KNEHANS
UNFINISHED
EARTH Tempest—Concerto for Flute and Orchestra Unfinished Earth—for Orchestra Gareth Davies, Flute Brno Philharmonic Orchestra Mikel Toms, Conductor
ablaze RECORDS ar-00036
New Classical
2
These two works represent different views of how the external metaphors of wind and earth may be shaped to reflect the more intimate internal worlds of the human heart and mind. Tempest, my flute concerto, was shaped by the thought of wind—such an essential element to the flute and flute playing—and how, in the natural world, this courses across the planet in different ways from benign to hostile. The three movements reflect different wind patterns found around the globe and served as a departure point for a three-movement work cast in a quasi-classical frame of fast-slow-fast structure. Each movement engages a message, I hope, beyond mere tone painting, to reflect deeper aspects of the human condition, the human experience, thought, reflection, psychology and emotion. Unfinished Earth is a longer and deeper work, again cast in three movements, and delving into the constant degradation and reformation of earth and sea. Just as the earth slowly changes and evolves, we ourselves are constantly evolving through the deepening of our life experience, the processing of life’s joys and tragedies, and the inner passage of our turmoils and triumphs. Tempering, the first movement, is about the formation of earth and the molten rock that rises from the subterranean earthen smelter to become land. For me, this is a movement about becoming, and through such becoming, firming our sense of self, just as earth does as it becomes land. Eternal Ocean, the second movement, evokes the shifting currents of deep ocean, again as a metaphor for the unfocussed and at times even conflicting currents of the inner emotional worlds of the human experience. The final movement, Tearing Drift, is again a work with multivalent meanings: referring to the ripping apart or fractures in the earth’s surface, as might happen in an earthquake, perhaps, and also referring to the alternative meaning of the first word of the title not as being torn but as crying. This notion of an earth cry or deep subterranean swell of grief was a central image and intent of this movement. The strident wind and brass microtonal peals and screams against the strong percussive thrust of this movement were intended to reflect such an earth cry—or even the Munchian silent scream of isolated man.
3
A Concerto and a Symphony?
T
he concerto form has undergone various reappraisals, rejections, and reinstatements in recent decades, in line with the trajectory of the late twentieth century, where musical revolutions and counterrevolutions were waged in equal parts. What is the current status of orchestral works with a prominent soloist? Is the solo voice an integral part of the society that it represents, or is it an outsider? Protagonist or antagonist? Hero or antihero? Is the concerto form inherently a political act or statement? Could it really be only about
act of obeisance, or is the symphony still a vital concoction? Is the word “symphony” a shibboleth to be avoided at all costs? Long is the list of living composers attached to the word “symphony,” even in cases where works given this name are not, in fact, symphonies in any inherited sense. By contrast, many other composers write works on a symphonic scale without conceding that they are indeed symphonies, either to express a programmatic ambition or simply to avoid the weight of history that the term “symphony”
with these genres that, along with the string quartet, continue to be forms that composers, however clever they may be, can scarcely avoid. His flute concerto Tempest has three movements, sure, yet it could never be confused with a classical model in terms of content: the soloist is typically at the forefront, but not always, and neither is the solo part the most ear-catching melodic line; also, and this point is crucial, the orchestra is never relegated to mere accompaniment. In Unfinished Earth, the symphony of a sort, the twentieth-century
allowing a particular instrument to get a chance to show its capabilities? In our current age, when the possibilities are not quite limitless if almost so, one may be surprised at how traditional solutions can still be effective when placed in new contexts. Moreover, is a symphony possible in the twentyfirst century? Is writing a symphony now a mere
bears. Douglas Knehans is in the latter camp here, opting to avoid the word while conceding that the dimensions of the work in question make it one, after all. Is a symphony a matter of size or of content? The two works by Knehans on this CD are both paradigmatic and atypical of recent engagements
invention of the concerto for orchestra could be argued to be a better descriptive match, as the orchestra’s four sections go in and out of focus. Tempest Tempest is consistent, in terms of duration, with three movements more or less of the same length.
4 The composer shuns the current trend of using other members of the flute family and gives the
Etesian, the final movement, is a wind found near the Aegean Sea and, true to the phenomenon itself,
this movement then makes its first appearance, an off-stage trumpet. The parade and the trumpeter
soloist the single, standard instrument throughout. Its three movements are named after winds, and the music is straightforward in its earthiness. The opening movement, entitled Ostro after a southerly breeze from the Mediterranean Sea, alternates propulsive tendencies with frequent recourse to chamber-music transparencies: the orchestra that the concerto requires has fewer winds and brass than the norm, but a full section of strings. Ostro allots a prominent supporting role to bassoons and trombones, darker hues to bolster the terpsichorean tilt of the flute. The harp figures, too, though shades of Mozart are nowhere to be found in the texture itself; indeed, French influences would seem to be a more immediate point of reference. The middle movement Mistral ... Funérailles, named after a chilly, northerly breeze found en route from France to the Alps, aligns notions of cold with the reality of impermanence. A dirge of sorts, which low winds, low brass, and a pedal point
is steady. The music is not untroubled, as snarling interjections from the brass make manifest, but the onward march, at a frenzied pace, with tomtoms and xylophone for reinforcements, is both ineluctable and jocose. Unfinished Earth The symphony-in-all-but-name Unfinished Earth takes deeper breaths, gives its material longer stretches to unfold, and occupies a huge timbral and dynamic range, often veering toward the tenebrous, questing side of the spectrum. On a programmatic level, the work concerns itself with the motions and processes of the Earth and its bodies of water; in linking these motions with an array of human experiences, the composer also builds musical analogues in the way that materials take shape, move around, and transform themselves: The Earth is inchoate, so is man; his music is too. Though the work employs microtones and
thereafter jostle for supremacy. The composer intensifies the tensions between an individual powerless against the forces of nature through his occasional use of quarter-tone variations in the winds, brass, and strings. The relentless quadruplets finally exhaust themselves. A harsh, nebulous world opens Eternal Ocean, with solos for bassoon, horn, and tuba atop a pallid soundscape of strings, at once ever-changing and yet seemingly ineffable. For a while, oboes and English horn try a muted off-kilter dance atop the string body. The strings, left alone, then get absorbed into the orchestral equivalent of plate tectonics, leading to what could be heard as a brief reminiscence of the opening movement, now slowed down. Serenity ultimately prevails. The intentions of Tearing Drift, with the insistent clanging of metallic percussion from the outset, become immediately clear. The off-stage trumpeter from the first movement returns here and there to add its clarion call to a movement of churning
in the basses usher in, it nonetheless effervesces a few times on its way. Exposed passages for oboe and English horn, and later clarinet, viola, and cello, with quiet harp chords, add a particularly plangent tone to the solemnity. Here the solo part tends to allow itself to be subsumed into the overall sonority.
a prepared piano, it is in no way meant to be experimental. Rather, the composer here seeks to expand the palette on offer. Tempering opens in a state of suspended motion, forlorn and hesitant, but soon becomes “Blazing,” to quote from the score, a passing parade that gradually thins out. An important presence in
restlessness. In the midst of such tumult, quieter moments take on special meaning: the lilting Almglocken, for instance, shine with their muted ostinato. The forward pull of music, and of life, and of the planet that we inhabit, cannot ultimately be denied. — Daniel Albertson
5
Douglas Knehans With a gift for extravagant color, beautiful melodic style, clear musical form, and engaging, soulfully dramatic work, the music of award-winning composer Douglas Knehans has gained the attention and warm appreciation of audiences and performers around the world. Knehans’ two-piano work cascade has been performed in Steinway Hall, New York; UIC Recital Hall, Chicago; Tokyo, Japan; and Kiev, Ukraine and recorded for worldwide CD release on Ablaze Records by the virtuoso piano duo The Pridonoff Duo in a recording hailed by Fanfare magazine as “ … effective … incisive … hauntingly beautiful … ” A disc of his orchestral work titled Concertos was released on Ablaze Records in th e fall of 2015 and was called “ … music of tremendous imagination. Knehans scores with a masterly hand, his sound paintbrush unerringly hitting the mark.” by Fanfare magazine. In naming this disc as winner of the GOLD MEDAL—Best in Show, the Global Music Awards said: “This complex album contains SOAR, that capitalizes on the cello’s expressiveness and ability to constantly evolve new and unique colorations; DRIFT, written for solo oboe and strings, is an experiment with slowly morphing musical shape and form; MIST, MEMORY, SHADOW, for solo violin and strings, is an elegiac work commemorating Tasmania’s fragile, timeless environment and its people; and CASCADE, concerto for orchestra, began as a work for two pianos but later evolved into a wonderful and dazzling vehicle for
6 large orchestra. This sophisticated, wildly inventive album is a masterpiece.”
The American Prize for Orchestral Music (2012), and the Winner of the International Music Prize for Excel-
In that same year a disc of his choral music, Lux Dei, was released and was praised also in Fanfare as “…a radiant disc of music by a composer who is blessed with a tremendous imagination and who clearly has great affinity with writing for choir. There is a huge amount of beauty to be found here. Put simply, Knehans locates and amplifies the spiritual within the religious.,” while Gapplegate Classical-Modern Music Review said it “... shows us a mastery of his craft and an inspired result,” and Classical Music Sentinel said “...his choral music comes across as well rooted and accessible, and always seems to hit an emotional nerve...” Since 1980, Knehans has been the recipient of numerous commissions, awards, and fellowships in Australia and the United States. Most notably, the inaugural $20,000.00 Victorian Council for the Arts Composition Fellowship (1987–88), which enabled him to write his first chamber opera, the ascension of robert flau; a bicentennial orchestral commission for the Canberra Symphony Orchestra (1988) from the
lence in Composition (2011), the Gold Medal-Best in Show from the Global Music Awards (2016) for his disc Concertos, among numerous others. Douglas Knehans’s works have been broadcast on ABC Classic FM and ABC Television (Australia); National Public Radio and the Public Broadcasting Service (USA); RAI Radio and Television (Italy); and HTKY, the National Television Broadcaster in Ukraine. His music for television has been nominated for an EMMY Award, and he composed evocative music for the short film A Song of Air, which was invited to the prestigious Un Certain Regard section of the Cannes Film Festival (France). His music has been commissioned and performed by some of Australia’s leading ensembles and soloists, including the Canberra Symphony Orchestra and the Melbourne Symphony Orchestra, the ELISION Ensemble, the Australian Boys Choir, the Adelaide Percussions, guitarist Timothy Kain, soprano Merlyn Quaife, Opera Australia, and the Tasmanian Symphony Orchestra. He has been featured in two books on Australian music (A Hand-
Australian Bicentennial Authority; over a dozen commissions (1986–1988) for various media supported by the Australia Council Performing Arts Board; fellowships from the MacDowell Colony (1989) and the Leighton Artist Colony (1989), and a composer-in-residence grant from Meet the Composer, Inc. (1990),
book of Australian Music and A Companion to Music in Australia) as well as the International Who’s Who in Music and Musician’s Directory. In 2000, he was invited to participate in the Czech-American Summer Music Institute in Prague. During this three-week residency in Prague he also
Knehans Photos — Tina Gutierrez Photography
7 visited Terezin and Auschwitz-Birkenau. These visits Also in 2007, Knehans was commissioned by the music composition with Pulitzer Prize winning comgave rise to the composition of his shoah requiem Tasmanian Symphony Orchestra for a new work for poser Jacob Druckman, Lukas Foss, and Jonathan for soloists, choir, and orchestra, the Introit of which was performed as part of the 2001 Incontri di Musica Sacra Contemporenea events in Bari, Taranto and Rome, Italy, and broadcast nationally on RAI Television and Radio. In 2002, his work Seraphic Ride was given its world premiere at the Kennedy Center in Washington, D.C., by soloists from the National Symphony Orchestra and streamed worldwide from the Kennedy Center. In 2003 his work Rive played in Brisbane, Melbourne, Adelaide, and Hobart, Australia as well as in London for the American Music Center, and in Athens and Thessoloniki by the acclaimed Verdehr Trio. In 2005, Knehans was invited to return to the 2005 Incontri di Musica Sacra Contemporanea, where his work for mezzosoprano and orchestra In Questi Giorni was given in L’Aquila and Rome. Prior to this trip, his work Lamentation, for string orchestra was premiered as part of the Ten Days on the Island International Arts Festival. In 2006, he was invited to the New Music—New Faces Festival in Cracow, Poland, where he lectured
solo violin and strings resulting in his …Mist, Memory, Shadow…. His work Glow, a double concerto (for violin and clarinet) had its world premier at the Australian International Symphony Orchestra Institute in Hobart, Australia. In 2009 his large orchestra work Ripple was set to dance by award-winning Chinese choreographer Jiang Qi and given in Cincinnati and with the Ballet West (Salt Lake City); and his work Seraphic Ride was given as part of the SPECTRUM New Music Series at the Esplanade in Singapore, about the composition of which the Washington Post said “The piece tells an exciting story, ever-intensifying in color, thematic ideas, texture and tempo.” Douglas Knehans (b. 1957, St. Louis, Missouri), received his initial music education at the Canberra School of Music (Australian National University) in Australia’s national capital, where he graduated in 1980 with a high distinction in music composition, the only such awarded that year. In 1990 he received scholarships and awards from Queens College, City University of New York, where he gained his M.A.
Berger. He graduated Yale University in 1993, earning the Woods Chandler Memorial Prize (1993) for best composition in a larger form, receiving his Doctoral degree from Yale University in January 1996. In 1993, Knehans was appointed to the University of Alabama School of Music, where he was chair of Composition, Theory and Electronic Music and Director of the SCREAM (Southern Center for Research into ElectroAcoustic Music) Studio. Between 2000 and 2006 he was the Tasmanian State Chair, Federal Board member, Chair, and Executive Director (Syllabus Development) Music Craft of the Australian Music Examinations Board. In 2005 he created the Australian International Symphony Orchestra Institute and from 2005 to 2008 he was the Artistic and Executive Director of that Institute. He was Professor of Music and Director of the University of Tasmania Conservatorium of Music between 2000 and 2008, and Dean of the College-Conservatory of Music (CCM) at the University of Cincinnati from 2008 to 2010. He is currently the Norman Dinerstein Professor
on new music and composition and his work Rive was given its Polish premier by the Verdher Trio. Resulting from this performance he was invited to the Music Premieres of the Season Festival in Kiev, Ukraine, in 2007 and to lecture in electroacoustic composition at the Academy of Music in Cracow, Poland, and the Jerusalem Academy of Music and Dance in Israel.
in composition with Distinguished Professor and renowned composer Thea Musgrave. Upon graduation from this institution he received the first Luigi Dallapiccola Composition Award (1991) for outstanding achievement in music composition. After graduating from Queens College, Knehans entered the Doctoral program at Yale University where he studied
of Composition Scholar at CCM. Douglas Knehans’s music is available on New World Records, ERM Media, Crystal Records, Move Records, and Ablaze Records. His music is published under the Armadillo Edition imprint and is available online through Alexander Street Press. www.douglasknehans.com
8
Tempest—Concerto for Flute and Orchestra The title of this work refers to rough wind. When I was approached about a new flute work, with utterly no technical restrictions, the idea of a wind player, and especially a virtuosic wind player, set my imagination to types of crazy, unrestrained wind. This led me to look into the natural occurrences of wild, unpredictable wind patterns around the world. This then produced the titles and character of the three movements: Ostro—the traditional name of the southerly wind in the Mediterranean Sea; Mistral—a cold northerly from central France and the Alps to the Mediterranean–this movement I have also allied to the notion of a type of funeral march, hence the title Mistral … Funerailles with the cold wind perhaps summoning the notion of death and impermanence. Finally, the last frantic and virtuosic movement is titled Etesian which references a strong, dry north wind of the Aegean Sea that is most of the time a good, steady sailing wind. The well-contained and metrical virtuosity of
works real birth is thanks to the dedicated virtuosity and brilliant musicianship of flutist Gareth Davies, the principal flute of the London Symphony Orchestra, who agreed to record the work with Mikel Toms and myself in Brno. In one, almost literally breathless day, Gareth laid down this extremely demanding work in intense embouchure-busting sessions in which he never broke a sweat. He is a tremendous musician, brilliant professional, and deeply powerful soloist, and this work owes everything to him and his peerless musicianship. Unfinished Earth Unfinished Earth is a symphony in all but name. The three movements all refer to large geological motions of earth and sea, yet, like most of my recent work, also use such natural phenomena to analogously point to the the large internal landscapes of the human heart and experience. The first movement, Tempering, refers to the formation of earth’s structure and surface but
music of expressive inflection; and finally the overall timbralexpression of this music that is thick and powerful. The second movement, Eternal Ocean, is referential to the many currents of human emotions, as reflected, perhaps, in the many different speeds and tidal currents of the colorful, tumultuous, and vast open ocean. The final movement, Tearing Drift, refers externally to continental drift and how parts of continents shift or break off—this shifting and breaking off is a type of sectionalized structural approach I have adopted in this movement. But further, and again, this music is about the internal life of human experience and how life experience acts on us like a type of continental drift that repositions our attitudes over time and in relation to our life experience. This work was written for my son Joshua, who is learning the French horn, and this is the reason why this instrument features rather prominently throughout this work—I wanted to show him the power and beauty of this fantastic instrument
this movement seems to align with this welcome and sustaining wind that is good for travel. In artistically interpreting all of these types of global wind patterns I have tried to invest a dramatic and virtuosic element to the corresponding wind music. I was asked for a piece without restrictions and so a concerto seemed the obvious vehicle for this. The
likewise is also about the structural interplay between individual and group. This plays out in a number of ways: the offstage trumpet solos throughout the movement act as a kind of call of the distant heart to which we all seek to listen and follow; the convention of pitched and even tonally centric music that collides and twists to microtonal
within an orchestral context. The piece is dedicated to Maestro Mark Gibson and the terrific CCM Philharmonia, who requested the work. This current recording is thanks to the brilliance of maestro Mikel Toms, the tremendous virtuosity of the Brno Philharmonic, and the terrific recording team of Jaraslav Zouhar (Brno) and Silas Brown (New York).
9
Gareth Davies, flute Gareth Davies is one of the finest flautists of his generation. He studied at the Guildhall School of Music and Drama. Shortly after graduating, he was appointed principal flute in the Bournemouth Symphony Orchestra at the age of twenty-three. During his time on the south coast, he recorded the Nielsen concerto with the orchestra. In 2000, Gareth was invited to become principal flute with the London Symphony Orchestra, where he has remained ever since. During his time there, he has played and recorded with many of the great
10
conductors including, Gergiev, Sir Colin Davis, Haitink, Previn, Jansons, Rostropovich, Boulez, and Rattle. A recording of a concerto by Karl Jenkins, written especially for him, is available on EMI. He can be heard on many LSO Live recordings, including Daphnis and Chloe and Prelude a l’apres
masterclasses in London, New York, Tokyo, and Beijing. Every four years, he is one of the directors of the LSO Woodwind Academy, an orchestral training program for exceptional students. As part of the LSO Discovery scheme, he also works in schools in the East London Boroughs, working with young students
Gareth also works as a writer and presenter. He has written for the LSO and for BBC Music magazine and as well as presenting a series of preconcert talks and interviews with Sir Colin Davis, Nikolaj Zneider, Gergiev, Pappano, and Michael Tilson Thomas, many of which are available online. He has written and
midi, conducted by Valery Gergiev, as well as many film soundtracks, including Star Wars, Harry Potter, Rise of the Guardians, and the Twilight saga. As well as performing, Gareth is in demand as a teacher and regularly coaches woodwind students at the London music colleges as well as giving
in anything from composition, improvisation to flute performance. One of his favorite Discovery projects ended with a performance with these young people in the opening ceremony of the 2012 London Olympics to a worldwide television audience of four billion people.
presented a documentary for Classic FM and his first book, The Show Must Go On, published by Elliott and Thompson, is available in bookstores and on Amazon. It was chosen as a book of the year in the Financial Times and Classical Music magazine. www.garethdaviesonline.com
11
Mikel Toms, conductor British conductor Mikel Toms has worked with many orchestras and ensembles, including the Royal Philharmonic Orchestra, the London Chamber Orchestra, the Oslo Sinfonietta, Ensemble Modern, the Brno Philharmonic Orchestra, the Janáček Philharmonic Orchestra, the City of Prague Philharmonic Orchestra, the New Prague Sinfonia, the Kazakhstan State Symphony Orchestra, the Uralsk Philharmonic Orchestra, the Czech Film Orchestra, and Elision (Australia’s national contemporary music ensemble). He has recorded over twenty-five CDs for many labels, including Sony BMG (the world premiere recording of Philip Glass’s Saxophone Concerto), Decca, Métier, Quartz, and Ablaze Records. He was also the founder of the independent CD label Quartz and is
12
the director of a successful film and music production company (First Creative) working mainly in the United Kingdom and the Czech Republic. He recently appeared in the three-part BBC FOUR television series Romance and Revolution—Musical Masters of the 19th Century. He has conducted for BBC Radio 3’s Hear and Now program; has broadcast on Italian, German, Spanish, and Irish radio; and has appeared at festivals in London, Bath, Cheltenham, Huddersfield, Belfast, Darmstadt, Innsbruck, Sligo, Almaty, Valencia, Dortmund, and Berlin. Mikel read music at Oxford University, where he conducted a complete performance of Messiaen’s Des Canyons Aux Étoiles at the age of twenty. He studied with Peter Eötvös as a member of the
From 1993 to 2001, Mikel was artistic director of the contemporary music chamber orchestra Reservoir. He is now closely associated with the Brno Philharmonic Orchestra, with whom he has made many recordings of contemporary and classical repertoire, as well as a number of TV and film soundtracks. He has recorded over eighty new works for orchestra and has collaborated with major composers, including Iannis Xenakis, James Dillon, Michael Finnissy, Karlheinz Stockhausen, and Harrison Birtwistle. Mikel is also well-known as a writer and broadcaster about classical music. In addition to his wellknown conducting blog, his writing has appeared in The Times, the BBC Music Magazine, and other publications. His book Written on the Sky—Five Journeys
International Eötvös Institute Foundation and at the Darmstadt Internationales Ferienkurse, where he won the Stipendium Prize for performance. In 1996, he was selected to conduct the Ensemble Modern in a performance of Karlheinz Stockhausen’s Mixtur, in collaboration with the composer.
with Great Composers is scheduled for publication soon. From 1997 to 2000, Mikel was director of the British Youth Opera, the United Kingdom’s opera training company. He is a Fellow of the Royal Society for the Arts.
13
Brno Philharmonic Orchestra The Brno Philharmonic (BPO) has an illustrious history of music making, its beginnings dating back to the 1870s, when its first predecessor, the amateur Czech Symphony Orchestra, was established under the auspices of Leoš Janáček and housed in the purpose-built Besední dům, the present orchestra’s magnificent home. Formed in 1956 after the merger of the Radio Orchestra and the Brno Region Symphony Orchestra, the Brno Philharmonic has long been regarded as one of the best orchestras in this country. The Brno Philharmonic has often been labeled as Janáček’s orchestra, and rightly so. Brno, where the composer lived and worked, has always been a lively center for his music. Since its foundation
14
in 1956, the ensemble has given well over three hundred performances of works by Janáček, at concerts both in the Czech Republic and abroad. It has also recorded Janáček’s complete symphonic and cantata works. The BPO has recorded extensively with Supraphon—a record company boasting a long and distinguished history, and which is nowadays the largest and most prestigious in the Czech Republic—and has also made a number of high-quality recordings with Sony Music, IMG Records, and BMG, as well as with a number of other well-known record labels. Most recently, the orchestra has recorded with Music Sales, Classic FM and Sony BMG, Channel 4, Supraphon, the Royal National Theatre in London, Ablaze Records, and Universal. In 1956, when it was formed, the Brno Philharmonic began to collaborate with Czech Radio, and this relationship has continued up until the present day.
15
Acknowledgments Thank you to Maestro Mark Gibson and the CCM Philharmonia, without the invitation from whom to write it, Unfinished Earth work would not exist. Massive thanks, as ever, to the brilliance of the Brno Philharmonic in making such a persuasive rendering of these works. As usual, again, thanks to my friend and colleague Maestro Mikel Toms for such a great and sympathetic reading and rendering of these works. Thanks, Mikel, for your patience and calm and sheer artistry and skill! I thank you and the Retro Consistorium thanks you! Thanks do not seem adequate for the commitment, passion, technical brilliance, utter professionalism, and complete kindness of flute soloist Gareth Davies, whom the London Symphony Orchestra otherwise justifiably monopolize as their Principal Flute. Gareth, you have been such a rock in bringing this tremendously challenging concerto to life. THANK YOU! And to my gifted and wonderful technical team: Jaroslav Zouhar for his brilliance in recording and editing these works and my mixing and mastering engineer, the ever patient and deeply and subtlety skilled Silas Brown. Thank you, guys! And finally to my wife Josephine and my daughter Katarina, and to my son, Joshua (to whom I dedicated Unfinished Earth), without the patience and support of whom I could never have been absent for weeks at time undertaking such projects.
Douglas Knehans — Unfinished Earth 1–3
4–6
Tempest Concerto for Flute & Orchestra 1. Ostro 2. Mistral … Funerailles 3. Etesian
Gareth Davies, Flute Brno Philharmonic Orchestra Mikel Toms, Conductor
Unfinished Earth For Orchestra 1. Tempering 2. Eternal Ocean 3. Tearing Drift
Brno Philharmonic Orchestra Mikel Toms, Conductor
ablaze RECORDS p 2018 ablazeRECORDS, Pty Ltd © 2018 ablazeRECORDS, Pty Ltd (ASCAP) All rights reserved. Unauthorized duplication is a violation of applicable laws. Cover Photo: Image taken by the Landsat-7 satellite. Source: NASA Goddard Photo and Video flickr photostream. Courtesy of NASA/U.S. Geological Survey/Landsat-7/Goddard Space Flight Center. Jaroslav Zouhar, recording and editing engineer, Brno, CZECH REPUBLIC Mixing and Mastering Engineer, Silas Brown, Legacy Mastering, Westchester, NY, USA Producer, Douglas Knehans Design by Josephine McLachlan Published by Ablaze Records, Pty Ltd www.ablazerecords.net Printed in the USA
7:03 6:49 6:49
12:06 11:55 8:13
17
ablaze RECORDS ABLAZE Records is a new Australian/American company specializing in classical and new classical music from specialist composers and performers from around the world. Audiophile Audition has said of ABLAZE:
“I also give my kudos to Ablaze Records for sound quality but, more importantly, the commitment to new music that their company represents. Their website reveals that composers are openly solicited to submit scores and recordings for consideration on an ongoing basis. Additionally, the company is presently accepting orchestral scores to put on a contemporary orchestral works CD! This is but one of the creative ways that living composers can have their works heard without waiting to hear back from the conventional symphony orchestra route. I look forward to more!” — Daniel Coombs © Audiophile Audition, Published on February 18, 2011
http://www.ablazerecords.net http://www.facebook.com/AblazeRecords
