Thomas Agerfeldt Olesen

Johannes Moser Danish National Symphony Orchestra Otto Tausk

t w l o i w l e r Thomas Agerfeldt Olesen (b. 1969) Der Wind bläset wo er will (2011) 23:35 In one movement. For orchestra Der Wind bläset wo er will 1 [Beginning] 6:12 Johannes Moser, cello 2 [Transition] 4:43 Danish National Symphony Orchestra 3 [Meno mosso] 3:10 4 [Allegro molto] 4:43 Conducted by Otto Tausk 5 [Recapitulation] 4:47

Cello Concerto, To the memory of my mother (2014, revised 2016) 25:13 In one movement. For cello and orchestra

6 [Fluently and very free] 2:45 7 [Più mosso] 6:21 8 [Fluently, slightly faster] 6:56 9 [Poco più mosso] 9:11

Total: 48:49

Dacapo Records is supported by the Danish Arts Foundation About life and about participate in the outcome of the also trained as a cellist with Hans is introduced, but where also the situations. That the music through Erik Deckert and Harro Ruijsenaars. choice of instruments, the way of ­being alive its universal starting point can This combination is clearly felt in playing and the registers are as invite the listener to join in, is not Olesen’s compositions where the important as the notes being played. By Lasse Laursen least due to the fact that Olesen’s instrumentation often is extremely The enthusiasm for sound is evi- wrestling with history is without that inventive as well as demanding. dent, for example, in the extended Thomas Agerfeldt Olesen often distance, without that breach of Thomas Agerfeldt Olesen’s percussion section, which includes prepares his music with the help of historical continuity, which is nor- production includes orchestral music a myriad of instruments: from the many different rules and systems. mally so characteristic of contem- and chamber music, among these hammer in Mahler's 6th Symphony But the purpose of these methods porary music. His music does not eight string quartets, where his deep to a selection of more common is primarily to secure his own focus, renounce experiences of the past, understanding of string instruments percussion instruments – drums, as they are not really essential but likes to explore them; some- naturally shines through. Apart tam-tams and crotales – to exotic in- when you listen to his music. Olesen times ­specifically with quotations or from the two works on this album, struments like an Indian gopichand, ­creates music that is neither domi- pseudo-quotations, always relating Olesen’s major works include the also known as a ‘boing box’, and a nated by systems, by chance nor to a contemporary experience. His piano concerto Steinfeld (2004), the musical saw. But the enthusiasm by what is found; on the contrary, music, therefore, is also lacking any opera The Picture of Dorian Gray for sound can be heard also in the it is dominated by an exceptionally kind of post-modern irony. On the (2013) and Weihnachtsoratorium way Olesen uses the instrumental well-developed imagination. In this other hand, though, it is often full (2017) based on J.S. Bach’s work of groups, for instance in the opening way, his creations can therefore also of (black) humour with an unusual the same name. of the work, which is dominated by be seen as narratives of situations ability to describe absurd characters three very different trombone parts: and conditions of a universal human or conditions in the encounter with Der Wind bläset wo er will (2011) one with an extremely high (and nature – a music about life and the historical material. Der Wind bläset wo er will is super thus somewhat plaintive) repeti- about being alive, and full of strong Thomas Agerfeldt Olesen stud- refined orchestral music realised in tive note; a second one grunting in and both banal and basic emotions ied composition with Poul ­Ruders, the French style, where the mate- its lowest register, and then a third and conditions of often surprising Henryk Górecki and Karl Aage rial stays in a particular instrument one playing a lapping wave-sound dynamism, inviting the listener to Rasmussen among others. He is or group of instruments where it made out of overtone glissandi.

4 5 Which notes each of them is playing The title comes from the Gospel does not really matter, as long as of John, where Jesus teaches the notes remain the same. They Nicodemus that ‘the wind blows are ­statements of sound more than wherever it pleases. You hear its notes, and as such more like the sound, but you cannot tell where it sounds of nature, like on a field comes from or where it is going. So recording, than of traditional music. it is with everyone born of the Spirit.’ This game with the listener Like the wind in the quotation, about what something may be or Der Wind bläset wo er will is music which associations it may bring of an unknown origin. It does not along, is a recurrent theme in the rise from a special kind of method music, that seems to reach its of composition, system or style, climax when the otherwise unmis- and it also shows itself to be very takable champagne cork, against difficult to predict, like when it loses all common sense, is identified as itself completely in ‘something else’ the natural splash from a swamp of at the end. But it is not only on a loops. But even traditional music macro level that the music makes its can be heard in Der Wind bläset wo own origin and its own chronology er will, such as a walking bass in the topical. The music is – even from opening scene or, somewhat later in moment to moment – in a constant the piece, the disintegrated version state of balancing between the of Chopin’s Ballade No. 4 in f minor, predictable and the unpredictable Op. 52 for piano, and as the work to such an extent, that it is almost unfolds, the balance between the impossible to guess the next repeti- sound we hear and the music shifts tion or contrast, but also impossible Thomas Agerfeldt Olesen and Otto Tausk towards the latter. not to make a guess. at the rehearsal of the Cello Concerto

6 7 Inspired by the title of the work, was written at the time when the everything around me exploded. In to a stop already or has become the music seems to be equipped composer became a father, and it is the end the rondo dies and moves a weightless loop of half-notes with its own nature, characterized undeniably a different and carefree away to another place, just like all where the same melody is played by raindrops, animal calls, far-away- working method compared to the mothers do.’ in turns by the soloist and different music, puffing sounds and wind one which characterizes Olesen’s That place, whereto the music orchestral sections. A loop, which effects, something which might be Cello Concerto. keeps returning again and again, after many repetitions, is drowned realistic. The music is not realistic, is a tirade of scale movements in a or erased in a collision with the however, but it is credible. At the Cello Concerto, To the memory of quick and playful tempo, introduced D major of the opening music, after same time, Olesen succeeds in my mother (2014, revised 2016) by the cello at the beginning of the which we hear the opening music creating a framework around the Realism in a totally different concerto. A theme which – despite for the last time, now as background music which prevents that the many concrete way characterizes the pro- the programme note – could also music for a duet between cello and ideas and instruments undermine gramme notes that Thomas Ager- be a self-portrait of the composer violin in an extremely high ­register. the credibility of the music. We may feldt Olesen wrote about his Cello as a cellist, or at least a memory Ending, rounding off or just ­saying be in a world of unknown or unlikely, Concerto: ‘This concerto is full of about endless, but also happy hours goodbye is the true theme of perhaps even magical phenomena, lots of technicalities and structures of practising in his room as a child. this music. but it seems that there still are which I have forgotten all about now, The theme seems carefree and Olesen’s Cello Concerto, al- some fundamental rules and laws unfortunately. But without all that without a goal, and not until the though composed only three years in ­action: The music attaches to the it would have been a hotchpotch of orchestra joins in with the cello does after Der Wind bläset wo er will, was physical space where the sounds emotions, as I wrote the piece when the music take form in earnest. This written in the shadow of personal are placed high or low, close or far my family and I were looking after seriousness intensifies when the circum­stances such as a divorce away, and where gravity presses my mother when she was dying. I theme seems to lose both energy and a diagnosis of sclerosis. everything downwards. see that the piece has become a and freedom with every repetition, Der Wind bläset wo er will was kind of rondo. The music seems to until the very last one when it is tutti Lasse Laursen, composer and initially materialized as a draw- want a place to return to – maybe strings that present the theme – like ­Associate Professor of Music ing and then realized as a score because my mother was a person a shadow of itself. But before this Theory at the Royal Academy of in 2011. The orchestral work to whom I could always return when last repetition, the music has come Music, Aarhus

8 9 Performers Dudamel. Known for his efforts the cello at the age of eight. He was Kitajenko and Yuri Temirkanov. to expand the reach of the classi- the top prize winner at the 2002 The Danish National Symphony cal genre, his passionate focus on Tchaikovsky Competition, in addition Orchestra has performed with a.o. Hailed by Gramophone Magazine new music, and his commitment to to being awarded the Special Prize Anne-Sophie Mutter, ­Leonidas as ‘one of the finest among the as- reaching out to young audiences, for his interpretation of the Rococo Kavakos, Renée Fleming, Yo-Yo tonishing gallery of young virtuoso Moser aims to present classical Variations. Johannes Moser per- Ma, Leif Ove Andsnes, Lang Lang, cellists,’ German-Canadian cellist ­music in ways with which listeners forms on a 1694 Andrea Guarneri Anna ­Netrebko, Daniel Barenboim, Johannes Moser has performed with of all ages can engage and connect. cello, generously on loan from a ­Elisabeth Leonskaja, Vladimir the world’s leading orchestras such He was a recipient of the private collection. Ashkenazy, ­Yehudi Menuhin and as the Berlin Philharmonic, Vienna prestigious 2014 Brahms prize, Itzhak ­Perlman. The orchestra has Philharmonic, New York Philharmo­ and his recordings have earned The Danish National Symphony toured extensively in the USA, in nic, Los Angeles Philharmonic and him three ECHO Klassik awards ­Orchestra was founded in 1925 as South America, in Japan, China Israel Philharmonic Orchestras as and the Jahres­preis der Deutschen part of the Danish Broadcasting Cor- and in most countries in Europe, well as the Chicago Symphony, Schallplattenkritik. In 2015 Moser poration. Today, it is one of the lead- and performed at some of the London Symphony, Bavarian Radio, signed an exclusive contract with ing symphony orchestras in Europe, most prestigious venues ­including Royal Concertgebouw, Tokyo Sym- Pentatone, and has released albums performing with the world’s leading Carnegie Hall, Royal Albert Hall, phony, Philadelphia and Cleveland with the cello concertos of Dvořak conductors and soloists. Since 2016, Berlin Philharmonic, Concertgebouw Orchestras. and Lalo (2015), works for cello the Chief Conductor of the Danish Amsterdam, and the ­Musikverein. He regularly works with and ­piano by Rachmaninov and National Symphony Orchestra has The Danish ­National Symphony conductors of the highest level Prokofiev (2016, awarded with a been Fabio Luisi, who succeeded the Orchestra performs everything from including Riccardo Muti, Mariss Diapason d’Or and ECHO Klassik late Spanish maestro Rafael Frühbeck classical works by Beethoven and Jansons, Valery Gergiev, Zubin 2017) and Elgar and Tchaikovsky de Burgos. Former Principal Conduc- Brahms through Roman­tic tone- Mehta, Vladimir Jurowski, Franz cello concertos (2017). tors and Principal Guest Conductors poems and modern masterpieces Welser-Möst, Christian Thielemann, Born into a musical family in include Herbert Blomstedt (conduc- to new creations by upcoming Paavo Järvi, Semyon Bychkov, 1979 as a dual citizen of Germany tor laureate), Thomas Dausgaard, composers. At the same time, the ­Yannick Nézet-Séguin, and Gustavo and Canada, Moser began studying­ Gerd Albrecht, Leif ­Segerstam, Dmitri orchestra has a special feeling for

10 11 Danish music – from classics like Originally trained as a violinist, Om livet og om at være der inviterer lytteren til at deltage i Carl Nielsen and Niels W. Gade to Tausk held his first chief conductor situationernes udfald. the very young composing talents. position at the Holland Symfonia i live At musikken gennem sit almen­ Each year more than 100,000 in Haarlem. Since then, he has ap- menneskelige udgangspunkt på den music-lovers experience the magic peared with leading orchestras world- Af Lasse Laursen måde inviterer lytteren indenfor, of live symphonic ­music with the wide, including the Concert­gebouw skyldes ikke mindst, at Olesens Danish National Symphony Orches- Orchestra in his native Holland, Thomas Agerfeldt Olesens musik er livtag med historien er uden den tra – both in the spectacular hall several of the BBC orchestras and ofte udarbejdet ved hjælp af mange distance, uden det brud på ­historisk of DR Koncert­huset (designed by around North America, including Los forskellige regler og systematikker. kontinuitet, som ellers præger Jean Nouvel) and on the orchestra’s Angeles Philharmonic. He has also Metodernes formål er imidlertid ­nutidig kompositionsmusik. Hans annual tour abroad. In addition to guest conducted the Danish ­National primært at fastholde hans eget musik afsværger ikke ­fortidens the concert audiences, the orches- Symphony Orchestra, the Lahti fokus, og disse regler og systema- erfaringer, men udforsker dem tra’s popular Thursday Concerts are Symphony Orchestra, the Stuttgart tikker er ikke synderligt væsent- gerne, undertiden helt konkret i form enjoyed by half a million Danes on Philharmonic Orchestra, Melbourne lige for oplevelsen af hans musik. af citater eller pseudocitater, altid i radio and TV, and millions world-over Symphony Orchestra, amongst Olesen skaber musik, der hverken relation til en nutidig erfaring. Hans tune in when the concerts are broad- many others. domineres af systemer, tilfældighed musik er derfor også blottet for post- cast ­internationally. One of Otto Tausk's great eller det fundne, men derimod af moderne ironi, men til gengæld ofte interests is the music of our time, en usædvanligt veludviklet forestil- fuld af (sort) humor og en usædvan­ Dutchman Otto Tausk is the music and he has premiered many new lingsevne. Hans frembringelser lig evne til at beskrive absurde director of the Vancouver Symphony works in different countries. Among kan derfor også ses som fortæl- karak­terer eller tilstande i mødet Orchestra and chief conductor of his acclaimed and award-winning linger om situationer og tilstande med det historiske materiale. the Phion, Orkest van Gelderland recordings are new music by the af almenmenneskelig karakter – en Thomas Agerfeldt Olesen har & Overijssel. Until the spring of Englishman Gavin Bryars, but also musik om livet og om at være i live, studeret komposition hos blandt 2018, he was music director for the late-romantic orchestral works by fuld af stærke og både ­banale og ­andre Poul Ruders, Henryk Górecki St ­Gallen Symphony Orchestra and Korngold, Hans Pfitzner and the basale følelser og tilstande i ofte og Karl Aage Rasmussen. Han the St Gallen Opera in Switzerland. Dutchman Alphons Diepenbrock. overraskende dynamiske forløb, er desuden uddannet som cellist

12 13 hos Hans Erik Deckert og Harro hvor også valget af instrumenter, De er klanglige tilstande mere end den kommer fra, og hvor den farer ­Ruijsenaars. Kombinationen mærkes spillemåder og register spiller en toner, og som sådan minder de hen. Sådan er det med enhver, tydeligt i Olesens kompositioner, lige så væsentlig rolle som de toner, mere om naturlyde, som på en field som er født af Ånden”. Som vinden hvor instrumentationen ofte er der spilles. Begejstringen for lyd recording, end om ­traditionel musik. i citatet er Der Wind blaset wo er yderst opfindsom og krævende. kommer for eksempel til udtryk i Denne leg med lytteren om, hvad will en musik med et ukendt ophav. Thomas Agerfeldt Olesens den udvidede slagtøjssektion, der noget er, og hvilke ­associationer der Den udspringer ikke af en særlig produktion omfatter orkestermusik omfatter et utal af instrumenter: fra bringes i spil, er et gennem­gående kompositions­metode, systematik og kammermusik, heriblandt otte hammeren i Mahlers 6. symfoni til et tema i musikken, som lader til at kul- ­eller stil, og den viser sig også at strygekvartetter, hvor hans dybe udvalg af mere almindelige slagtøjs­ minere, når den ­ellers uforvekslelige være meget svær at forudsige. Som forståelse for strygeinstrumenter instrumenter – trommer, tam-tam og champagneprop, imod enhver for- når den afslutningsvis helt fortaber naturligt nok skinner igennem. Hans crotaler – til eksotiske instrumenter nuft, identificeres som det naturlige sig i noget andet. Men det er ikke hoved­værker omfatter foruden som en indisk gopichand, populært sprøjt fra en sump af loops. Men der kun på makroplan, at musikken ak- de to værker på denne udgivelse kaldet en boing-boks, og musikalsk er også traditionel musik i Der Wind tualiserer sit eget ophav og sin egen klaverkoncerten Steinfeld (2004), sav. Men klangbegejstringen høres blaset wo er will, som walking bass kronologi. Musikken balancerer også operaen The Picture of Dorian Gray også i anvendelsen af instrument- i åbnings­scenen eller den forvitrede hvert øjeblik imellem det forudsige­ (2013) og Weihnachtsoratorium grupperne, for eksempel i åbningen version af Chopins ­Ballade nr. 4 i lige og det uforudsigelige – i et (2017), der er bygget over J.S. af værket som domineres af tre f-mol, op. 52 for klaver, som man omfang hvor det kan synes umuligt Bachs værk af samme navn. meget forskellige trombonestemmer: finder noget senere i stykket. Som at gætte den næste gentagelse en med en ekstrem høj (og derfor værket folder sig ud, forskydes ba- eller kontrast, men også umuligt at Der Wind blaset wo er will (2011) lettere klagende) tone, der gentages; lancen ­imellem lydbillede og ­musik undlade at gætte med. Der Wind blaset wo er will er super- en anden, der grynter i det absolut sig i retning af sidstnævnte. Inspireret af værkets titel synes raffineret orkestermusik i stil med dybeste register og så en tredje, Værkets titel stammer fra musikken at være udstyret med den franske tradition for instrumen- der spiller et lille bølgeskvulp af over- Johannes­evangeliet, hvor Jesus sin egen natur og præget af blandt tation, hvor et materiale forbliver i tone-glissader. Hvilke toner, de hver belærer Nikodemus om, at “vinden andet regndråber, dyrekald, musik- det instrument eller den instrument- især spiller, betyder ikke det store, blæser, hvorhen den vil, og du hører i-det-fjerne, pustelyde og vind­ gruppe, som det intro­duceres i, men når blot tonerne forbliver de samme. den suse, men du ved ikke, hvor effekter – noget der kunne opfattes

14 15 som værende realistisk. Musikken Cellokoncert, Til minde om min mor også kunne være et selvportræt af violin i et tårnhøjt register. Slutning, er imidlertid ikke realistisk, den er (2014, revideret 2016) komponisten som cellist, eller i det afrunding eller bare farvel er det troværdig. Samtidig lykkes det for Realisme i en helt anderledes mindste en erindring om endeløse, egentlige tema i denne musik. Olesen at etablere nogle rammer konkret forstand præger Thomas men også lykkelige timer med Olesens Cellokoncert, kompone- omkring musikken, som forhindrer, Agerfeldt Olesens programnote til øvelser på barneværelset. Temaet ret blot tre år efter Der Wind blaset at de mange idéer og instrumenter hans Cellokoncert: “Koncerten her fremstår ubekymret og uden mål, og wo er will, er også skrevet i skyggen nedbryder musikkens troværdig- er fuld af en masse teknikaliteter det er først, når orkesteret griber fat af andre personlige forhold som hed – vi er måske nok i en verden af og strukturer, som jeg desværre i dets toner, at musikken for alvor en skilsmisse og en diagnose med ukendte eller usandsynlige, måske har glemt alt om nu. Men uden dem tager form. En alvor, der spidser sklerose. endog magiske fænomener, men ville den have været et miskmask af til, når temaet for hver gentagelse det er som om, at der stadig er følelser, for jeg skrev stykket, mens ­synes at miste både energi og Lasse Laursen er komponist og nogle grundlæggende regler og love min familie og jeg passede min mor, frihed, frem til den sidste gen­ docent i musikteori, Det Jyske i funktion: Musikken knytter sig til da hun la for døden. Jeg ser, at styk- tagelse, hvor temaet forlægges til ­Musikkonservatorium det fysiske rum, hvor lydene place- ket er blevet en slags rondo. Musik- tutti-strygere – som en skygge af sig res højt eller dybt, tæt på eller langt ken ville gerne have et sted at vende selv. Men før denne sidste gennem- væk, og hvor tyngde­kraften presser tilbage til – måske fordi min mor spilning er musikken allerede gået i alting nedad. altid var en, jeg kunne vende tilbage stå, eller gået ind i et vægtløst loop Der Wind blaset wo er will er til, når alting omkring mig eksplode- af halv­noder, hvor samme melodi i første omgang nedskrevet som rede. Til sidst dør rondoen og går et spilles på skift af solist og diverse en tegning, dernæst realiseret i et andet sted hen, som alle mødre.” orkestergrupper. Et loop, der efter partitur i 2011. Orkesterværket er Det sted, som musikken vender mange gentagelser druknes eller skrevet samtidig med, at komponi- tilbage til igen og igen, er en tirade udviskes i et sammenstød med sten blev far, og det er unægtelig en af skalabevægelser i et hurtigt åbnings­musik­kens D-dur, hvorefter helt anderledes ubekymret arbejds- legen­de tempo, som celloen intro- vi for sidste gang hører åbnings­ måde, end det var tilfældet med ducerer i begyndelsen af koncerten. musikken, nu som underlægnings- hans Cellokoncert. Et tema som, uagtet programnoten, musik til en duet imellem cello og

16 17 Medvirkende Järvi, Semyon Bychkov, Yannick Nézet-Séguin og Gustavo Dudamel. Johannes Moser holder sig ikke kun Den tysk-canadiske cellist Johan- til de kendte værker, som han er nes Moser er udråbt af magasinet prisbelønnet for at spille, men arbej- Gramophone som “en af de fineste der meget ivrigt pa at udvide cello­ blandt et forbavsende galleri af repertoiret. Han har uropført flere unge, virtuose cellister”, og han nye cellokoncerter, og også selve har optrådt med verdens førende den klassiske koncertform ekspe- orkestre som Berliner Filharmoni- rimenterer han meget gerne med, kerne, Wiener Filharmonikerne, New også for at nå et yngre ­publikum. York Filharmonikerne, Los Angeles Johannes Moser modtog den Fil­harmonikerne og Israel Filhar- prestigefyldte Brahms-pris i 2014, monikerne samt ­Chicago Symfoni- og hans indspilninger har indbragt orkester, London Symfoniorkester, ham tre ECHO Klassik-priser og Bayerns Radiosymfoniorkester, Jahrespreis der Deutschen Schall- Concert­gebouw Orkestret i Amster­ plattenkritik. I 2015 indgik Moser en dam, Tokyo Symfoniorkester, eksklusiv aftale med pladesel­skabet ­Philadelphia Symfoniorkester og Pentatone og udgav et album med Cleveland ­Symfoniorkester. cellokoncerter af Dvorák og Lalo Johannes Moser arbejder regel- i 2015, et album med værker for mæssigt med så berømte dirigenter cello og klaver af Rakhmaninov som Riccardo Muti, Mariss Jan- og Prokofjev i 2016 (der vandt en sons, Valerij Gergjev, Zubin Mehta, ­Diapason d’Or og ECHO Klassik-pris ­Vladimir Jurowski, Franz Welser- i 2017) og et album med cellokon- Johannes Moser Möst, Christian Thielemann, Paavo certer af Elgar og ­Tjajkovskij (2017).

18 19 Johannes Moser er født i Leif Segerstam, Dmitri Kitajenko mere end 100.000 musikelskere amerika blandt andre Los Angeles Munchen i 1979 og kommer fra en og Yuri Temirkanov. DR Symfoni­ magien i den levende, symfoniske Filharmonikerne. Han har desuden ægte musikerfamilie. Han har spillet orkestret har optrådt sammen med musik med DR Symfoniorkestret. gæstedirigeret DR Symfoniorkestret, cello, siden han var otte år og vandt bl.a. Anne-Sophie Mutter, Leonidas Orkestrets klassiske Torsdags­ Lahti Symfoniorkester, Stuttgart Fil- som 23-arig Tjajkovskij Konkur- Kavakos, Renée ­Fleming, Yo-Yo koncerter følges hver sæson af harmonikerne, Melbourne Symfoni­ rencen i Moskva, foruden at blive Ma, Leif Ove Andsnes, Lang Lang, 500.000 danskere på radio, TV orkester og mange andre. tildelt konkurrencens særpris for Anna Netrebko, Daniel ­Barenboim, og internettet, og millioner lytter En af Otto Tausks store interes- sin fortolkning af Rokoko-variatio- ­Vladimir Ashkenazy, Yehudi med, når koncerterne transmitteres ser er vor tids musik, og han har nerne. ­Johannes Moser spiller på ­Menuhin og ­Itzhak Perlman. Orke- internationalt. uropført mange nye værker i forskel- en Andrea ­Guarneri-cello fra 1694, stret har turneret flittigt i USA, Syd- lige lande. Blandt hans roste og venligst udlånt fra en privat samling. amerika, Japan, Kina og de ­fleste Hollænderen Otto Tausk er musik- prisvindende indspilninger finder europæiske lande og optrådt på chef for Vancouver Symfoniorkester man ny musik af englænderen Gavin DR Symfoniorkestret blev grundlagt prestigefyldte scener som Carnegie og chefdirigent for det hollandske Bryars, men også̊ senromantiske i 1925 som del af Danmarks Radio Hall, Royal Albert Hall, Suntory Hall, symfoniorkester, Phion, Orkest van orkesterværker af Korngold, Hans – dengang kaldet Statsradiofonien. Berliner Filharmonien, Amsterdams Gelderland & Overijssel. Frem til Pfitzner og hollænderen Alphons I dag er det et af Europas førende Concertgebouw og Musikverein. foråret 2018 var han musikchef for Diepenbrock. symfoniorkestre, som optræder DR Symfoniorkestret spiller alt Sankt Gallen Symfoniorkester og sammen med verdens førende diri- fra klassiske symfonier af Beet- Sankt Gallen Operaen i Schweiz. genter og solister. Siden 2016 har hoven og Brahms til romantiske Otto Tausk, der oprindeligt er orkestrets chefdirigent været italien- tonedigte, moderne mesterværker uddannet violinist, havde sin første ske Fabio Luisi, som efterfulgte den og nye klange af helt unge kom- chefdirigentstilling hos Holland Sym- spanske Maestro Rafael Frühbeck ponister. Samtidig har orkestret en fonia i Haarlem. Siden har han ofte de Burgos. Tidligere chefdirigen- særlig fornemmelse for dansk musik dirigeret Hollands førende orkester, ter og gæstedirigenter tæller bl.a. – fra klassikere som Carl Nielsen Concertgebouw Orkestret i Amster- Herbert Blomstedt (æresdirigent), og Niels W. Gade til de nye danske dam, og han har gæste­dirigeret flere ­Thomas Dausgaard, Gerd Albrecht, komponisttalenter. Hvert år oplever af BBC’s britiske orkestre og i Nord-

20 21 d Recorded at DR Koncerthuset, Copenhagen, on 9-10 November 2017 (Cello ­Concerto) and 5-7 August 2019 (Der Wind bläset wo er will)

Recording producer: Bernhard Guettler Sound engineer: Jan Oldrup (Cello Concerto), Mikkel Nymand (Der Wind) Editing and mastering: Bernhard Guettler

℗ & © 2020 Dacapo Records, Copenhagen

Liner notes: Lasse Laursen English translation: Susanne Lange Proofreader: Svend Ravnkilde Photo p. 7: © Reinhard Wilting; p. 20: © Sarah Wijzenbeek Artwork: Studio Tobias Røder, www.tobiasroeder.com

Johannes Moser, www.johannes-moser.com Danish National Symphony Orchestra, www.drsymfoniorkestret.dk Otto Tausk, www.ottotausk.com

Der Wind bläset wo er will was written This recording was made in cooperation with DR (Danish Broadcasting Corporation) for the Danish National Symphony ­Orchestra with support from the ­Danish Arts Foundation.

The Cello Concerto was written 8.226586 to Nicolas Altstaedt in 2014 on ­commission from Aarhus Symphony Orchestra and Die Duisburger Philhar- Dacapo Records, Denmark’s national record label, was founded in 1989 with the purpose of moniker with support from the Danish releasing the best of Danish music past and present. The majority of our recordings are world Arts ­Foundation. premieres, and we are dedicated to producing music of the highest international standards.

22 Der Wind bläset wo er will 23 : 35 1 [Beginning] 6 : 12 2 [Transition] 4 : 43 3 [Meno mosso] 3 : 10 4 [Allegro molto] 4 : 43 5 [Recapitulation] 4 : 47

Cello Concerto 25 : 13 6 [Fluently and very free] 2 : 45 7 [Più mosso] 6 : 21 8 [Fluently, slightly faster] 6 : 56 9 [Poco più mosso] 9 : 11

Johannes Moser, cello Danish National Symphony Orchestra Conducted by Otto Tausk

World premiere recordings Dacapo Records is supported by the Danish Arts Foundation