0 13491 34202 3 De 3420

DE 3420 0 13491 34202 3

POTCH TRIO BABADJANIAN • VASKS

Arno Babadjanian (1921-1983): Piano Trio (1953)

1. Largo – Allegro espressivo (10:41) 2. Andante (7:39) 3. Allegro vivace (7:18)

Peteris Vasks (b. 1946): Episodi e Canto Perpetuo (1985)

4. Episodio I – Crescendo (2:30) 5. Episodio II – Misterioso (4:11) 6. Episodio III – Unisoni (1:36) 7. Episodio IV – Burleska I (3:27) 8. Episodio V – Monologhi (3:14) 9. Episodio VI – Burleska II (3:36) 10. Satz VII – Canto perpetuo (5:34) 11. Satz VIII – Apogeo e coda (3:19)

Total time: 53:08

Potch Trio:

Piet Koornhof, violin Human Coetzee, cello François du Toit, piano

2 The two works on this CD are represen- including their reactions to the wonders and tative of the significant amount of twenti- the tragedies of the world they live in. It has eth-century chamber music that is highly become more a search for authentic expres- accessible. It is surprising to many people sion than for novel means of construction. because of the unfortunate perception that Many fine composers, largely ignored by ac- radical experimentation and innovation, ademia, have been content to use a familiar not to say revolution, are the hallmarks of language in a modern way, much to the relief twentieth-century art music, if it is to be of listeners world-wide, who are discovering worthy of any serious consideration. that their century is filled with music that is both strikingly relevant and accessible, judg- In fact, the vast majority of chamber music ing from the popularity of composers like composed in the twentieth century is writ- Pärt, Gorecki, Tavener, and Kancheli. ten in a familiar tonal language and is quite romantic in character, that is to say, has ex- The two works on this CD are perfect exam- pression of feelings as a primary aim. Peteris ples. Both are written in a familiar language, Vasks has been quoted as saying that music is yet are recognizably of the modern age, and an emotional art: “if there is no emotion, there both are expressions of the journey through is no art.” Similarly, much of the music of pain and suffering to something positive – Arno Babadjanian, stemming from the post- whether we call it hope, faith, resolution, World War ll era, is uninhibitedly romantic, acceptance, or peace. Both recognize suffer- even nostalgic. It is said that the beautifully ing as well as bliss. Both emphasize beauty. intimate and poetic second movement of his Arno Babadjanian was born in 1921 in Ye- Piano Trio was meant to express his profound revan, Armenia, and died in 1983. Initial- gratitude for having recovered from terminal ly, he studied in his native country (under illness. Whether or not that is true, the fact is Talyan), and later went to Moscow to study that the music speaks of strong feeling; yearn- with Igumanov and Lytinski. Having stud- ing to be expressed immediately and directly. ied piano at the Moscow Conservatory, he gained wide recognition after graduation as It seems that more and more composers a pianist of outstanding ability. He started his are preoccupied less with experimentation, formal studies as a composer at the House novelty and innovation than with expressing of Armenian Culture back in his native Ye- their aesthetic impulses and their emotions, revan, where he was appointed as a teacher. 3 His music abounds in folk-like themes em- ius, Mahler, George Crumb, and Messiaen, to ployed with dramatic pathos and romantic whom Episodi e Canto perpetuo is dedicated. excitement. In the West, he is probably best known for his Piano Trio (1953), his Sonata The tribulations of his native land, the voice for Violin and Piano (considered by many to of nature, and the optimism of the human be among his finest works), his Armenian spirit are themes central to his work. He has Rhapsody for two pianos composed in col- called himself a “saddened optimist”, saying laboration with his good friend Alexander that he wants his music to be heard wherev- Arutunian, and his Cello Concerto, which er people are distressed. Being acutely sen- was recorded by Rostropovich. His oeuvre sitive to suffering, his works are intended also includes works for solo piano, for piano to have a consoling function, both for his and orchestra, a violin concerto and three audience and for himself. Among his best- string quartets. His songs are quite popular known works are his stirringly beautiful in his native country. Cello Concerto, composed for and recorded by David Geringas; his Musica Dolorosa, a Peteris Vasks, born in 1946 in Aizpute, Lat- symphony for strings entitled Voices; a con- via, is arguably today the most noted living certo for choir; Messages for string orches- Latvian composer. Early studies in violin tra, two pianos and percussion; and Book and piano were followed by serious study of for Solo Cello, championed by Geringas. the double bass as his instrument of choice, which he went on to play professionally in the Of Episodi e Canto Perpetuo (1985), Vasks Latvian National Opera, the Philharmonic has written: “It describes a difficult journey Chamber Orchestra and the Lithuanian Phil- through the realms of distress, disappoint- harmonic. He studied at the conservatories ment, and the suffering of love, which, in par- of Vilnius in Lithuania, and Riga in Latvia. ticular, forms the central point of the canto.” He presently teaches at the Emils Darzins The score of the work includes this descrip- School of Music and freelances as a com- tion by the composer of the eight movements: poser. He first encountered Polish music as a Episodio I (Crescendo): the even dynamic student in Vilnius, and developed an affinity build-up slowly leads to an atmosphere of with the emotional character of the music of tension. Lutoslawski, Penderecki and Gorecki. Other Episodio II (Misterioso): a glance at the important influences include Kancheli, Sibel- sleeping earth on a quiet night. 4 Episodio III (Unisoni): a masked dance before In addition to the standard repertoire, Piet the background of a fantastic landscape. has a special interest in accessible twentieth Episodio IV (Burlesca I): based on a power- and twenty-first century chamber music. ful and aggressive theme; the contrasting sec- He has been responsible for the first South tion is one of bitter irony. African performances of works by, among Episodio V (Monologhi): an attempt to recog- others, Schnittke, Pärt, Vasks, Sviridov, Kar- nize and understand all of these happenings. aev, Bolcom, Babadjanian, Chebodarian, Episodio VI (Burlesca II): the tableaux of Ep- Tansman, Gliere, Medtner, Taneyev, Sko- isodi IV return with heightened intensity and ryk, Toldra, Koechlin, Martinu, Ben-Haim, aggression, the gloomy climax of the work. Schulhoff, Piazzolla, Schoenfield, Hofmeyr, Satz (Movement) VII (Canto Perpetuo): a Watt and Klatzow. broad arched violin melody stands alone while the climax palely fades. It is taken up Piet’s most recent CD-recordings, both for by the cello and then, in octaves, by both Delos, are the complete J.S. Bach trio-sona- string instruments. tas for flute, violin and piano (DE 3391) with Satz (Movement) VIII (Apogeo e coda): the Raffaele Trevisani and Paola Girardi, and the emotional climax of the work. The violin and Hendrik Hofmeyr double concerto for flute, cello in an exposed tessitura, accompanied by violin and string orchestra (DE 3399) with spacious piano chords. This intensity lessens Trevisani and the Moscow Chamber Orches- consistently, the sound becomes ever softer, tra led by Constantine Orbelian. clearer, higher. Piet was born in South Africa in 1961. He Piet Koornhof, violin made his concert debut at the age of nine Violinist Piet Koornhof has performed ex- while he was a pupil of Alan Solomon. He was tensively as recitalist and chamber musician, awarded scholarships by amongst others The and as soloist with orchestras, in Southern South African Music Rights Organisation, Africa, Europe, North America, Russia, Sin- Anglo American Corporation, The Aspen gapore and New Zealand. His chamber music Music School and The Juilliard School where CD recordings as founder and violinist of The he studied with Dorothy DeLay. He also took South African Chamber Music Society for part in master classes by Itzhak Perlman, Pin- Koch Discover International have garnered chas Zukerman and Sergiu Luca. international acclaim. 5 Piet has been teaching violin, chamber mu- his career Human has won several awards, sic and methodology of violin teaching at including a special prize in 1988 at the Unisa North West University in Potchefstroom International String Competition in Pretoria. since 1986. He holds a doctorate in music Since 1989, Human has been teaching at the performance from the same institution School of Music of North West University in where he is associate professor at the School Potchefstroom. of Music. François du Toit, piano Human Coetzee, cello François du Toit is acknowledged as one of Human Coetzee began playing the cello at South Africa’s finest pianists, chamber musi- the age of six. His first teacher was Betty Pack, cians and music educators. Receiving his ear- and later Marian Lewin. His other teach- ly musical training from Merryl Preston, he ers included Heilke Bultmann in Marburg, went on to complete an Honours degree at the Germany, and Dalena Roux in Stellenbosch, University of Cape Town, studying under the South Africa. Leaving Potchefstroom after distinguished pianist and teacher Laura Seale. completing his schooling, he entered the Also holding diplomas up to Fellowship level Robert Schumann Institute in Dusseldorf in from the Trinity College of Music, London, he 1978, where he continued his studies under also studied at the Hochschule für Musik und the tutelage of Angelica May, a pupil of Pablo Theater in Hannover, Germany, under the re- Casals. He participated in master classes by nowned pedagogue Berndt Goetzke. Pierre Fournier, Johannes Goritzky, and Bo- ris Pergamenshikov. On his return to South He distinguished himself in several import- Africa in 1981, he enrolled at Stellenbosch ant international piano competitions, tak- University, where he graduated in 1983 with ing top prizes in the 1991 Hannover Mu- an Honours B.Mus degree. He then complet- sic Competition, the 1992 Rotterdam and ed his M.Mus. and D.Mus. studies at North 1993 Marsala Internationals, and the 1994 West University in Potchefstroom. International Maria Callas Competition in Athens. He has appeared as an acclaimed Human has appeared as soloist with a num- concerto soloist with all of the orchestras in ber of orchestras. Apart from his many per- South Africa since the age of fifteen, and – formances as soloist, he regularly participates while still a student in 1988 – was selected in various chamber music ensembles. During with Steven De Groote to perform with the 6 Cape Town Symphony Orchestra on its his- eighteenth to the twentieth century, and have toric tour of the Republic of China. given the South African premieres of works by Pärt, Schoenfield, Babadjanian, Sviridov, He also appears with Franklin Larey as the Ix- Kupkovic, Vasks and Piazzolla, amongst opo Piano Duo. He is a sought-after partner others. Being much in demand all over of visiting international artists in recital for South Africa, the trio regularly performs in chamber music societies throughout South the major centers, ranging from the Baxter Africa, and a highly respected adjudicator at Concert Hall in Cape Town to the Aardklop the various national music competitions. At Arts Festival in Potchefstroom and the annu- present, François is Associate Professor of Pi- al Chamber Music Fest in Bloemfontein. In ano at the University of Cape Town where he 1999 they appeared at the seventh Palaces of is also Head of Chamber Music Studies. St. Petersburg International Chamber Music Festival in Russia, as well as at the Academy The Potch Trio of Arts in Moscow. All three members of the The Potch Trio has been in residence at Potch Trio are well-known soloists in their North West University in Potchefstroom, own right, maintaining active performing South Africa, since 1986. They have per- careers, as well as being educators. formed a wide range of repertoire from the – Piet Koornhof

Recorded 25 & 26 March 1997 Studio M1, Radio Park, Johannesburg Producer: Daphne Kramers Sound engineer: Kevin Mann Mastering: Matthew Snyder Cover design: Lonnie Kunkel, based on an original graphic by Lisa van der Westhuizen This recording was made possible by generous funding from North West University in South Africa