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Tabula Rasa: Tallinn 30-9-1977 Arvo Pärt, Alfred Schnittke, Toivo Tulev Radio Kamer Filharmonie

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Tabula Rasa: Tallinn 30-9-1977 Arvo Pärt, Alfred Schnittke, Toivo Tulev Radio Kamer Filharmonie TABULA RASA: TALLINN 30-9-1977 arvo pärt, alfred schnittke, toivo tulev radio kamer filharmonie INHOUD CONTENTS Credits 2 Credits 2 Programma 3 Programme 3 Tabula rasa: Tallinn 30-9-77 4 Tabula rasa: Tallinn 30-9-77 9 Toivo Tulev over Pöördub algusse 7 Toivo Tulev on Pöördub algusse 12 Biografieën 14 Biographies 18 Holland Festival 2012 22 Holland Festival 2012 22 Colofon 24 Colophon 24 INFO CREDITS Mark Haeldermans PROGRAMMA / – slagwerk percussions PROGRAMME data / dates muziek / music Henk de Vlieger, Vincent Cox, Harry van do 14 juni 2012 Arvo Pärt, Alfred Schnittke, Toivo Tulev Meurs Thu 14 June 2012 dirigent / conductor – geprepareerde piano/klavecimbel prepared Arvo Pärt (1935) locatie / venue Martyn Brabbins piano / harpsichord Tabula rasa (1977) Muziekgebouw aan ’t IJ solisten / solists Pascal Meyer Voor twee violen, strijkorkest en geprepa- aanvang / starting time Simone Lamsma, viool violin coproductie / coproduction reerde piano 20.15 u Henning Kraggerud, viool violin Holland Festival, NTR gecomponeerd ter gelegenheid van Gidon 8.15 pm uitvoering / performed by opdracht van / commissioned by Kremers 30e verjaardag – 27 februari 1977, duur / running time Radio Kamer Filharmonie: Holland Festival wereldpremière 30 september 1977) 1 uur 35 minuten, inclusief een pauze – 1e viool 1st violin wereldpremière / world premiere For two violins, string orchestra and prepared 1 hour 35 minutes, including one interval Elisabeth Perry, Diana Morris, Quirine Concerto Grosso no. 1, Leningrad, 21.3.1977 piano (composed on the occasion of the 30th inleiding / introduction Scheffers, Dimiter Tchernookov, Josje ter Tabula rasa, Tallinn, 30.9.1977 anniversary of Gidon Kremer – February 27, 19.30 u Haar, Pedja Milosavljevic, Joan Mooney, Pöördub algusse (Returns to the beginning), 1977, world premiere September 30, 1977) 7.30 pm Theo Ploeger, Sergiy Starzhynskiy Amsterdam, 14.6.2012 meet the artist – 2e viool 2nd violin Toivo Tulev (1958) na de voorstelling, met Toivo Tulev Mintje van Lier, Robert Lis, Zofia Balcar, Pöördub algusse (Returns to the beginning) after the performance, with Toivo Tulev Ian van den Berk, Marjolijn Oonk, Myrthe (2012) website Helder Nieuw werk in opdracht van Holland www.arvopart.info – altviool viola Festival new work commissioned by Holland www.radiokamerfilharmonie.nl Vilem Kijonka, Maurits Wijzenbeek, Festival Sabine Duch, Marije Helder, Ben Joles – cello pauze interval Arturo Muruzabal, Naftali Gurevich, Winnyfred Beldman, Sebastiaan van Eck Alfred Schnittke (1934-1998) – contrabas double bass Concerto Grosso no. 1 (1977) Boris Kozlov, Norma Brooks Voor twee violen, klavecimbel, strijkorkest – fluit flute en geprepareerde pianio Carolien van ‘t Hof, Ellen Alberts (wereldpremière 21 maart 1977 door Gidon – hobo oboe Kremer en Tatiana Grindenko en het Le- Jeroen Soors, Caroline Tempelaar-Pijp ningrad Chamber Orchestra onder leiding – klarinet clarinet van Eri Klas) Harmen de Boer, Sergio Hamerslag For two violins, harpsichord, string orchestra – fagot bassoon and prepared piano Dennis Notten, Annet Karsten (world premiere March 21, 1977 by Gidon – hoorn horn Kremer and Tatiana Grindenko and the Jan Harshagen, Rebecca Grannetia Leningrad Chamber Orchestra conducted by – trompet trumpet Eri Klas) Cyrille van Poucke, Raymond Rook COPRODUCTIE / COPRODUCTION – trombone Herman Nass – pauken kettledrum 2 3 TABULA RASA: tabula rasa notendop het spel dat Pärt met zijn mate- Musicoloog Seth Brodsky omschrijft wat TALLINN 30-9-77 riaal speelt, in een voortdurende afwisse- hij de ‘Schnittkeaanse paradox’ noemt tref- Tabula rasa, Latijn voor ‘schone lei’, is een ling tussen verende passages voor volledig fend: ‘dingen hangen samen door uiteen te metafoor die al door de scholastieke filoso- orkest en vertragende overpeinzingen door vallen, op precies de juiste plekken, op pre- Op 30 september 1977 ging in de Estlandse fen (zoals Thomas van Aquino) gebruikt de solisten. Met elke herhaling krijgt het cies de juiste momenten’. hoofdstad Tallinn het werk Tabula rasa van werd voor de toestand van een geest waar- thema in uitgebreidere vorm gestalte, en in De klankwereld van het Concerto grosso ver- Arvo Pärt in première. Bij die gelegen- in geen enkele gewaarwording een indruk een heftiger timbre, om uit te monden in schilt in bijna alles van die van Tabula rasa. heid werd ook het Concerto grosso nr. 1 van heeft gemaakt. De term verwijst ook naar een fors tutti akkoord. Waar Pärt met zijn melodische materiaal en Alfred Schnittke uitgevoerd. Beide wer- het idee van de zeventiende-eeuwse filosoof zijn instrumentarium de beperking huldigt, ken waren geschreven ter gelegenheid van John Locke dat er geen aangeboren ideeën In Silentium (‘stilte’) is de sfeer daarentegen pakt Schnittke juist groot uit en zoekt de de dertigste verjaardag van Gidon Kremer bestaan. Pärts compositie wordt beschouwd bedachtzaam en berustend. De solisten spe- extremen. Dat blijkt alleen al uit de rol van op 27 februari 1977 en werden uitgevoerd als een hoogtepunt van het ‘holy minima- len, deels met flageoletten, langzame lijnen de geprepareerde piano: bij Pärt is deze sub- door violisten Gidon Kremer en Tatiana lism’, een in de jaren 70 ontstane stroming die systematisch stijgen en dalen en elkaar tiel, in dienst van het geheel; bij Schnittke is Grindenko met het Estlandse Kamerorkest binnen de hedendaagse muziek die zich voorzichtig omvlechten. Een akkoord op de het instrument in de openingsmaten van de onder leiding van dirigent/pianist Eri Klas. kenmerkt door een aan minimal music gere- geprepareerde piano markeert het begin van Preludio zeer prominent aanwezig, met een Programmamaker Robert Nasveld van de lateerde esthetiek en een religieuze of mys- elke cyclus, en de overige strijkers weven magisch wiegelied dat qua klank doet den- NTR kwam op het idee om dat gedenk- tieke invalshoek. volgens de tintinnabuli-principes de tona- ken aan een gamelanorkest, om vervolgens waardige concert, met twee zo verschillende le, maar steeds veranderende klankomge- helemaal te verdwijnen en pas vlak voor de mijlpalen van de hedendaagse muziek, bijna In een beroemd geworden uitspraak ving van de ijle violen. Uiteindelijk vallen de Postludio weer terug te keren. vijfendertig jaar na dato te herhalen. De Est beweerde Pärt ooit dat ‘het voldoende solisten stil en zakt het thema volgens zijn Toivo Tulev, nu een vooraanstaande compo- [is] wanneer een enkele noot mooi wordt eigen logica door de verschillende strijkerre- Het tweede deel van het Concerto grosso, nist, was als negentienjarige student aanwe- gespeeld’. Dat was de ontdekking die hem, gisters, om uiteindelijk via de contrabassen de Toccata: Allegro, begint als een Vivaldi- zig bij dit historische concert. Het Holland na jaren van serialistische experimenten en de stilte te bereiken. parafrase, die echter in mum van tijd ont- Festival gaf hem de opdracht om voor deze worsteling met atonaliteit, tot de eenvoudi- spoort. In dit woud van dissonantie stip- gelegenheid een commentaarstuk te compo- ge stijl bracht die hij ‘tintinnabuli’ noemde, concerto grosso no. 1 pelen stijlcitaten als lichtplekken een reis neren. Het resultaat, Pöördub algusse (‘Keert en die hem wereldberoemd maakte. Tabula door de muziekgeschiedenis uit, via de terug naar het begin’) voor orkest, heeft rasa is een voorbeeld van deze stijl, die De wereldpremière van Schnittkes Concerto Weense klassieken naar de twintigste-eeuw- Tulev in een interview toegelicht (pagina 7). gekenmerkt wordt door een simpel samen- grosso nr. 1 had enkele maanden voor het se twaalftoonstechniek. Recitativo: Lento is spel tussen twee eenvoudige stemmen dat concert van 30 september plaatsgevonden, het langzame deel van het barokconcert dat Het programma wordt uitgevoerd door een voortdurend verschuivende tonale con- op 21 maart 1977 in Leningrad. Toen werd Schnittkes werk koppig probeert te zijn, de Radio Kamer Filharmonie onder lei- text geeft. Het werk bestaat uit twee delen, het uitgevoerd door Kremer en Grindenko maar van meet af aan onherroepelijk niet ding van Martyn Brabbins. De solisten zijn Ludus en Silentium; in het eerste deel bouwt en het Leningrad Kamerorkest onder lei- is. Het traditionele vraag-en-antwoord- Simone Lamsma en Henning Kraggerud; een steeds herhaald thema op naar een cli- ding van Klas. Het Concerto grosso is gecom- spel van solisten en orkest raakt geleidelijk zowel bij Schnittke als bij Pärt neemt max; in het tweede vindt een omgekeerde poneerd voor twee violen, klavecimbel, uit balans. Terwijl het orkest aan de kook Lamsma de eerste vioolpartij voor haar ontwikkeling plaats en zinken etherische geprepareerde piano en 21 strijkers, en raakt spelen de solisten hortend en stotend rekening. Pascal Meyer bespeelt de geprepa- vioolpartijen langzaam weg in stilte. bestaat uit zes delen. Het werk is een voor- citaten uit het beroemde Vioolconcert van reerde piano. Dat is een piano waarbij aller- beeld van wat Schnittke zijn ‘polystilisme’ Tsjaikovski. In de Cadenza, het vierde deel, lei metalen of andere voorwerpen tussen Ludus (‘spel’) begint, na een stevige streek noemde: geen vrijblijvend eclecticisme, steken bij de solisten elkaar met heftige ato- de snaren zijn gestoken, zodat de toetsen door de violen, met een helder, bijna roman- maar een manier om met zeer uiteenlopen- nale beweringen naar de kroon, maar slagen ongebruikelijke en onvoorspelbare klanken tisch thema, dat voortijdig lijkt af te breken. de stijlen een omvangrijke muzikale vorm er niet in een punt te maken. Uiteindelijk oproepen. Na een stilte wordt het weer opgenomen,
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