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Vagn Holmboe Concertos Norrköping Symphony Orchestra Dima Slobodeniouk Erik Heide, Lars Anders Tomter Vagn Holmboe Concertos Concerto for Viola, Op

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Vagn Holmboe Concertos Norrköping Symphony Orchestra Dima Slobodeniouk Erik Heide, Lars Anders Tomter Vagn Holmboe Concertos Concerto for Viola, Op Vagn Holmboe Concertos Norrköping Symphony Orchestra Dima Slobodeniouk Erik Heide, Lars Anders Tomter Vagn Holmboe Concertos Concerto for Viola, op. 189 (1992) *��������������������������������� 21:19 1 IAllegromoderato,maconforza������������������������������������������� 7:21 Erik Heide, violin 2 IIAllegro–Andante–Vivace���������������������������������������������� 13:58 Lars Anders Tomter, viola Norrköping Symphony Orchestra Concerto for Orchestra (1929) *# Dima Slobodeniouk, conductor 3 Allegrettomoltopesante �������������������������������������������������� 13:12 Concerto for Violin no. 2, op. 139 (1979) *�������������������������� 24:44 4 IAllegro–Pocomenomosso–TempoI������������������������������������ 11:46 5 IIAdagioaffettuoso–Allegromolto���������������������������������������� 12:58 Total 59:18 *Worldpremiererecordings #Worldpremiereperformance Dacapo is supported by the Danish Arts Council Committee for Music ConCertos beyond time and spaCe by Jens Cornelius withitsspecialcapacityfortheelegiac. TheorchestrafollowsthesoloistwithanAndante, wherethesolomotiffromthefirstmovementappearsagainbeforethetempoisspeeded Vagn Holmboe isoneofthosecomposerswhoseworksaresoplentifulandofsuch upinalastpassageandgivestheworkanendingthatisasimpactfulasitsintroduction� highqualitythatitcanbehardtoformanoverallimpressionoftheoeuvre�Inevitably, TheViolaConcertoisoneoftheworksofHolmboe’soldagewhereonecanhearhis thisalsomeansthatsomeworksmaybeunjustifiablyoverlooked�Thesituationsur- eternaljoyintherootsofmusic:dance,song,folkmusicandthecollectivespiritthathe roundinghismanysoloconcertosisparticularlyconfusing,partlybecausetherearesolo hadexperiencedsostronglyatthebeginningofthe1930sintheBalkans� concertosamongthealmost80worksthattheyoungHolmboecomposedbeforehis firstofficialopus1,andpartlybecausemostofHolmboe’s13“chamberconcertos”from Concerto for Orchestra the1940sareinrealitysoloconcertos–simplywithasmallorchestralensemble� FromVagnHolmboe’sself-imposedapprenticeshipupto1935,whenhecomposedpro- ThespecialstatusofthechamberconcertoshasparadoxicallyovershadowedHolm- lificallywithoutgivingasingleworktheimprimaturofanopusnumber,hisConcerto boe’slargersoloconcertos�Suchisthecaseforexamplewiththetwosoloconcertoson forOrchestrafrom1929emerges�Thisneoclassicalgenrehadbeen“invented”just thisCD,whichhaveneverbeenrecordedbefore� fouryearspreviouslybytheGermancomposerPaulHindemith,andHolmboe’swork ispresumablythefirstconcertofororchestrawrittenafterHindemith’s�Thefamous Concerto for Viola, op. 189 concertosbyBartók,KodályandLutoslawskionlycamemorethanadecadelater� Holmboehadalsowrittenaconcertanteviolawork–theFifthChamberConcertofrom Aftertwoveryearlyattemptstowriteasymphony,Holmboeappearstohavedropped 1943–longbeforehecomposedhis“proper”ViolaConcerto�Hewrotethelatteratthe theideaofsuchanold-fashionedtypeoftestpieceandinsteadturnedhisantennae ageof82asthelastofhismanysoloconcertos�Itisadynamic,spontaneousworkfullof towardsthenewGermanmusicoftheperiod�Holmboehadstillnotbeenabroad(not infectious,vitalmusic� untilthenextyeardidhegotoBerlintostudyfurther)andheprobablyonlyknewof TheViolaConcertowaswrittenespeciallyfortheIsraelivirtuosoRivkaGolani,who Hindemith’sworkfrommusicperiodicalsorthroughhisteacherFinnHøffding,who hadgivenHolmboe’sSoloSonataforViolaitsfirstperformancethreeyearspreviously� wasstronglyinfluencedbytheNeue Sachlichkeitofthe1920s� AnditsoundsasifHolmboeissendingmusicalgreetingstohissoloistonthisoccasion Curiously,Holmboe’spieceonthewholehasnothingbutthetitleincommonwith too�ThefirstmovementoftheViolaConcertoisframedbyastrikingJewish-tinged Hinde­­mith’s�Holmboe’sConcertoforOrchestraisnotintheleastconcertanteinform themethatispresentedrightfromthebeginningbytheorchestra�Afterthismotto-like andisnotaconcertogrosso,ratheranovertureorsymphonicfirstmovement�Perhaps themethesoloistplaysarecitativeoverthesamescale�Inthedevelopmentsectionof thetitleisinrealitysimplyanexpressionofthelanguageofayoungartistin1929? themovementHolmboeinterpolatesapassagetypifiedbyfolk-dancerhythms�After Holmboe’slackofexperienceinwritingfororchestraexplainstheatypical thisthemottoandthesolomotifreturnbeforethemovementendssophisticatedlywith instrumen­­tationwithheavypercussionandbrass�ThishelpstogivetheConcertofor aslow,veryquietstringversionoftheformerlysopowerfulmotto� OrchestraevenmoreofthedarkpathosthatissotypicalofthenorthernEuropean Thesecondmovementtakesarhapsodicformthatgrowsoutoftheviolist’sdualrole musicoftheominouspre-waryears� asbothplayerandcantoraspresentedinthefirstmovement. Itbeginswithafieryscherzo Thepieceadoptsatraditionalsonataformwherethehymn-likefirstsubjectgrows sectionthatmergesdirectlyintoagreatsolocadenzawheretheviolacomesintoitsown outofaslowintroduction�Aquietinterludepresentsanumberofbriefmotifsthatdo 4 5 notgatherintoawholeuntilthemusicreturnstotheinitialtempoandpresentsasolid declarationofloveforthewildermusicfromHungaryandtheBalkans�Holmboewas subjectinthelowstrings�Themusicculminatesinaneffectivebitonalpassagethat marriedtotheRomanian-bornpianistMetaGrafandasayoungmanhehadstudied recallsCarlNielsen’sexoticmusicfortheplayAladdin�MoreNielseninspirationcan thefolkmusicoftheBalkans�Thetraditionfromthere–andnotleasttheinfluencethat beheardinthefugatochoralethemethatisinterpolatedbeforetherecapitulation,and filteredthroughBartók–leftitsimprintonhimthroughouthislife,andintheviolin ingeneraltheuseofpolyphonydemonstratesgreatadmirationforDenmark’smajor concertotheinspirationisclear:themodalmelodies,the“Balkantimesignature”5/4, composer,whohadbeenHolmboe’sexaminerathisadmissionauditionfortheRoyal andthesoloist’sroleasafantasizing,temperamentalfolk-likemusician,especiallyasit DanishAcademyofMusic� unfoldsinthelastmovement� Asfarasisknown,thisrecordingisthefirstperformanceeverofthework�Holmboe Alongthewaytherearemanynodstotheclassicalconcertotraditionthatgoesallthe laterwroteseveralorchestralconcertosinthetrueneoclassicalsense,butnomorewith waybacktoBeethovenandMendelssohn�ButasusualHolmboe’suseoftheheritageis thisparticulargenretitle� quitefreeofstylisticimitations�Theconnectionwiththeclassicsisnotreactionary,itis exclusivelyaboutsituatingthemusicbeyondtimeandspace� Concerto for Violin no. 2, op. 139 Jens Cornelius, 2013 ThemasterlyViolinConcertono�2from1979isHolmboeinfullyfledgedclassicalform� Itiswrittenwithgreatgustoandorchestratedwithrazor-sharpprecisionwithinatra- ditionalframeworkwiththreemovementsandaconcertantedialoguebetweensoloist andorchestra� Despitethenumbering,ViolinConcertono�2isHolmboe’s“true”violinconcerto� BesidesChamberConcertono�6forviolinandchamberorchestrathereisalsoanearly violinconcertono�1from1938,whichhasneverbeenperformed� TheViolinConcertowascomposedinaperiodwhenHolmboewasparticularly interestedinsoloconcertos�Holmboehasaptlybeencalleda“composerofseries” becauseinsomeperiodsheconcentratedonparticulargenres�Justashismusicgrows uporganicallyandbranchesintonewshoots,hisworkwithitoftengeneratednewideas foranotherworkinthesamegenre�Inthemid-1970stheresultswereacelloconcerto,a recorderconcerto,atubaconcerto,twofluteconcertosandthisviolinconcerto� TheViolinConcertowaswrittenfortheHungarianviolinistAntonKontra,who hadmovedtoDenmarkin1965andbecomewellknownastheconcertmasterofthe CopenhagenPhilharmonicandfirstviolinintheKontraQuartet,whichgavesomanyof Holmboe’sstringquartetstheirfirstperformance�IntheViolinConcertoHolmboepays tributetotheHungariansoloistbycombininghisownpuristNordicstylewithagrand 6 7 The Performers TheNorrköping Symphony Orchestra,SON,isconsideredoneofthemostexciting Swedish-bornErik Heide(violin)graduatedfromtheRoyalDanishAcademyofMusic orchestrasinScandinavia�Throughtoursabroadandawide-rangingCDoutput,SON inCopenhagenin1998afterstudieswithMilanVitekandTimFrederiksen�Further alsoenjoysgreatrespectontheinternationalscene�SONwasfoundedin1912andtoday studiesfollowedattheMusikhochschuleinCologne�ErikHeideisconcertmasterof consistsof81musicians�TheorchestraisbasedintheDeGeerHall,whichisinthe boththeCopenhagenPhil(=SjællandsSymfoniorkester)andtheDanishNational uniqueindustriallandscapeofNorrköping,andisregardedbymanyasSweden’smost ChamberOrchestra;heisalsovisitingconcertmasteroftheGulbenkianOrchestrain beautifulconcerthall�ThecentralaxisoftherepertoireisthegreatRomanticsfrom LisbonaswellasHamburgStaatsoper�ErikHeideisoneDenmark’smostacclaimed BeethoventoMahler,butthemusicfromthetwentiethcenturyuntilthepresentaswell chambermusicians,forexampleasamemberofTrioOndine,whichwontheawards asSwedishandotherNordicmusicalsoplayamajorrole�Manyyoungconductorshave DR Artist of the Year(2001-2002)andNew Generation ArtistsfromtheBBC(2004-2006)� startedtheirinternationalcareerinNorrköping,withformerprincipalconductorssuch AlongsideanextensivesolocareerErikHeideteacheschambermusicattheRoyalDan- asHerbertBlomstedtandFranzWelser-Möstasthemostconspicuousexamples�Okko ishAcademyofMusicinCopenhagen�OnpreviousrecordingsforDacapoErikHeide Kamu,Esa-PekkaSalonen,DanielHarding,AndrewManze,AndrewParrottandMichail isfeaturedassoloistinPoulRuders’FirstViolinConcertoandinvariousrecentDanish Jurowskiareotherconductorswhohaveorhavehadacloseassociationwiththeorches- pianotrioswithTrioOndine� traandwhoaretobefoundtodayontheworld’sorchestralstages�In2012theyoung BritonMichaelFrancistookupthepostasSON’snewchiefconductor�ManyofSON’s NorwegianLars Anders Tomter isoneoftoday’sleadingviolists,describedinThe CDrecordingsattractgreatinternationalattention� Stradas“thegiantoftheNordicviola”�Anow25-year-longcareercountsappearances worldwideattheViennaMusikverein,CarnegieHallinNewYork,WigmoreHallinLon- TheRussianconductorDima SlobodenioukfirststudiedviolinattheConservatory
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