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BIS-1208 Booklet X.Pdf-B67a2e.Pdf olf Martinsson was born in 1956. He received his musical training at the Malm6 Academy of Music, studying composition under Hans Eklund, Sven-Eric Johan- son, Jan W Morthenson, Sven-Erik Biick, Brian Ferneyhough,Sven-David Sand- strdm and others. [n 1980 he was one of the founders of an associationof young composers in Malmd known as FUTIM. In 1984 he was producer of the Young Nordic Music Festival in Malmd, and in 1986 he was electeda member of the Society of Swedish Composers.He is currently Prof'essorof Composition at the Malmd Academy of Music. Rolf Martinsson is a prolific composer in many difl'erent genres.His music is charac- terized by strong stylistic consciousness.fine craftsmanshipand skilful instrumentation.He is also one of the most regularly performed of contemporary Swedish composers.Neeme Jiirvi has championedhis nrusic, performing it with the Detroit Symphony Orchestrain the USA as well as taking it on tour to Japan with the Gothenburg Symphony Orchestra.Rolf Martinsson's nrusic has won him various prizes and he has received commissions from leading orchestras,choirs, ensemblesand individual rnusiciansincluding the orchestrasin Gothenburg and Malmci, the Finnish Radio Symphony Orchestra, the Swedish Radio Choir. Neeme Jiirvi, Dan-Olof Stenlund. Hikan Hardenberger,Peter Jablonski and Per Tengstrand.His music has been widely performed in Europe as well as in the USA, South America and Japan. His trumpet concerto Bridge was lirst performed in Gothenburg on 29th April 1999 with Hikan Hardenberger as soloist and Neeme Jtirvi conducting the Gothenburg Sym- phony Orchestra.The concerto has proved unusually popular with audiences.Bridge consists of three larger sections linked by two cadenzasfbr the solo trumpet, one lyrical and one dramatic. The trumpet starts out by coniionting the various sections of the orch- estra in brief duels. Following this introduction, a more extended symphonic form dev- elops. The lirst large sectiontakes its point of depafturein a melodic numerical code based on Hikan Hardenberger's name, and the music billows through substantial orchestral climaxes. After this fairly agile section there fbllows a slow section with many timbral nuancesincluding the use of musical glasses.The concluding section is extremely rapid and virtuosic and makes severedemands on both the soloist and the orchestra. The harmonic material is partly built up of intervals of a third, which nleans that at times the work can seem to live in a tonal frontier area. while other parts of the work are built up of harsher sounds created by coupling fourths with tritones and fifths. The melodic material has several points of departure such as diminished scales (consisting of alternating major and minors seconds), chromaticism, broken thirds and so on. Rolf Martinsson comments: ‘Håkan Hardenberger’s musicality, his wonderful palette of colours and his instrumental virtuosity were a major source of inspiration in composing the solo part, as were the conversations that we had about the work as a whole and about details in articulating the solo part. This has had a real influence on the composition and represents a method of working that I find highly congenial.’ Bridge was commissioned by the Gothenburg Symphony Orchestra with support from Rikskonserter (the Swedish Concert Institute). Bridge was chosen for performances at the Nordic Music Festival in 2000, held in Finland, and the work won an ASCAP Award in the USA, following the highly successful performances in Detroit. Arvo Pärt is, quite simply, the most famous composer of his generation. Growing up in Soviet-occupied Estonia he came into contact with serial and other ‘modern’ techniques relatively late, having already developed a neo-classical style. After experimenting with techniques imported from the West he developed his ‘collage’ technique, which he has de- scribed himself as ‘an attempt to replant a flower in alien surroundings. […] In the present work, however, the idea of transplantation was not in the foreground – I wished rather to cultivate a single flower myself.’ The Concerto Piccolo on B-A-C-H for trumpet, strings, harpsichord and piano is a development of a work that Pärt wrote under the title Collage. There is a decidedly baroque atmosphere to the work, as befits a piece based on the musical figure created by the letters of the great composer’s name (B flat, A, C, B natural). Neeme Järvi himself proposed to Pärt that he should add a solo part to Collage and the ‘trumpet concerto’ is the result of a commission from the Gothenburg Symphony Orchestra. The solo part was written in close collaboration with Håkan Hardenberger, who premièred the work with the present forces on a visit to Vienna. The first movement starts with a sort of hunting call from the trumpet. This does not seem to impress the orchestra, for it goes racing off with the trumpet trying to break in on the action by playing even faster than the strings. But the clockwork rhythms of the strings refuse to make room for the soloist, who has to content himself with a sort of descant com- 4 mentary to the proceedings. The second movement starts with a lovely plaintive song played by trumpet and strings, with appropriately tinkling harpsichord. The plaint is very rudely interrupted by dense and heavy chords on the piano and the accompanying strings. The plaint returns, only to be broken off again by the insistent piano and strings; not by sheer force this time but by the power of dissonance. In the end the plaintive song is allowed to bring the movement to a lovely conclusion. In the third movement the trumpet again tries to join in. But the strings just continue with their fugal discussion, seemingly oblivious of the soloist until the very last bars when harmony has the victory. The eight brief minutes that the work occupies are rich with musical invention. Eino Tamberg was born in the Estonian capital, Tallinn, in 1930. Initially he studied the piano but at the age of 16 he gained admission to the Conservatory in Tallinn, entering Eugen Kapp’s composition class. For a number of years he worked as a sound engineer at the Estonian Radio before becoming a lecturer in composition at the Conservatory. There he played a highly influential rôle, and his pupils have been notably successful. Eino Tamberg has written all sorts of music including music for the stage and full- length operas. Though he has composed in differing styles over the years, he maintains that music must have an element of beauty about it. ‘I take the view that, even in our own time – with all the dissonances and conflicts in the world, as in art – there has to be something that is beautiful […] At the same time I am aware that my music will be considered provincial both in Europe and in the wider world.’ The Trumpet Concerto from 1972, the first of his two concertos for the instrument, is one of the works that Tamberg himself claims as ‘beautiful music’. The three movements show off the trumpet in many different guises, starting out as a bleak signal and reminding us obliquely of funeral rites, an impression reinforced by the sombre entry of the orchestra. Clearly Tamberg sees the trumpet as something of a maverick instrument – torn between its formal duties and its preferred mode declaiming the blues in jazz clubs. Thus the first movement rapidly becomes searingly energetic, with the percussion in full flow and the trumpet used to keep things more or less under control. The second movement shows us the trumpet in its melodious, narrative rôle, muted for much of the time. Like some storm- tossed vessel it struggles with a musical assault from the orchestra. Finally the storm ebbs 5 guest conductors includes Wilhelm Furtwllngler, Pierre Monteux, Herbert von Karajan, Myung-Whun Chung, Kent Nagano, Herbert Blomstedt and Jukka-PekkaSaraste. Togetherwith Neeme Jzirvi,who was appointedprincipal conductorin 1982,the Gothen- burg Symphony Orchestrahas developedan exciting personality which has led to the team becoming a major musical force in orchestralEurope. In recognition of the orchestra'ssuc- cess as an ambassadorof Swedish music abroad. as rvell as its high artistic level, in 1997 the orchestrawas appointed as the National Orchestraof Sweden. The Gothenburg Sym- phony Orchestra makes major international tours every season.Destinations include the USA, Japanand the Far East as well as the major Europeannusical centresand 1'estivals. Neeme Jiirvi was born in Tallinn, Estonia in 1937 and graduatedfrom the Leningrad Con- servatory in 1960. His career startedin Estonia. where he co-fbunded the Estonian Radio Chamber Orchestra and was appointed principal conductor of the Estonian Radio Sym- phony Orchestrain 1963. Since emigrating to the USA in 1980, Jlrvi has become one of the world's most sought-afterconductors. He has conductedall of London's principal orch- estras.the Berlin Philharmonic Orchestra,Orchestre National de France, Orchestre de la SuisseRomande. Philadelphia Orchestraand New York Philharmonic Orchestra,to name but a few. 1982 saw the beginning of his close relationshipwith the Gohenburg Symphony Orchestra,a oollaboration which celebratedits 20th anniversary in 2002. Neeme Jdrvi is also musical director of the Detroit Symphony Orchestra. One of the world's most recordedconductors. Neeme Jarvi is representedon more than sixty BIS CDs. These include complete cycles of symphonies by the Swedish composers Stenhammarand Alfvdn as well as his pioneering Sibelius recordingswith the Gothenburg Symphony Orchestraand an acclaimedcycle of Martinu symphonieswith the Bamberg Sym- phony Orchestra,not forgetting his recordingsof Eduard Tubin's music. Of the many acco- lades and awards that have been bestowed upon Neeme Jlirvi, he takes greatestpride in those conferred by his native Estonia. These include an honorary doctorate from the Music Academy of Estonia in Tallinn and the Order of the National Coat of Arms from the Presi- 'Estonians dent of the Republic of Estonia.Additionally.
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