SIGCD477_BookletFINAL*.qxp_BookletSpread.qxt 22/12/2016 13:24 Page 1 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Also available… NIELSEN FLUTE CONCERTO CLARINET CONCERTO 1 1 3 6 4 4 ALADDIN SUITE D D C C G G I I S S SAMUEL COLES FLUTE Bruckner: Symphony No.9 Schubert: Symphony No.9 Philharmonia Orchestra Philharmonia Orchestra MARK VAN DE WIEL CLARINET Christoph von Dohnányi Christoph von Dohnányi SIGCD431 SIGCD461 PAAVO JÄRVI “Beautifully prepared account ... Dohnányi’s new recording "This performance ... goes for broke and succeeds, to the is distinguished by the clarity with which it presents evident rapture of the audience. The Philharmonia is up to Bruckner’s score as well as the excellence of its sound.” all Dohnanyi's and Schubert's steep demands, and I was left Gramophone with a feeling of exhausted exhilaration." BBC Music Magazine Flute Concerto Producer – Andrew Cornall recorded live at Royal Festival Hall, 19 November 2015 Engineer – Jonathan Stokes Editor, Mixing & Mastering – Jonathan Stokes Clarinet Concerto Cover Image – Shutterstock recorded live at Royal Festival Hall, 19 May 2016 Design – Darren Rumney Aladdin Suite P2017 Philharmonia Orchestra recorded at Henry Wood Hall, 20 May 2016 C2017 Signum Records 20 1 291.0mm x 169.5mm SIGCD477_BookletFINAL*.qxp_BookletSpread.qxt 22/12/2016 13:24 Page 23 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. PAAVO JÄRVI CARL NIELSEN 1865-1931 reflection and prettiness. 15 years had passed NIELSEN Flute Concerto since the first performance of Nielsen’s Violin PaavFo LJäUrvTi iEs cCurrOenNtlyC CEhiRefT COonductor of the NHK Symphony Orchestra, Artistic Director of the Concerto when the Flute Concerto was DeutCschLeA KRamImNeErpThi lChaOrmNonCie EanRdT thOe founder of the Estonian Festival Orchestra, which brings Allegro moderato introduced in Paris in 1927. But the contrast together leading Estonian musicians with soloists from Europe’s top-ranking orchestras to perform Allegretto – Adagio ma non troppo with its predecessor was keenly felt. Not only at thAe aLnAnuDalD PIärNnu SMUusIicT FEestival. He is also Conductor Laureate of the Frankfurt Radio Symphony was the sound of the new concerto entirely OrchFeslutrtae Caonndc Merutsoi,c FDSi r1e1c9tor Laureate of the Cincinnati Symphony Orchestra. In addition to his After completing a quintet for wind instruments different – more focused, brittle and chamber- p1ermIa. nenAtl lepgosroit imonosd, eJräarvtoi is in much demand as a guest conductor, appearing regular1ly1 .1w1ith the in 1922 that would become one of his most like – it also bucked convention in shunning B2 erliInI .PhAillhleagrmreotntoic –, BAedraligni oS tmaa tnsokanp terlolep,p oMünchner Philharmoniker, the Philharmonia 7O.r2c3hestra celebrated works, Carl Nielsen hit upon the idea virtuosic cadenzas, proving reluctant to let both and StAaMaUtsEkLa CpeOlLleE SDrFeLsUdTeEn amongst other world-class orchestras. of writing a full orchestral concerto for each of soloist and orchestra present a good deal of the the instruments included in that quintet. Nielsen themes and even allowing other instruments to Clarinet Concerto, FS 129 Since the start of his career, Paavo Järvi has prioritised his support of Estonian composers including had certainly unlocked something in those five indulge in controlling solos. That, and the piece 3 I. Allegretto un poco 8.21 Arvo Pärt, Erkki-Sven Tüür, Lepo Sumera and Eduard Tubin. He is Artistic Adviser to the Estonian individual instruments that few composers had appeared to pick up the flippant and reactive 4 II. Poco adagio 5.05 before him or indeed would after. ‘Now I think on mantle of Nielsen’s Sixth Symphony completed N5 atioInIIa.l ASlylemgprhoo noy nO trrcohpepsotr a–, Awdaasg inoamed Estonian Public Broadcasting’s 2012 Musici6a.n52 of the Y6ear IaVn.d Aalwleagrrdoe dv itvhaec Oerder of the White Star by the President of Estonia in 2013 for his ou3ts.5t2anding the basis of instruments themselves…in a way the previous year. contrMibAuRtKio nV AtNo EDsEt oWnIiaEnL CLuAltRuIrNeE. T I creep into them’ he wrote around the time of the quintet; ‘it can surely be said that At the time of composition, from August to the As a AGlaradmdimn yS auwitea,r dF-Sw 8in9ning artist, Paavo Järvi is one of the most prolific recording conductors of instruments have a soul’. The two concertos of early autumn of 1926, Nielsen had experienced 7 I. Oriental Festive March 2.46 today with a discography of widely ranging repertoire. His close affinity to the music of Carl Nielsen the planned five that did materialise – for flute some illness but his private life was proving 8 II. Aladdin’s Dream and Dance of the Morning Mist 2.54 has marked him out as one of the leading exponents of the Danish composer’s music and his and clarinet – certainly echo those sentiments. considerably more stable than at the start of the 9 III. Hindu Dance 3.08 recording of the complete Nielsen symphony cycle with the Frankfurt Radio Symphony Orchestra has decade. The composer had travelled to Germany 10 IV. Chinese Dance 3.14 received international acclaim. Together with the Philharmonia Orchestra Järvi has performed not Nielsen, in fact, had particular ideas about the to help the Danish Broadcasting Corporation 11 V. The Marketplace in Ispahan 4.52 o12nly VthI.e eDnatnircee c oycf leth oef Psryimsopnheornsies in London but also the Clarinet and Flute concertos, w5.0h9ich are soul of the former instrument. ‘The flute cannot choose a new radio transmitter, and from there f1e3atuVrIeId. None gtrhois D naenwc erecording. 4.32 deny its own nature, its home is in Arcadia and had continued south to Rome for an extended Total timings: 69.22 it prefers pastoral moods’ he wrote to a friend, stay with his daughter and son-in-law. But Born in Tallinn, Estonia, Paavo Järvi studied Percussion and conducting at the Tallinn School of ‘hence the composer has to obey its gentle despite the amenable circumstances, the MusiPc.H IInL 1H9A8R0M hOe NmIoAv eOdR tCo HthEeS UTSRAA where he continued his studies in the 80s at the Curtis Institute nature, unless he wants to be branded a concerto didn’t flow entirely easily from Nielsen’s of MuPsAicA VaOnd J ÄaRt tVhIe Los Angeles Philharmonic Institute with Leonard Bernstein. barbarian’. But the concerto that was brewing pen. The first movement was pretty problem-free. www.signumrecords.com inside Nielsen certainly wasn’t all pastoral But it was long. Nielsen believed it ‘could stand 218 193 128 139 291.0mm x 169.5mm SIGCD477_BookletFINAL*.qxp_BookletSpread.qxt 22/12/2016 13:24 Page 45 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. MalAonReK bVyA iNts DelEf ’ WanIEdL thus seemed a little confused and brass (on an E flat) and upper strings and initiates the movement’s Adagio and is taken up Clarinet Concerto as to how to follow it (he seldom planned his woodwinds (in D minor) that launches it. by the double basses while the soloist comments Mwoarrkks ,v awnh idche hWeilepl si se xepslatainb ltishheeird f raese oanttei tuofd eB rtiotain’s leading and most versatile clarinettists. As lightly on it from above. Allegretto un poco pforrinmc iapnadl tchlaeririn cehta oraf cttheeri sPthici lshpaormntoannieai tyO)r.chestra aNniedl stehne pLloanyds ofnu rSthinefro nwieitthta p, oalnadri tiae sw einll -pkintotiwnng Poco adagio – soloist, he performs at major venues throughout thet hweo rslodl.o H filguhteli gahgtasi nasst aa sboalosiss t rhoamvbeo innec lwuhdiecdh t, hteo Thereafter the flute seems resolutely more prone Allegro non troppo – Adagio – Allegro vivace FNiinnzei Cdaonysc earfttoe rw citohm tphlee tPinhgil hthaarmt foinrsiat manodv eJmohenn tW, ilsboonr rionw L oRndoboner ta nSdi monp stounr’s, Bsoumlezm’sa Dryo, m‘asipnresadast to wading into the musical argument, tNhie l2se0n1 5c Ponrocmlusd,e tdh et hwaotr ldth pe repmieiceer e woof utlhde hvavne derh iAmas cellaf rainlle to vceorn tcheert os cHoyres tweriethsi sa, gcroomtemsqisuseio anned occasionally getting its fingers burned. Among the five wind players who premiered Nielsen’s foonrl yh iomne b my otrhee. NLont dloong S ainftfeorn tiehtatta,, haen adt ttehme pMteodzarta Cimonlecsesr tob lwetihthe rt’.h eT hLeo nfdiorsnt Cthimame btehre Otrrcohmebsotrnae. Originally, Nielsen’s quick-fix ending had Wind Quintet in 1922 was a clarinetist named Aage Mtoa erkx phlaaisn tghiev ecno nsteevnetr aolf tLhoen dsoenco npdre moievreems einnt thme aPkhesil ha rmnuoinsian’sc eM uofs icit soefl f To–d ajyusst eraifetse,r atnhde reintroduced the first movement’s initial theme Oxenvad. Simpson described Oxenvad as a person ‘of einls eaw lheettrer tthoe hSisp afnriiesnhd pRreumdoielpreh oSfi mthoen sCena rtbeurt Coonrccehretos,t rtah er eUpKri sperse mtiheer e foirfs tt hem oCvaermteer nCt’lsa rriniceht and pursued it to a close in D major. But as somewhat choleric temperament, irascible but warm Qcouminptelat,i naendd t hoaft Shier hJoahdn a lTraevaednye ‘rh’sa dC taon stuensdM tyhseticuinsit(iaatl them Per o–m ist) a, papneda rtsh eto L pountd othne pfrluemtei einreto oaf Simpson observes, that theme is itself related to at heart, full of personal, subjective problems.’ Those fGariar hcaomp yF iatknidn ’st rAagnnsocsritpict.i oRne coofr dthineg s oinloc lpuadret Bteon Ffolsuktetettr’isn gH oarrniest,o cPrhaitlipc Cpanshici.a nB’ust B tlhuee iCnisrtcruusmaenndt the first movement’s floating E major idea – characteristics are hard to miss in the changeable, CFloinpte nJuhvaegnetnin of oBre pGpielb’se Drti-sJteasnpteWrsoernd stwo ithst tuhdey ’P.hilshoaornm ocnoima paonsde sV laitdsiemlfi rf oArs hak egnoarzgye.ous, floating pretty convenient as E is the natural key with confrontational and fiendishly difficult concerto Nielsen knew the concerto’s dedicatee and melody in E major that’s taken up by the rest of which to bring the concerto to a close.