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Jean-Phillipe Collard, der in der vorliegenden Der dritte Satz ist der komplexeste Teil des Werkes Aufnahme als Solist zu hören ist. Das Stück wurde 2003 und hat einen virtuosen, toccatenartigen und sogar vollendet und im selben Jahr in Adana uraufgeführt. aggressiven Charakter. Hier spielt das Soloinstrument Unter der Leitung des Komponisten spielte Gülsin Onay die Hauptrolle, doch man hört den Klavierklang in den den Solopart. verschiedenen Abschnitten des Satzes durch Die Komposition folgt der traditionellen verschiedene Instrumente des Orchesters hindurch. Das Dreisätzigkeit des klassischen Konzertes (schnell- Klavier wird entweder von einer Solo-Oboe einge- langsam-schnell) und ist für großes Orchester schlossen oder von pfeifenden Flöten oder Trompeten Emil geschrieben. Das Werk beginnt mit einem signalartigen ergänzt, die Blechbläser werden wiederum in Glissandi Trompetenmotiv, das möglicherweise auf den Anlass eingesetzt. Das zweite Thema führt uns mit dem anspielt, dem sich die Komposition verdankte. herrlichen Dialog einer Solovioline und des Klaviers Das Hauptthema wird schon bald verwandelt und wieder zu der intimen Stimmung zurück. Nach einem TABAKOV zeigt jetzt eine klassische Fröhlichkeit und Energie, die mächtigen Höhepunkt macht das Orchester dem Klavier durch aggressive Bläserglissandi auf der einen und Platz, das um die Vorherrschaft kämpft bis das delikaten Klaviersatz auf der andern Seite eine signalartige Motiv aus dem ersten Satz wiederkehrt. kontrastreiche Atmosphäre entstehen lassen. Die Es ist erstaunlich, dass sich dieses Konzert in der Concerto for Höhepunkte dieses Satzes werden durch Variationen der heutigen Welt, die voll der unterschiedlichsten rhythmischen Akzentuierung und orchestralen Farben musikalischen Gedanken ist und in der so ziemlich alles erreicht. Mit ihrer wunderbaren Verbindung aus als Komposition durchgehen kann, so resolut für eine Virtuosität und logischer Reprise des Kopfsatz- Ökonomie der Mittel und strenge formale Prozeduren Two Flutes Materials führt die Kadenz des Solisten zu einer wilden einsetzt, die auf klassischen Modellen basieren. Die Coda. Musik spricht mit dem Hörer in einer zeitgenössischen Der langsame Satz bietet nicht nur hinsichtlich des Sprache, ohne ihn zu verwirren oder ihm das Gefühl zu Tempos und Charakters einen Kontrast, sondern vor geben, er sei der Sache nicht gewachsen. Diese Musik Piano Concerto allem auch in seinen Texturen und Timbres. Hier will gehört werden – und tatsächlich wird sie auch unterstützt der Solist gemeinsam mit den Becken und gehört. dem Tamtam die zarte Melodie der Pikkoloflöte. Holzbläser und Streicher vervollständigen die Illusion Ekaterina Docheva Patrick Gallois, Flute eines ruhigen, imaginären Raums. Diese schöne Flucht aus der Wirklichkeit wird mit einer leisen Ausblendung Deutsche Fassung nach der englischen Übersetzung der Piccoloflöte umrahmt, die jetzt einen halben Ton von Deyan Georgiev von Cris Posslac Philippe Bernold, Flute tiefer als zu Beginn des Satzes spielt. Jean-Philippe Collard, Piano Bilkent Symphony Orchestra

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Emil Tabakov (b. 1947) Emil Tabakov (geb. 1947) Concerto for Two Flutes • Piano Concerto Konzert für zwei Flöten und Orchester • Klavierkonzert Emil Tabakov, who used to be an excellent double bass the basis of this movement is first heard on the flutes, Emil Tabakov war ein exzellenter, auch bei Musik spricht, ist in der Beschreibung des Stückes sehr player, now successfully combines the rôles of interrupted by maracas, tambourine and tamburo Wettbewerben ausgezeichneter Kontrabassist, bevor er konzis: „Als erstes ein langsamer meditativer Abschnitt, conductor and composer. In the latter capacity he has bulgaro (which can be replaced in performance by a sich aufs Dirigieren und Komponieren verlegte. Er hat als zweites dann ein schneller virtuoser Teil.” Ein written seven symphonies, a Requiem (based on the standard large drum). This slightly fragmented theme bislang sieben Symphonien, ein lateinisches Requiem, viertöniges Thema, das die Grundlage des Satzes bildet, Latin text of the Mass), a cantata dedicated to the old takes over the orchestra as frantic glissando-like eine (der alten bulgarischen Hauptstadt Veliko Tarnovo erklingt zunächst in den Flöten, die von Maracas, Bulgarian capital Veliko Tarnovo, concert pieces, works passages in the woodwind sharply change the character gewidmete) Kantate sowie Konzertstücke, Musik für Tamburin und Bulgarischer Trommel unterbrochen for various ensembles, as well as instrumental of the theme in a sudden forte. The theme is then passed verschiedene Ensembles und Instrumentalkonzerte werden (letztere lässt sich durch eine gewöhnliche große concertos, in which he presents a personal vision of the to the violins, bassoons and trumpets. The pure sonority geschrieben, in denen er seine Vorstellungen vom Trommel ersetzen). Das leicht fragmentierte Thema contemporary image and function of the solo performer. in the initial statement of the theme takes the shape of Auftreten und den Aufgaben eines modernen Solisten wird vom Orchester übernommen, während wahn- In his symphonic music, he insists on the selection and impending menace; after the first phase of its ausführt. Für seine symphonischen Werke wählt er witzige, glissando-artige Passagen der Holzbläser den further development of brief, but highly concentrated development, its meaning has already been entirely einen kleinen Vorrat äußerst konzentrierter thema- Charakter des Themas deutlich in einem plötzlichen thematic ideas that lend themselves to a development transformed. This idea continues throughout the entire tischer Gedanken, deren Durchführungsarbeit eher mit forte verändern. Das Thema wird dann den Violinen, closer to the classical symphonic conceptions of the first second movement. The next orchestral culmination den Prozeduren der klassischen Symphonik vom Fagotten und Trompeten übertragen. Die reinen Klänge half of the twentieth century. seems to steal the stage from the two flutes; an eloquent Anfang des 20. Jahrhunderts verwandt ist. der Exposition verwandeln sich in eine Bedrohung; Emil Tabakov wrote his Concerto for Two Flutes percussion monologue of drums, cymbals and maracas Sein Konzert für zwei Flöten und Orchester schrieb nach der ersten Durchführungsphase hat die scheinbare and Orchestra in 2000 at the request of the world- then precedes the reprise. The cadenza of the two flutes Emil Tabakov im Jahre 2000 auf Ersuchen des Wiederholung bereits eine völlig andere Bedeutung renowned French flautist Patrick Gallois, to whom it is then takes us to a different world, where the music takes weltbekannten französischen Flötisten Patrick Gallois, erhalten. Der Gedanke setzt sich im gesamten zweiten dedicated. The first movement, marked Largo, opens on a highly suggestive theatricality. dem es auch gewidmet ist. Der erste Satz mit der Satz fort. Die nächste grandiose Kulmination besteht in with sustained notes, played pianissimo by violins The world première of the concerto took place in Bezeichnung Largo beginnt mit gehaltenen Tönen, die einem Tutti des Orchesters, das die beiden Flöten von divisi, and with a delicate meditativeness in the solo Ankara on 17th June, 2003, with the Bilkent Symphony von den geteilten Violinen im pianissimo gespielt der Bühne zu verdrängen scheint. Der Reprise geht dann flutes, which enter in succession with a theme presented Orchestra under the composer’s direction and soloists werden; dann setzen nacheinander in meditativer ein eloquenter Schlagzeug-Monolog der Trommeln, in a repeated rhythmic pattern. The music becomes Patrick Gallois and Albena Petrova. The concerto has Delikatesse die beiden Soloflöten mit einem Thema ein, Becken und Maracas vorauf. Danach entführen uns die more active after the soloists introduce the second since been performed with huge success in Russia, das sie in einem wiederholten Rhythmusschema beiden Solisten mit ihrer Kadenz, die mehr ist als ein theme in canon. The development goes through frequent Mexico and Bulgaria. vorstellen. Die Musik wird lebhafter, wenn die Solisten virtuoses Schauspiel, in eine ganz andere Welt, in der fluctuations in tempo, and the two flutes are often given The formal occasion for the creation of the im Kanon das zweite Thema exponieren. Die Durch- die Musik eine überaus suggestive Theatralik gewinnt. the opportunity to be alone in a simple imitative texture. Concerto for Piano and Orchestra was the commission führung bringt verschiedene Tempo-Verzögerungen, Die Uraufführung des Konzertes fand am 17. Juni The contrast of timbres and motion creates a tragic by Rotary Club Adana (Turkey) to celebrate the Verdichtungen und Entspannungen sowie sehr 2003 in Ankara statt. Die Solisten Patrick Gallois und feeling that lingers in the movement’s second episode, anniversary of the Turkish army. What at first might sparsame, maßvolle Timbres der beiden Flöten, die sich Albena Petrova wurden vom Orchester der Bilkent- where the virtuoso concerto is now transformed into a appear to be a paradoxical idea resulted in an exquisite oft in einer einfachen imitativen Textur bewegen. Aus Universität unter Leitung des Komponisten begleitet. dramatic slow movement. A brief coda by the soloists is work which has drawn the attention of three pianists: the diesem Kontrast von Timbres und Bewegungen entsteht Seither wurde das Werk mit enormem Erfolg in continued by the orchestra and brings this movement to famous Turkish pianist Gülsin Onay, the young ein Gefühl der Tragik, das sich in der zweiten Episode Rußland, Mexiko und Bulgarien gespielt. its final measure, marked morendo (dying away). Bulgarian pianist Georgi Cherkin, and the French des Satzes fortsetzt, wenn das virtuose Konzert zu Der offizielle Anlass zur Komposition des Silence absorbs everything. pianist Jean-Phillipe Collard, who plays the solo part in einem dramatischen langsamen Satz verwandelt wird. Klavierkonzertes war ein Auftrag des Rotary Clubs von The tempo indication of the second movement, the present release. The piece was completed in 2003 Eine kurze, vom Orchester übernommene Coda der Adana (Türkei) zum Jubiläum der türkischen Armee. Allegro giocoso, allows for a more instrumentally and its world première took place that year in Adana, Solisten führt den Satz morendo zu seinem Schlusstakt. Was zunächst wie ein Paradoxon anmuten könnte, idiomatic conception. The composer himself, who rarely with the composer conducting and Gülsin Onay as the Die Stille absorbiert alles. resultierte in einem exquisiten Werk, für das sich bisher speaks about his music, offers a brief description of its soloist. Die Tempo-Angabe des zweiten Satzes, Allegro drei Pianisten interessiert haben: die berühmte türkische structure: “A slow meditative first section and a fast The composition is in the traditional three giocoso, entspricht eher der typischen Idiomatik der Pianistin Gülsin Onay, ihr junger bulgarischer Kollege virtuoso second section”. The four-note theme forming movement sequence of the classical concerto, fast-slow- Solo-Instrumente. Der Komponist, der selten über seine Georgi Cherkin und der international bekannte Franzose

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Salzburg, Bath, Caramoor, Newport, and Saratoga Festivals. His current orchestral and recital appearances take him fast, and is scored for a large symphonic orchestra. The leading rôle, but the piano sound is heard in the different all over the world, from San Francisco to São Paolo, from London’s Queen Elizabeth Hall to the Théâtre du Châtelet work starts with a signal-like trumpet motif, a possible sections of the movement “through” various instruments in Paris and Chicago’s Grant Park Festival. A prolific recording artist with more than thirty titles to his credit, his allusion to the occasion this composition was of the orchestra. The piano is either surrounded by a discography includes Rachmaninov’s Etudes-Tableaux, the Ravel Concertos with Lorin Maazel and the Orchestre commissioned to commemorate. The main theme is solo oboe or complemented by hissing flutes or National de France, cited by The Gramophone Magazine as Best Concerto Recording, and Chausson’s Concert, Op. soon transformed, now displaying a classical trumpets, and the brass are again tempted into a 21, with Augustin Dumay and the Muir String Quartet, which won the Grand Prix du Disque. He has recorded all cheerfulness and energy which create a contrasting glissando. The second theme brings back an intimate five Saint-Saens Piano Concertos with Andre Previn and the Royal Philharmonic Orchestra, and the first recordings atmosphere through the use of aggressive glissandos in mood with a very beautiful dialogue between a solo of Mozart’s arrangements of six French mélodies with baritone José van Dam. Other recordings include a disc of the wind instruments in opposition to the delicate piano violin and the solo piano. After a powerful climax, the Chopin Ballades and Sonata No. 3, and a Liszt recital disc including the B minor Sonata. writing. The climactic moments in this movement are orchestra gives way to the soloist, who struggles for achieved with variations in rhythmic accentuation and domination until the signal-like motif from the first orchestral colour. The soloist’s cadenza, a wonderful movement returns. amalgam of virtuosity and a logical re-statement of the It is astonishing that today, in a world of sheer first-movement material, leads to a wild coda. diversity of ideas in music, where just about anything Bilkent Symphony Orchestra The slow movement offers contrast not only in can pass as a musical composition, this concerto terms of tempo and character, but especially in its resolutely defends economy of means and strict formal The Bilkent Symphony Orchestra was founded in 1993 as an original artistic project of the Bilkent University. treatment of textures and timbres. Here the soloist joins procedures based on classical models. The music speaks Developed by the Faculty of Music and Performing Arts, the orchestra is composed of over ninety proficient artists the cymbals and gong to support the tender piccolo in a contemporary language without startling the listener of the Faculty from Turkey and twelve other countries. Young Turkish and foreign artists, continuing their melody. The woodwinds and strings complete the or making him feel unprepared. This is music that insists postgraduate studies at the Institute of Music and Performing Arts, participate in the concerts to further expand the illusion of a calm, imaginary space. This beautiful on, and succeeds in, being heard. orchestra to 120 players. With these characteristics the Bilkent Symphony Orchestra is the first private, international escape from reality is framed by the quiet fade-out of and academic artistic group in Turkey. Starting as the Bilkent Sinfonietta, the orchestra now has the identity of an the piccolo, now descending a semitone lower than at Ekaterina Docheva ensemble of orchestras, comprising the Bilkent Chamber Orchestra, an Ensemble of Wind Instruments and various the beginning of the movement. other orchestral formations. With Turkish and foreign guest conductors, soloists and choirs, the ensemble of The third movement, the most complex of the Translated from the original Bulgarian orchestras distinguishes itself through its annual season of over eighty concerts, and television and radio broadcasts. concerto, has a virtuoso, toccata-like, and even by Deyan Georgiev The national label Bilkent Music Production has published over thirty CDs of the orchestra. Through events such as aggressive character. Here the solo instrument takes the the Bilkent Concert Series, Turkish Composers’ Week, Education Concerts and The Bilkent Anatolia Music Festival, the orchestra aims to bring a wide range of activities to large audiences, to spread the appreciation of music at national level, undertake international activities and develop cooperation with institutions abroad. In the latter connection the orchestra has toured Italy (1998), Germany (2000), Belgium (2001), Portugal (2000), Switzerland (2002-2004 Montreux Festival), and in 2004 it performed in Tokyo. Among the artists the orchestra has performed with are Valery Afanassiev, Idil Biret, Robert Cohen, Jean-Philippe Collard, Costas Cotsiolis, Patrick Gallois, Suna Kan, Elisabeth Leonskaja, Mischa Maisky, Silvia Marcovici, Mintcho Mintchev, Shlomo Mintz, Christiane Oelze, Gülsin Onay, Ferhan and Ferzan Önder, Güher-Süher Pekinel, Mihail Pletnev, Viktoria Postnikova, György Sandor, Fazıl Say, Dimitris Sgouros, and the Bulgarian State Philharmonic Choir. The BSO has performed under guest conductors such as Gürer Aykal, Serge Baudo, Alexander Dimitriev, Massimo Freccia, Jean Fournet, Rengim Gökmen, Peter Gülke, Ernest Martinez Izquierdo, Yoel Levi, Karl Anton Rickenbacher, Gennady Rozhdestvensky and Nello Santi. Continuing its 2005-2006 concert season under the music direction of Emil Tabakov, the BSO and its ensembles welcome audiences at the Bilkent Concert Hall (800) and Bilkent Odeon (4000).

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Patrick Gallois has toured all over Europe, the United States, the Middle and the Far East. Philippe Bernold’s recording in 1989 of Debussy’s Sonate No. 2 for flute, Patrick Gallois belongs to the generation of French musicians leading highly viola and harp won the Grand Prix de l’Académie Charles Cros. Further successful international careers as both soloist and conductor. From the age recordings for Harmonia Mundi, EMI, KOCH, and Lyrinx with some of of seventeen he studied the flute with Jean-Pierre Rampal at the Paris France’s finest musicians such as Bruno Pasquier, Catherine Collard, Conservatoire and at the age of 21 was appointed principal flute in the Frederique Camberling, Jean-Jacques Kantorov, Jean-Philippe Collard, Orchestre National de France, under Lorin Maazel, playing under many Laurent Cabasso are available worldwide. The CD recorded by Philippe famous conductors, including Leonard Bernstein, Seiji Ozawa, Pierre Bernold with the pianist Alexandre Tharaud (Harmonia Mundi) was awarded Boulez, Karl Boehm, Eugen Jochum, and Sergiu Celibidache. He held this the Choc de la Musique by the magazine Le Monde de la Musique. He post until 1984, when he decided to focus on his solo career, which has combines his busy international career with teaching activities at the Lyon subsequently taken him throughout the world. He regularly performs and Conservatoire (taking over the flute class taught by Maxence Larrieu), at the records with leading conductors and collaborates in chamber music with Nice International Summer Academy and in Kyoto (Japan), as well as musicians such as Yuri Bashmet, Natalia Gutman, Peter Schreier, Jorg numerous master-classes in different countries. Demus, the Lindsay Quartet and formerly with Jean-Pierre Rampal and Lily Laskine. He has been invited to appear as a soloist with major orchestras in Europe and in Asia, and in leading international festivals, with tours to Germany, Japan and Israel, and annual master-classes at the Accademia Chigiana in Siena and the Banff Centre for the Arts in Canada. For twelve years after establishing his own orchestra in Paris, the Académie de Paris, Patrick Gallois has developed a conducting career which has taken him to Japan, Scandinavia, Italy, Portugal, the United States and Bulgaria, in addition to appearances as a conductor in France. In 2003 he was appointed Jean-Philippe Collard Musical Director of the Sinfonia Finlandia Jyväskylä and tours regularly with the orchestra. Both as a conductor and as a flautist he has a wide Born into a musical family, the pianist Jean-Philippe Collard was admitted to repertoire, with a strong taste for contemporary music, and many new works have been dedicated to him. His the Paris Conservatoire National Supérieur de Musique at an exceptionally recordings include an award-winning series for DGG. For Naxos he has recorded the complete flute concertos of young age. At sixteen he was unanimously awarded the Conservatory’s First C.P.E. Bach (8.555715-16), among other works. Prize, and subsequently he has won many others, including the Grand Prix du Concours National des Artistes Soloistes, Prix Albert Roussel, Prix Gabriel Fauré, Prix du Concours International Marguerite Long/Jacques Thibaud, and Philippe Bernold Grand Prix du Concours International Cziffra. He was named Chevalier de la Légion d’honneur in January, 2003. In addition to recitals throughout Europe, First prize winner of the Jean-Pierre Rampal International Flute Competition in 1987, Philippe Bernold, one of the North and South America, Russia and the Far East, Jean-Philippe Collard has most brilliant representatives of the French school of flute, was born in 1960 and studied with Alain Marion at the appeared as soloist with the world’s greatest orchestras, including the Zurich Paris Conservatoire, obtaining first prize in 1982. He has since then performed as soloist and chamber musician with Tonhalle, Cleveland, Philadelphia and Minnesota Orchestras; the Orchestre internationally renowned artists such as Mstislav Rostropovich, Jean-Pierre Rampal, Marielle Nordmann, and de Paris, Orchestre National de Lyon, London’s Philharmonia Orchestra, the Maurice André, appearing with important ensembles including the Orchestre de Paris, the Franz Liszt Chamber Orchestra of St Luke’s, the New York, BBC, Royal, Los Angeles and Royal Orchestra (Budapest), the Hallé (Manchester), the Prague Chamber Orchestra, the Orchestre National de Lyon, the Liverpool Philharmonic Orchestras, and the BBC, San Francisco, London, Orchestre de l’Opéra de Lyon. He has played under the batons of Lorin Maazel, Jean-Pierre Rampal, John Eliot Vienna, Pittsburgh, Detroit, Atlanta, Indianapolis, Boston, and Japan’s NHK Gardiner, Semyon Bychkov, Kent Nagano, Yehudi Menuhin, and Ton Koopman, appearing in world famous Symphony Orchestras. He has collaborated with such renowned conductors concert halls such as the London Royal Festival Hall, Salle Pleyel, Théâtre des Champs-Elysées Paris, the Cologne Photograph by as Semyon Bychkov, Marek Janowski, Eugen Jochum, Seiji Ozawa, Andre Philharmonie, Bunka Kaikan Tokyo, and Seoul Art Centre. He has participated in many festivals, including Aix-en- Isabelle de Rouville Previn, Simon Rattle and Charles Dutoit. He has also performed at the Provence, Ojai (USA), Cannes, Radio-France, Strasbourg, Evian, La Roque d’Anthéron, and Lancut (Poland). He London Proms Concerts, and the Edinburgh, Aldeburgh, Bad Kissingen,

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8.570073 8 Emil Tabakov NAXOS NAXOS The Bulgarian-born Emil Tabakov successfully combines the rôles of conductor and composer. His Concerto for Two Flutes and Orchestra, written in 2000 at the request of the French flautist Patrick Gallois, to whom it is dedicated, has been performed with great success in Turkey, Russia, Mexico and Bulgaria. Its exotic scoring includes maracas, tambourine and the tamburo bulgaro. TABAKOV: The creation of the Concerto for Piano and Orchestra was prompted by the Rotary Club of Adana 8.570073 TABAKOV: in Turkey to celebrate the anniversary of the Turkish army, founded in 209 B.C. A virtuosic work in the traditional three-movement sequence of the classical concerto, the Concerto is scored for a DDD large symphony orchestra and has already attracted several eminent pianists. Playing Time Emil 61:31 ocrofrTwo Flutes • Piano Concerto Concerto for TABAKOV Two Flutes • Piano Concerto Concerto for (b. 1947) Concertos Concerto for Two Flutes and Orchestra 27:08 1 Largo 14:51 2 Allegro giocoso 12:17 Concerto for Piano and Orchestra 34:23 www.naxos.com Made in the EU Kommentar auf Deutsch Booklet notes in English &

3 Movement I 11:54 4 Movement II 11:42 2007 Naxos Rights International Ltd. 5 Movement III 10:47 Patrick Gallois, Flute • Philippe Bernold, Flute Jean-Philippe Collard, Piano Bilkent Symphony Orchestra • Emil Tabakov

8.570073 Recorded at Bilkent Concert Hall, Turkey, from 28th May to 2nd June, 2005. 8.570073 Producer: Etienne Collard • Engineer and editor: Michel Pierre Publisher: Musica Publishing House, Sofia • Booklet Notes: Ekaterina Docheva Cover photograph of Emil Tabakov by Batur Gökçeer