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DANNY ELFMAN “ ELEVEN ELEVEN” ROYAL SCOTTISH NATIONAL | SANDY CAMERON

PIANO QUARTET | PHILHARMONIC QUARTET BERLIN

DANNY ELFMAN

VIOLIN CONCERTO “ELEVEN ELEVEN”

1 I. GRAVE. ANIMATO 14:06 2 II. SPIETATO 10:25 3 III. FANTASMA 9:33 4 IV. GIOCOSO. LACRIMAE 10:12

SANDY CAMERON violin ROYAL SCOTTISH NATIONAL ORCHESTRA JOHN MAUCERI conductor

3 PIANO QUARTET

5 I. EIN DING 6:29 6 II. KINDERSPOTT 4:50 7 III. DUETT FÜR VIER 3:30 8 IV. RUHIG 1:40 9 V. DIE WOLFSJUNGEN 4:13

PHILHARMONIC PIANO QUARTET BERLIN ANDREAS BUSCHATZ violin · MATTHEW HUNTER KNUT WEBER · MARKUS GROH piano I’VE ALWAYS BEEN PREOCCUPIED WITH THE NUMBER ELEVEN.

MOST PEOPLE somewhat better grasp of – or perhaps and day. I dove in listening to a huge This provided a chance for me to try KNOW ME AS A some chamber work I’d been thinking variety, trying to understand different out some of my personal stylistic the- COMPOSER. about… forms and what would ories. As I was touring the world with be expected from me. I began as I film music concerts, I became more ELFMAN Then the opportunity came up in an always begin, by looking for inspira- and more aware that there seemed unexpected way. After a concert in tion and instruction from some of the to be, at least to some extent, sepa- A few years ago I came to the conclu- Prague of my Music from the classical composers I love most (hint: rate audiences for film music and for

DANNY DANNY sion that I didn’t just want to write of , I was approached they’re Russians). I absorbed and stud- . Of course, most great orchestral music totally free from the with the proposal to write an origi- ied. I learned that in my favorite con- 20th-century film music was inspired influence of film, I virtually had to in nal work for Sandy Cameron, who, certos, the writing could and should either directly or indirectly by great order to keep my sanity. that night, had performed a gypsy vi- be quite lively, and that great liberties classical works. So why were these olin I created for her in the could be taken as long as the soloist’s audiences in large part so divided? Over the last decade I had done several suite. Evidently, instrument is always respected and I set out to write a piece that might non-film concert commissions, and it had gone over very well, and the or- central to everything else. One thing prove challenging to a film music each time I found them to be incred- chestra was interested in an original became abundantly clear: writing fan’s ear, but with enough energy ibly liberating and relieving – like large-scale work that would feature a violin concerto would require far and melody to keep them engaged, opening a pressure valve and letting her as a soloist: a violin concerto. more discipline than anything I had while also being complex and varied out steam that had been building up done previously, and would be even enough for a classical listener’s ear. I 5 for years. I was free from moving This caught me off guard. The violin is, more difficult to execute than I’d wanted to compose something that images, free to let musical ideas run to me, a very intimidating solo instru- imagined. I love difficult. Now I was might bring those ears together. It’s amok. Most importantly, these works ment, and violin were not getting excited. not that I was trying to write some- pushed me to new places far beyond part of my repertoire of classical mu- thing to please everyone, that’s im- my comfort zone. sic listening. So of course I agreed to For an overall concept, I had for some possible; but rather to combine these write one. The challenge was too great years been interested in finding a fu- two worlds, the coalescence of which Finally, I came to the decision that I to pass up. Having no clue what that sion of early 20th-century “post-Ro- is essentially who I am. And above all, would take time off from my film really entailed, I felt that somehow I manticism” – using melody in a lyr- I felt that I needed to incorporate my work to write something for the con- would figure out exactly how to write ical way, as the Russian composers own musical identity, and not to be cert hall every year, for as long as I’m a violin concerto, later… were so adept at doing – with the writing from a place that was com- alive and able. modern rhythms and harmonies of pletely alien to anyone who was fa- late 20th-century music, which I was miliar with my film work. However, having made that decision, THE COMPOSITION raised on as a young man. I was also I had no idea what my next journey a little obsessed with the notion that Coming out of the meeting in Prague, would be. I had imagined something Of course, sooner than expected, “lat- there is still room for a bit of fun and my very first and only thought was symphonic for a full orchestra, or er” arrived. I began to learn the only irreverence in classical composition how interesting it might be to write something perhaps for piano or per- way I knew how: to immerse myself (something Shostakovich and Proko- a cadenza for violin and four percus- cussion – instruments that I have a in a deluge of violin concertos, night fiev taught me). sionists – an idea that intrigued me. As I began to sketch, a form started Writing the violin concerto was a assumed an ancestor of mine was the THE PIANO QUARTET slowly to emerge. I knew the concer- very collaborative process, and Ms. eleventh person to show up for a cer- to would consist of four movements Cameron proved to be a great instruc- emony or service that required a min- Last year, while traveling to Berlin to and there should be a symmetry in tor and guide as to the possibilities imum of ten (a minion), meaning my hear the per- the overall composition. The first of writing for the violin. She want- ancestor was always late and more or form, I met Knut Weber, one of their and fourth movements would share ed something both emotionally and less unessential. That suited me fine. cellists. He was the one who suggest- thematic material and be the most physically demanding, and I was com- And answered a few questions about ed the possibility of writing a piano Romantically influenced. The second mitted to delivering both. As I wrote my own character. quartet. I was once again faced with and third movements would move the violin parts, she would play them something to explore that I knew ab- in two distinctly different directions for me and often suggest how they So, we counted, and to our amazement solutely nothing about, so of course I stylistically, to create some strong might be improved through various it was exactly 1111 measures long. An immediately agreed. Having only re- contrast (the violin-percussion ca- techniques and approaches so I could accident? Coincidence? Something cently finished the violin concerto, I denza did eventually end up in the explore further possibilities. There mystical? Preordained… who knows? was much more relaxed with diving second movement). Every movement was almost nothing she couldn’t tack- End of that story. into what was, for me, more unchart- would hand off at least one melodic le. The were a wonderful ed territory. The idea of writing a part to the next, which is something I process of musical tennis, throwing string quartet was intimidating, as I’m enjoy. And with all these rather arbi- ideas up and back, each time adding JOHN MAUCERI so infatuated by the string quartets of trary “game rules” in place, off I went. or elaborating more, until they came Shostakovich – but the presence of a 6 to life. When it was time to record with the piano gave me a bit more confidence, wonderful Royal Scottish National and I loved the freedom that the genre SANDY CAMERON Orchestra (who were also co-com- provides. The only thought I had go- THE TITLE missioners), I was lucky to have John ing into it was the intriguing idea of I had known Ms. Cameron for several Mauceri conduct, as it was he who thematic variations on the familiar years. When I created the violin ca- The title, “Eleven Eleven”, was simple. had led the nail-biting world premiere children’s schoolyard taunt: “Nya, denza for the Elfman-Burton concert, As I was in the final stages of going of the concerto in Prague. We had nya, nya, nya nya…” I wasn’t aware of she was the only violinist I consid- over notes with Sandy, she was curi- worked together many times on film anyone doing that before and thought ered. I met her when she was the vi- ous to know how big the piece had be- music, including the Elfman-Burton it would be fun. It was. You can hear it olinist for a show I come. It had slowly grown to be quite concerts; he also conducted and re- in the second movement of the quar- wrote called IRIS, when I recognized large, but I hadn’t done a bar count. corded my first concert commission, tet, “Kinderspott”. It was a great plea- right away that her abilities far ex- She guessed it was over 1000 measures , so it was com- sure writing my first quartet for such ceeded the music I had written for and thought it would be amusing if it forting to have my music once again wonderful musicians. her. I knew I had encountered a rare were close to 1100, as I’ve always been in such highly competent hands. He and very odd creature: a concert vio- preoccupied with the number eleven. is also someone whose opinions and I hope you enjoy what I’ve done. linist who had literally run away with My name, ELFman, has no meaning recommendations I have always re- the circus. I liked that. (And it makes I could ever find other than that “elf” spected greatly. a good story.) means “eleven” in German. I always Danny Elfman Awards. The live orchestral concert en”, written for her by Danny Elfman. and lectured at the greatest universi- Danny Elfman’s Music from the Films In the studio, Sandy has partnered ties in the world. He is a recipient of Danny Elfman’s music is known to mil- of Tim Burton (2011) toured interna- with composers Danny Elfman, Mar- a Grammy®, a Tony, a Billboard, two lions, and in addition to his more than tionally and won two Emmys. co Beltrami, , Austin Diapasons d’Or, three Emmys, and 100 film scores, he writes music for Wintory, and Bear McCreary. She is four Deutsche Schallplatten Awards the concert hall. An increasing recent focus, Elfman’s featured on to Cirque du He has conducted and recorded the concert works include Serenada Soleil’s IRIS, the video game Assassin’s works of Danny Elfman and has part- Born in , Elfman began Schizophrana for the American Com- Creed: Syndicate, the History Chan- nered with the composer in concerts his career at age 19 as the musical posers Orchestra (, nel’s , and more. in London, New York, Los Angeles, director of an avant-garde musical 2005), Rabbit and Rogue for Ameri- and Tokyo. Mr. Mauceri has released cabaret group in 1972; then in 1978 can Ballet Theatre and choreographer Sandy is grateful to her parents and her over eighty CDs. His first book, he founded the rock band Oingo (2008, released on CD in mentor, Lewis Kaplan, for their im- Maestros and Their Music, has been Boingo, in which he wrote, produced 2017), a Violin Concerto (2017) and mense support, dedication and guid- published internationally and his sec- and was lead singer until 1995. His a composition for the Philharmonic ance. Her gratitude extends to her ond book, For the Love of Music, is for Pee-Wee’s Big Adventure Piano Quartet Berlin (2017). He also college professors and peers at Har- scheduled for publication in Septem- (1985), the directorial debut of Tim wrote the music for Cirque du Soleil’s vard University for enriching the de- ber 2019. Burton, marked the starting point show IRIS (2011). velopment of her artistry. Thanks to of one of film music’s great creative the generous efforts of the Stradivari Philharmonic Piano partnerships. Elfman and Burton Sandy Cameron Society® of Chicago, Sandy performs Quartet Berlin have worked together on projects with an outstanding violin crafted by 7 including Edward Scissorhands, Bat- Declared “brilliant” by the Washington Pietro Guarnerius of Venice, c. 1735. Founded in 1985, the Philharmonic Pi- man, , Nightmare before Post, violinist Sandy Cameron is one ano Quartet Berlin is one of the few Christmas and Alice in Wonderland. of the most strikingly unique artists of John Mauceri permanently established ensembles of His score for Burton’s was her generation. A versatile perform- its kind, consisting of string members nominated for an Academy Award, ing artist, Sandy has appeared in a For over fifty years, conductor John of the Berliner Philharmoniker and as were his scores for Good Will Hunt- variety of settings on renowned stages Mauceri has taken the lead in re- the eminent pianist, Markus Groh. ing, and Milk. Other worldwide. As a soloist, she has col- storing, performing and editing The quartet affirms its commitment directors he has worked with include laborated with numerous , new and forgotten works, especially to broadening its repertoire through , , Barry Son- including the Kirov Orchestra, Col- music composed for the Broadway this major new commission, which is nenfeld, , and orado Symphony Orchestra, Virginia stage as well as for films. dedicated to the ensemble. A genera- . His television Symphony Orchestra, and National He is considered a world expert on tional renewal of the ensemble (2013) work includes the famed theme music Symphony Orchestra. Special appear- the music banned by the Nazis and maintains the highest standards set for both and Desperate ances also include performances with its intersection with Hollywood film by their predecessors, as witnessed by Housewives. Chris Botti, Cirque du Soleil, Tan music. The former music director of this recording, their frequent Europe- Dun, and Disney concert productions four opera companies and two sym- an performances, and tours through- Elfman’s film music has won Emmy and at the . The most re- phony orchestras, Mr. Mauceri has out Asia and the United States. Grammy awards, five , warding experience of Sandy’s career conducted most of the world’s leading and 24 BMI Film & Television is the violin concerto, “Eleven Elev- musical institutions and has taught

Executive Producer: Jack Ryan Smith

World Premiere Recording of the Violin Concerto: June 2018 at RSNO Centre, Glasgow, Great Britain Recording Producers: Danny Elfman, Peter Cobbin and Kirsty Whalley Co-producer: Sandy Cameron Recording and Mixing Engineers: Pete Cobbin and Kirsty Whalley Publisher: Faber Music Concerto for Violin & Orchestra “Eleven Eleven” was jointly commissioned by Czech National Symphony Orchestra, Stanford Live, , MR. ELFMAN WOULD LIKE TO THANK Royal Scottish National Orchestra First Performance: June 21, 2017, Prague Proms, Smetana Hall Tim Fox, Alison Ahart Williams, Laura Engel and Richard Kraft for making it happen. , Dave Slonaker, Edgardo Simone, Christopher Tin, Scott Dunn, Christopher World Premiere Recording of the Piano Quartet: O’Riley and Sydney Hopson for their essential support in too may ways to count or list. March 2018 at Berliner Philharmonie, Kammermusiksaal, Germany 9 Tim Brooke, Bruce Dukov, Steve Erdody, Ian Walker, Eric Byers, Melissa Karaban, Doug Recording Producers: Danny Elfman and Christoph Franke Mark, Natalia Villanueva Garcia, Erika Noguchi and Brian Denbo for all their help. Recording Engineer: Christoph Franke Mixing Engineer: Noah Snyder Publisher: Faber Music Co-commissioned by Lied Center for Performing Arts, University of Nebraska (Anabeth Hormel Cox Performance Fund) and Berliner Philharmoniker Foundation First Performance: February 6, 2018, Radford University, Virginia

Special Music Assistants: Melisa McGregor and Mikel Hurwitz

Packaging Design: Anja Hoppe Design Editorial: texthouse Photos by Margaret Malandruccolo mmfoto.com P & C 2019 Sony Music Entertainment G010004039854O