intensity. Formal originality is also evident in the first and soul of the piece. It is based upon a broadly conceived affecting works. Its success as a superb vehicle for a a climactic point when percussion instruments enter towards movement, a hypnotically poised Nocturne with sonata seventeen-bar theme announced on cellos and basses consummate violinist is achieved within the context of a the end of the first movement. elements instead of the expected bold statement in embellished by an imposing, portentous horn fanfare and sincere and profoundly personal statement. Continuing after only a short collective pause, the conventional sonata-form. This deeply felt soliloquy in A reinforced by bold timpani strokes. Eight variations follow, of second movement resumes the conflict between tranquil and minor unfolds via the soloist’s long and rhapsodic line, which the first gives the theme to the tuba and Wolfgang Rihm: Gesungene Zeit (1991-92) more fervent moods. As the music unfolds, the orchestra is constantly reacting to a frequently recurring undulating idea contrabassoon accompanied by a haunting and liturgical- liberated from the closely imitative role it fulfilled in the introduced on lower strings. Whilst the shadowed first half sounding chorale-like idea on cor anglais, clarinets and One of the leading German composers of his generation, preceding movement (the composer has described its operates mainly within deeper registers as the sonorous bassoons (flutes and piccolos remain silent throughout this Wolfgang Rihm was born in Karlsruhe in 1952 and came to function as that of a Doppelgänger). The material takes on a violin line is supported by low woodwind, in the second half movement). The soloist, who enters in the second variation, prominence with the successful première of his orchestral decidedly Expressionist slant, with allusions to Alban Berg the soloist introduces more vertiginous phrases, refined by provides increasingly eloquent counter-themes as the main work Morphonie-Sektor IV at the 1974 Donaueschingen and Anton Webern. In the measured and serene closing triplet figurations, with colourful, if restrained, contributions melody processes through various instrumental groups. A Contemporary Music Festival. Since then his prolific output bars, the orchestral accompaniment is gradually scaled down from harp, celesta and tam-tam (this is the only movement fiercely expressive climax is reached in the sixth variation, has featured several major works in traditional genres such until it consists solely of gently bowed antique cymbals, in which these instruments appear). After an eerie version scored for strings only. By the time of the eighth and final as string quartets, concertos and operas. Though he has whose ethereally ringing resonances echo the solo line as it of the main idea on celesta and harp, there is a marked variation, the opening material returns, pared down and been labelled a neo-romantic, his directly expressive style is floats aloft, weaving the ‘thread’ to its final, airy summit. increase in expressive intensity culminating in a virtuosic subdued, with the theme given to timpani and pizzicato avowedly eclectic and embraces classical restraint as well chordal passage for the soloist, eloquent and anguished. In strings, whilst the soloist intones the initial horn fanfares. as dramatic fantasy. Within the context of a keen interest in Paul Conway Netherlands Radio Philharmonic Orchestra

Amsterdam-born Jaap van Zweden has risen rapidly in little more than The Netherlands Radio Philharmonic Orchestra (NRPO) was a decade to become one of today’s most sought-after conductors. He established in 1945. Its current chief conductor is is Music Director of the Dallas Symphony Orchestra and the Hong and the American conductor James Gaffigan is principal guest Kong Philharmonic Orchestra. Before moving into his conductor. The renowned conductor is patron of career, he was an acclaimed violinist, winning first prize at the Oscar the NRPO. The NRPO has worked with the world’s foremost Back Violin Competition at fifteen and studying with Dorothy DeLay at guest conductors and given first performances of works by, The of Music in New York. Appointed at nineteen as among others, Messiaen, Berio, Boulez, Carter, Adams, Adès the youngest concertmaster ever of the Royal Concertgebouw and Ustvolskaya. As one of the flagship orchestras for the Dutch Orchestra, he appeared as concerto soloist with major conductors Broadcasting Authority, the NRPO occupies a prominent place in including Haitink, Dorati, Kondrashin, Bernstein and Chailly, and made concert series in and Utrecht. The NRPO has also a number of recordings including the Brahms, Barber and Paganini appeared at festivals in Edinburgh, Brussels, Strasbourg and at concertos, Beethoven and Brahms sonatas with Ronald Brautigam, the BBC Proms, and has undertaken tours to Great Britain, Vivaldi’s Four Seasons and Bernstein’s Serenade. Photo: Simon Van Boxtel Germany, Austria and Singapore. Recordings of Wagner’s Beginning his conducting career in 1995, van Zweden held the , Die Meistersinger von Nürnberg and Parsifal, positions of Chief Conductor of the Netherlands Symphony Orchestra performed by the NRPO, the Netherlands Radio Choir and vocal soloists under the direction of former chief conductor Jaap (1996-2000), Chief Conductor of the of The van Zweden, met internationally with great critical acclaim. The orchestra’s impressive discography has recently been Hague (2000-2005), Chief Conductor of the Royal Flemish replenished with recordings of works by Bruckner, Richard Rijnvos and Otto Ketting. Philharmonic Orchestra (2008-2011) and Chief Conductor and Artistic Director of the Netherlands Radio Philharmonic Orchestra and Radio Chamber Orchestras (2005-2011). He has conducted the Edo de Waart Philharmonic, Chicago and Boston Symphony, Cleveland and Philadelphia Orchestras, the New York, and London Edo de Waart is chief conductor of the Royal Flemish Philharmonic, music director of the Philharmonics, the Royal Concertgebouw Orchestra, Tonhalle- Milwaukee Symphony Orchestra, conductor laureate of the Netherlands Radio Orchester Zurich and Orchestre de Paris, and appeared at the BBC Philharmonic Orchestra and artistic partner of the Saint Paul Chamber Orchestra. In Photo: Marco Borggreve Proms, and the Tanglewood and Aspen Festivals. His opera repertoire addition to his present positions, Edo de Waart has held posts with the Sydney Symphony, includes La Traviata and Fidelio (National Reisopera), Madama Butterfly (Netherlands Opera), Otello, Die Meistersinger , Minnesota and Rotterdam Philharmonic orchestras and he von Nürnberg, Lohengrin, and Parsifal. His recordings include Britten’s , the complete Beethoven, Brahms continues to return to each orchestra regularly. His recent and future guest conducting and Bruckner symphonies, Mahler’s Symphony No. 5, and his highly acclaimed performances of Lohengrin, Die highlights include performances with the Los Angeles Philharmonic, Orchestre de la Meistersinger and Parsifal are also available on CD/DVD. In November 2011 van Zweden was named as the recipient Suisse Romande, and the Royal Stockholm Philharmonic Orchestra. The next few of Musical America’s Conductor of the Year Award 2012 in recognition of his critically acclaimed work as Music Director of seasons see him continue his relationships with the Sydney Symphony and the Melbourne the Dallas Symphony Orchestra and as a guest conductor with the most prestigious US orchestras. and NHK symphony orchestras. De Waart has a large and varied operatic repertoire, In 1997, Jaap van Zweden and his wife Aaltje established the Papageno Foundation, the objective being to support having conducted in many of the great houses of the world, including Geneva Opera, families with one or more children with autism. Over the years, that support has taken shape in a number of projects, such Opéra de Bastille and Metropolitan Opera New York. His most recent return to the as Music Therapy and Music Makers, where professional music therapists and musicians, who receive additional training Metropolitan Opera for performances of Der Rosenkavalier received excellent reviews. from Papageno, use music and make music with autistic children. Photo: Eva Vermandel Royal Concertgebouw Orchestra

The Royal Concertgebouw Orchestra is one of the very best Photo: Simon Van Boxtel orchestras in the world. But what makes the orchestra so special? Time and time again, critics have lauded its unique sound, which clearly stands out among thousands of others. Although sound is difficult to describe in words, the RCO’s string section has been called ‘velvety’, the sound of the brass ‘golden’, the timbre of the woodwinds ‘distinctly personal’ and the percussion have an international reputation. While the exceptional acoustics of the Concertgebouw, designed by the architect A.L. van Gendt, also play an important rôle in this respect, no other orchestra sounds like the Royal Concertgebouw Orchestra in the Main Hall. The influence exerted on the orchestra by its chief conductors, of whom there have been only six in the last 125 years, is also important. As is that of the musicians themselves. The Royal Concertgebouw Orchestra is made up of 120 players hailing from over twenty countries. Despite its size, the orchestra actually functions more like a chamber orchestra in terms of the sensitivity with which its members listen to, and work in tandem with, one another. Indeed, this requires both a high individual calibre and a great sense of mutual trust and confidence. The atmosphere onstage, the orchestra’s roots in Amsterdam and the organisational structure (the RCO Board also includes members of the orchestra) all converge to create exactly the right circumstances for exceptional music-making. The musicians are allowed to shine, yet still share responsibility for the collective. They also share the aim of achieving and delivering the highest level of quality at every performance, an ambition that goes far beyond simply playing all the notes perfectly.

Zoltán Peskó

Descended from a family of musicians, Zoltán Peskó was born in Budapest and completed his studies in his home town. He left Hungary in 1964 and studied in Italy and Switzerland under the guidance of Goffredo Petrassi, Sergiu Celibidache and . Zoltán Peskó has held prestigious positions as Music Director at the Teatro Comunale di Bologna, the Fenice in Venice, the Orchestra Nazionale della RAI in Turin, the Deutsche Oper am Rhein (Düsseldorf-Duisburg) and the Teatro San Carlo in Lisbon. He has undertaken guest appearances at numerous concert halls and opera houses in Europe, South America, Russia and the United States. He is regularly invited to make guest appearances at Europe’s most prestigious music festivals, and also Photo: Garas Kálmán frequently conducts such orchestras as the Berlin Philharmonic and Munich Philharmonic. His symphonic and opera repertory ranges from the renaissance to the contemporary. His great versatility is witnessed by numerous broadcasts and recordings. Composed in 1947-48 but unperformed until 1955, Shostakovich’s First Violin Concerto is one of the great concertos of the twentieth century. The wide emotional range of its four-movement structure encompasses an opening of brooding, elegiac melancholy, a manic scherzo, a harrowing and deeply felt passacaglia, and a brilliant, concluding burlesque. Wolfgang Rihm has been described as ‘one of the most approachable, engaging and profound composers writing music today’ (The Guardian). The solo violin in Gesungene Zeit (Time Chant) plays one long fine-spun melody, the work creating a maximum of expression with a minimum of means. Dmitry SHOSTAKOVICH (1906-1975) Violin Concerto in A minor, Op. 77 (1947-48)* 38:40 1 Nocturne: Moderato 12:43 2 Scherzo: Allegro 6:33 3 Passacaglia: Andante – Cadenza – 14:27 4 Burlesque: Allegro con brio 4:58 Wolfgang RIHM (b. 1952) 5 Gesungene Zeit (Time Chant) (1991-92)† 26:45 Jaap van Zweden, Violin Netherlands Radio Philharmonic* • Edo de Waart* Royal Concertgebouw Orchestra† • Zoltán Peskó†

Reissued under licence from Sony Music Entertainment Hong Kong Ltd. Previously released on RCA Victor/BMG Classics Tracks 1-4 recorded at VARA Studio 1 and Muziekcentrum Vredenburg, Utrecht, Holland, from 16th to 19th April, 1994 • Track 5 recorded live at the Concertgebouw, Amsterdam, Holland, on 17th June, 1995 (Courtesy of AVRO Broadcasting Company) Producer: Gerard Westerdaal (NOB Audio) • Engineer: Arie Dubbeldam (NOB Audio) Booklet notes: Paul Conway • Publishers: Boosey & Hawkes Music Publishers, Ltd. (tracks 1-4); Universal Edition (track 5) • Cover painting by Vincent Giordano (Dreamstime.com)