100 for 100. Musical Decades of Freedom (print view version)

100 for 100

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100 for 100 Musical Decades of Freedom Programme

100 for 100 Musical Decades of Freedom Programme

National Patronage of the President of the Republic of Poland Andrzej Duda to mark the Centenary of Regaining Independence

Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the Multi-Annual Programme “Niepodległa” 2017–2021

100 for 100 Musical Decades of Freedom Programme

Andrzej Duda President of the Republic of Poland

Ladies and Gentlemen!

I am very glad that it is on this special day of National Independence – November 11, 2018 – that music lovers in Poland and abroad will be able to listen to concerts presenting outstanding works of music authored by Poles from the last century. Thank you for this special way of celebrating the centenary of the rebirth of a free Poland, which I consider to be hugely valuable and relevant indeed. For it is no coincidence that an artist was among the six fathers of our independence – the pianist virtuoso and composer Ignacy Jan Paderewski.

The sovereign Polish state returned to the political map of Europe thanks to the armed deed of soldiers and the diplomatic efforts of statesmen, but it was possible thanks to culture.

Over the preceding 123-year-long period of partitions, our national pride, our identity and heritage survived in the magnificent works of writers, painters and composers. Literature and art substituted a free homeland for several generations of Poles. Unable to govern their own country, our ancestors focused their attention on the area of spirit and artistic creativity. It served as the sphere of liberties, the free exercise of which had been denied to us by foreign powers.

An independent Poland survived the age of bondage and in the breakthrough year 1918 it was reborn out of culture and thanks to culture. Also in the following century – abundant in dramatic historical experiences – art continued to be for us, Poles, both: a form of artistic expression as well as discussion about the most important common experiences. You will certainly be able to hear the echoes of those discussions and the atmosphere of each and every of the past decades in one hundred excellent works selected for this anthology. So let this musical time vehicle take the listeners on a journey through their native history. I am convinced that it will prove to be a fascinating and inspiring adventure.

With best regards and greetings /-/ Andrzej Duda

Š Danuta Matloch

Piotr Gliński, professor, PhD Habil.

Deputy Prime Minister Minister of Culture and National Heritage of the Republic of Poland

Ladies and Gentlemen, 1918 was a very special year for Poland. After 123 years of absence from the maps, lack of its own statehood and endangered cultural identity – our nation regained its long-dreamt-of independence. A hundred years have passed since that euphoric moment.

Today, on 11th November 2018, we meet again to commemorate that event. Celebration of great anniversaries would not be complete without music. It is therefore my great pleasure to welcome you to our concerts, held as part of the programme “100 for 100. Musical Decades of Freedom.”

Together with PWM Edition we have selected a hundred works that have changed the face of global music culture. They were written by more than eighty eminent Polish composers between 1918 and the present, and they represent all genres and styles. They perfectly represent what has been most valuable in music over the last century. Karol Szymanowski, Grażyna Bacewicz, Witold Lutosławski, Wojciech Kilar, Henryk Mikołaj Górecki, Krzysztof Penderecki, as well as an aesthetically varied galaxy of composers representing the younger generations – are those who have set the trail for the development of music. They remind the coming generations that one needs to remain true to one’s ideals; that creative responsibility and service to the society are the artist’s privilege; that one should effectively strive for the highest aims of artistic accomplishment, and that maintaining independence – in all the senses of that beautiful word – is both a need and a value.

It is with pride and enthusiasm that I can invite and encourage you to get acquainted with the offer of the “Musical Decades of Freedom” – the recordings, the books and music scores, publications for children and teenagers as well as materials collected on the programme’s website. United around the idea of Independence, we will listen to Polish music in the interpretations of excellent artists in eleven prestigious concert halls in Poland and eleven more throughout the world!

I wish all of you deep reflection and a wonderful aesthetic experience.

© Bartosz Siedlik

Daniel Cichy, PhD Director and Editor-in-Chief of PWM Edition

Ladies and Gentlemen, The centenary of Poland regaining independence is a special cause for joy. PWM Edition, a publishing house which has since 1945 successfully carried out the mission of preserving and promoting Polish music on all the continents, has set out to present to the world what has been most beautiful, valuable, original and therefore worthy of attention in Polish music over the last hundred years.

The programme “100 for 100. Musical Decades of Freedom” is an undertaking without parallels in the world as far as its range and form are concerned. It presents a hundred works written since 1918 by more than eighty excellent composers. This wonderfully varied collection, bearing unique testimony to its time, includes well-known compositions as well as those quite unjustly neglected, representing different aesthetics, as well as all possible genres and types of scoring. The new musical century will open with Krzysztof Penderecki’s Fanfare, specially written for this occasion, which will be performed today – on 11th November 2018 – in eleven of the world’s major concert venues as well as eleven most beautiful concert halls in Poland, on Polish Radio and Polish Television, and will be broadcast by several European radio stations.

It is with enormous satisfaction that I witness the entire music world joining us in the celebrations of the one hundredth birthday of modern independent Poland. The project has attracted eminent artists from Chicago and New York to Paris, Vienna, Lviv, Tokyo, Melbourne, London, Copenhagen, Frankfurt and Milan. Acclaimed Polish artists: singers, instrumentalists and conductors, the best Polish orchestras and choirs, as well as eleven most active music institutions of our country – all of them are involved in this project. This proves not only the universal values of music, the noble sense of community in culture, of social agreement above all divisions – but also the high status of Polish music, the international importance of Polish composers and their considerable impact on music worldwide.

On behalf of PWM Edition, I would like to welcome you at the concerts of our programme, “100 for 100. Musical Decades of Freedom” – the largest musical project in the history of free Poland!

11.11 1:30 p.m.

St. Hyacinth Basilica 3636 W Wolfram Street Chicago

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© St. Hyacinth Basilica

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repertoire

Wojciech Kilar (1932–2013)

Missa pro pace 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei

performers

Natalia Rubiś (soprano)

Andrzej Białko (pipe organ)

Katarzyna Sądej (alto)

Marek Moś (conductor)

Jesse Donner (tenor)

Paderewski Symphony Chorus

Kurt Link (bass)

Chicago Philharmonic

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commentary

translation

Beata Bolesławska-Lewandowska

Tomasz Zymer

Wojciech Kilar followed an artistic path that Violetta Rotter-Kozera (author of a biographical film dedicated to him) described as leading “between the avant-garde and Hollywood.” He notched up tremendous successes as a composer of music for films by Krzysztof Zanussi and Andrzej Wajda (including the famous Polonaise from Pan Tadeusz: The Last Foray in Lithuania), but also for Francis Ford Coppola and Roman Polański. This, however, was only a small proportion of his œuvre. In the late 1950s and early 1960s, the young Kilar made important contributions to the achievements of the so-called Polish School of Composition, experimenting with sound and with innovative performance techniques in his orchestral Riff 62 (1962) and Générique (1963), in Diphthongos for mixed choir and orchestra (1964), and the more minimalistic Upstairs-Downstairs for two girls’ or boys’ choirs and orchestra

(1971), which upheld the spirit of explorations. The mid-1970s brought a major breakthrough, and his Krzesany for orchestra, performed at the 1974 Warsaw Autumn, came as a real shock. The composer openly returned to folklore, to simple and clear-cut rhythms with a strong drive. This was a novelty at that time. Kilar developed further in this direction, soon followed by such outstanding figures of the avant-garde as Krzysztof Penderecki and Henryk Mikołaj Górecki, who also revealed the more traditional face of their art. In his later works, Kilar remained true to highlander folklore on the one hand (prominent in such pieces as the symphonic poem Kościelec 1909 of 1976, the subtle Hoary Fog for baritone and orchestra of 1979, and the impetuous Orawa for strings of 1986). On the other hand, Kilar began to compose works of strongly religious and national-patriotic character, such as the vocal-instrumental Exodus (1981), Victoria (1983) and Angelus

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(1984). Musically speaking, this trend entailed a reduction and maximum simplification of musical material and technique. The minimalist tendencies evident in multiple repetitions of individual words, musical phrases, even chords – evoked either a serene and joyful or a solemn mood (the latter – in the fast, march-like sections), or a focused atmosphere of prayerful contemplation (in the slow passages and pieces of religious provenience).

Missa pro pace, composed in 2000, can be considered as a culminating point in Wojciech Kilar’s output of spiritual-ascetic, religious works. For the composer – an ardent Christian – the very fact of writing a mass was of tremendous importance. He was inspired to take up this task by Kazimierz Kord, the then director of Warsaw Philharmonic, who commissioned the piece, to be premiered in 2001 for the centenary of the Philharmonic – Poland’s most important concert venue.

In the context of the end of one millennium and the beginning of a new one, the last year of the 20th century that had proved so tragic for humanity – writing a Mass for Peace appears as a both a natural and symbolic gesture.

Its premiere on 12th January 2001 in Warsaw by soloists Izabela Kłosińska (soprano), Jadwiga Rappé (alto), Charles Daniels (tenor) and Romuald Tesarowicz (bass), the Warsaw Philharmonic Orchestra and Choir under Kazimierz Kord – proved a major event. The work met with acclaim from the majority of the public, but many reviewers criticised it as excessively simple, even deficient in expression.

They also disliked the illustrative quality more suited to film music than to a religious work. The composer, however, did not lose confidence in his vision and the fulfilment of his aims. He explained in an interview: “I aimed to write a Mass that would be possibly modest, musically reduced, with no displays of virtuosity on the part of the composer – my personal attempt to interpret the holy texts. I did not conceive it as a great pontifical mass celebrated in splendid liturgical robes in a huge cathedral, but one held by monks in humble habits in some out-of-the-way medieval monastery.”

The slightly longer than one-hour-long Missa pro pace for soprano,

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alto, tenor, bass, mixed choir and orchestra has a traditional structure. It consists of the five movements of the Mass ordinary (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) with a separately set epilogue (Dona nobis pacem), which plays an important role here. The whole is maintained in a concentrated, contemplative spirit; only the joyful Gloria brings a contrasted, exhilarating note and a nearly folk-like drive. The opening Kyrie resembles in its structure Henryk Mikołaj Górecki’s much earlier Symphony No. 3 “Symphony of Sorrowful Songs” (1977), where a focused vocal prayer is framed in atmospheric instrumental sections with unhurried, polyphonic voice-leading in the parts of string instruments. Górecki applies a strict canon here, while in Kilar’s Mass we have the less rigorous passacaglia – but both works are predominantly serious, even sad. The lively, rhythmical Gloria is followed by a quite different Credo, which in this mass cycle comes the closest to medieval liturgical chant. This impression is enhanced by the fact that it is only performed by solo tenor and choir – exclusively male at first, with female voices only gradually joining in. The Sanctus is a fast-developing, lyrical soprano aria accompanied by strings and harps. The extensive fifth movement, Agnus Dei, probably the

most dramatic in expression, ends with the contemplative supplication of Dona nobis pacem, in which the prayer for peace – the main intention of this Mass – is most distinctly heard. For this reason, it is also the most important section of the whole. The atmosphere of prayer, the frequent repetitions of chords and motifs combined with warm, almost soothing harmonies – provide for a very peaceful, hopeful finale, expressing trust in God. The character of the cycle is determined by the simplicity of atmosphere and musical means.

The composer makes economical use of the large orchestral forces, selecting only those elements that are necessary to create a proper mood at any given moment. The moods he evokes are directly related to the very distinctly presented text of the Mass, which always remains in the centre and is only tinged by the colours of voices and instruments. The music contains many unquestionably beautiful, captivating, sublime moments – which seems to be the greatest asset of Missa pro pace.

The composition soon came to be considered as one of Kilar’s most important and best loved works. For the composer himself, it occupied a special place in his œuvre. He especially fondly recalled its performance at the Vatican for John Paul II: “Such concerts were very rare throughout

his pontificate. Each minute was precious to the Pope, and still he chose to dedicate several hours to my music. I remember observing the Holy Father during the performance. In the second movement, Gloria, which contains elements of highlander folklore, he clearly cheered up and his face lit up. He reacted differently to the more contemplative Kyrie, to which he listened with his head resting on his arm, evidently engrossed in the music. […] I will never forget the wonderful words he spoke in the Paul VI Audience Hall.

Adding to all this happiness, some two weeks later our archbishop, Father Damian Zimoń, brought me a private letter from the Holy Father, which began with the words: ‘I congratulate you once again…’ I believe that Missa pro pace did please him in some way.

For me personally and for my wife, this was the most important and beautiful moment of our lives.”

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© Ryszard Duława

Marek Moś

Conductor and artistic director of the AUKSO Chamber Orchestra from its foundation and artistic director of the AUKSO Summer Philharmonic Festival in the Polish lake district; an outstanding Polish violinist and chamber musician. He studied under Kazimierz Dębicki and Andrzej Grabiec in Bytom and Katowice. He was the founder and for many years leader of the Silesian String Quartet, which quickly became one of Europe’s finest ensembles of that kind.

Together with this quartet Marek Moś has performed at important festivals and in prestigious venues in Europe and all over the world: in the Konzerthaus in Vienna, the Concertgebouw and IJsbreker in Amsterdam, the Vredenburg in Utrecht, the Schauspielhaus in Berlin, the Tivoli in Copenhagen, the Tonhalle in Düsseldorf, deSingel in Antwerp, Merkin Concert Hall in New York and Jordan Hall in Boston. It is also together with the Silesian String Quartet that the artist has given approximately 30 world premiere performances of contemporary works – some of them specially dedicated to the ensemble. Marek Moś has recorded for the Polish Radio and Television, as well as for record companies such as CD Accord, Olympia, Partridge, Thesis, and Wergo. Recordings with his participation have won many awards. His all-Górecki CD won the Polish Phonographic Academy’s Award Fryderyk in 1995. Another Fryderyk was awarded in 1997 to the CD of Karol Szymanowski’s and Witold Lutosławski’s quartets; this recording also won the title of “Record of the Year” of the Studio music magazine. Marek Moś himself has received numerous individual awards, among others during the Contemporary Music Competition in Cracow (1979), the

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International (UNESCO) Rostrum of Composers in Paris (1984, 1988), and from the Polish Composers’ Union (1994, 2005). He was also granted the Gloria Artis Silver Medal by the Polish Ministry of Culture and National Heritage (2005) and the Marshall of the Silesian Province Award (2005). Currently, apart from a very busy concert schedule, Marek Moś is also professor at the Karol Szymanowski Academy of Music in Katowice.

© Natalia Rubiś

Natalia Rubiś

Praised by the German press for her “clear and warm voice with luminous coloraturas”, she recently performed the roles of Euridice and Musica in Monteverdi’s Orfeo in Düsseldorf and Fiordiligi in Così fan tutte at the Bach Festival in Poland. During the summer, she recorded her first opera CD with the renowned Czech orchestra Collegium 1704 in Prague, and her first DVD of Donizetti’s Requiem.

Ms. Rubiś’s latest opera credits include the roles of Helena in A Midsummer Night’s Dream, Despina in Così fan tutte and Sa femme in Le pauvre matelot with the Yale Opera. She has also appeared as an oratorio soloist in Mozart’s Requiem with Sinfonia Varsovia in Warsaw and Bach’s cantatas with Collegium 1704 in Dresden and Prague. Ms. Rubiś made her international debut in 2014 as Calisto in Giove in Argo by Handel at the Handel Festival in Halle, Germany. Since that time she has been invited to perform other Baroque operas, such as Xerxes (Romilda) and Le Cinesi (Sivene) by Gluck in Dresden and Bad Lauchstädt. In Poland, Ms. Rubiś took part in the Polish premiere of Carter’s Tempo e tempi at the Nostalgia Festival, was a soloist in the Faure’s Requiem, and recorded a CD of operetta love duets for DUX. Ms. Rubiś performed at the 2017 New Year’s Eve Gala Concert with the Beethoven Academy Orchestra in Cracow, featured as Cristallina in Salieri’s La fiera di Venezia with L’arte del mondo (a CD recording for Sony), as Zosia in Moniuszko’s Widma (The Phantoms) at the Beethoven Easter Festival in Warsaw, Poland, and took part in the recording of Moniuszko’s opera Flis (The Raftsman) with the Fryderyk Chopin Institute. Ms. Rubiś earned her Master of Musical Arts in opera from the Yale School of Music

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in May 2017, where she studied with Doris Yarick Cross. She holds a Master of Music in oratorio and a Bachelor of Music in voice from the Wrocław Academy of Music.

© Carlos Escobar

Katarzyna Sądej

Polish-Canadian mezzo-soprano Katarzyna Sądej performs internationally in recitals, concerts, operas and oratorios. Katarzyna is a graduate of Bard’s Vocal Arts Program and the University of Toronto’s Opera School. Her numerous recital performances have taken her around the world, throughout North America, South America, Europe and Asia. She has performed at Carnegie Hall, the Cartagena International Music Festival, the Zagreb Music Biennale, the Bard SummerScape Music Festival, the Nuit Blanche Toronto, the Ojai Music Festival, and Le Salon de Musiques in Los Angeles, among other prestigious venues. Recent opera performances include her Los Angeles Opera debut as the Page of Herodias in Strauss’ Salome, her SOPAC Ottawa debut as Le Prince Charmant in Massenet’s Cendrillon, and an appearance in the title role of Bizet’s Carmen in the Palm Springs Opera Guild annual gala concert. She will make her Chinese debut at Sichuan Opera House in Chengdu in 2019 as Giannetta in Donizetti’s L’Elisir d’amore. Upcoming, she will be singing the mezzo-soprano solo in Durufle’s Requiem in Ottawa’s Concerts by the Canal series, and she will make her debut with the Chicago Philharmonic as the alto soloist in Wojciech Kilar’s Missa pro pace. Other recent highlights include her San Diego Opera and Industry Opera debuts, as well as the mezzo-soprano solos in Bach’s Mass in B Minor at Festival Mozaic in San Luis Obispo. She is a featured soloist on the 2013 Metier Records’ CD Rising at Dawn.

Her performance on the recording was described as “…nothing short of enthralling. Hers is a stunningly rich, beautiful voice, with a deep, perfectly centered vibrato and pitch allied to profound

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expressiveness” (James Altena, Fanfare Magazine). Katarzyna has performed numerous world premieres, including a premiere of Pulitzer prize-winning composer John Harbison’s song cycle The Right to Pleasure.

© Devon Cass

Jesse Donner

Tenor Jesse Donner is rapidly emerging on the operatic and concert stage with a voice that is “vibrant” (Chicago Classical Review), and “fresh and juicy” (Chicago Tribune). Donner holds a bachelor’s degrees from Iowa State University and a master’s degree from the University of Michigan, where he was seen in Ariadne auf Naxos, Der Kaiser von Atlantis and L’incoronazione di Poppea. The Des Moines, Iowa native received the coveted 2015 Men’s Voice Fellowship from the Luminarts Cultural Foundation and the Bel Canto grand prize, the 2014 George Shirley Award for Opera Performance, a Special Encouragement Award from the 2014 Metropolitan Opera National Council Regional Auditions, and First Place in the 2012 Michigan Friends of Opera Competition. At Lyric Opera, Jesse Donner has appeared in Capriccio (Diener), Tannhäuser (Walther), Nabucco (Abdallo) and Der Rosenkavalier (Kellner). He also covered the lead tenor roles of General Alfredo in the world premiere of Bel Canto, Ismaele in Nabucco, and the Drum Major in Wozzeck. He was also featured in the Harris Theater’s Beyond the Aria 2015–2016 series with soprano Christine Brewer and mezzo-soprano Annie Rosen. In the 2016–2017 season he was heard in Lyric’s productions of Das Rheingold, Die Zauberflöte and Norma. Other performing credits include his debut with Opera in the Ozarks as Pinkerton in Madame Butterfly, as a tenor soloist in Beethoven’s Symphony No. 9 with Adrian Symphony, and with the Civic Orchestra of Chicago in both Mozart’s Great Mass in C Minor and Poulenc’s Les Mamelles de Tirésias. Other concert appearances include with the Grant Park Symphony Orchestra, the Toledo Symphony, and University of Michigan Symphony Orchestra.

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© Amber Pierce

Kurt Link

A winner of the Metropolitan Opera, Liederkranz, Opera Index and Sullivan competitions, Kurt Link has earned a reputation as one of America’s finest basses. He has performed major bass roles with companies such as the Metropolitan Opera, New York City Opera, Lyric Opera of Chicago, La Monnaie, Santa Fe Opera, Houston Grand Opera, Washington National Opera, Dublin Grand Opera, Canadian Opera Company, Florida Grand Opera, Atlanta Opera, New Israeli Opera, the opera companies of Portland, Minnesota, Michigan, St. Louis, Utah, Edmonton and the opera festivals of Chautauqua, Wexford, Hong Kong, Wolf Trap, Glimmerglass and Spoleto. Engagements from recent seasons include Turandot with Opera Birmingham, Don Giovanni with the Arizona Opera, I Capuletti et I Montecchi and Il Barbiere di Siviglia with the Florentine Opera, Lucia di Lammermoor with Utah Symphony Orchestra & Opera, Roméo et Juliette with the Tampa Bay Performing Arts Center, La Traviata with El Paso Opera, and with the Metropolitan Opera for productions of War and Peace, The Gambler and Macbeth. In concert, recent engagements include Verdi’s Requiem with the Orlando Philharmonic Orchestra and at the National Cathedral in Washington, Beethoven’s Symphony No. 9 with the Huntsville Symphony Orchestra, Indianapolis Symphony Orchestra, Kansas City Symphony and with the Japan Symphony Orchestra, Mozart’s Mass in C Minor with the Huntsville Symphony Orchestra, Mozart’s Requiem in Vienna, Munich, Budapest and Prague with the Dallas Symphony Chorus, and the bass soloist in Dvořák’s Stabat Mater with the

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Montreal Symphony Orchestra. Widely acclaimed in symphonic works, Mr Link often performs The Creation, St. Matthew Passion (BWV 244), Missa Solemnis, the Requiem Masses of Verdi, Mozart and Fauré, Bach’s Mass in B Minor (BWV 232), Beethoven’s Symphony No. 9 and many other works with symphony orchestras of Chicago, Montreal, Tokyo, Baltimore, Saint Louis, Atlanta, Minneapolis, Indianapolis, Charleston, Phoenix, Jacksonville, Aspen, San Antonio, Milwaukee, Philadelphia Orchestra, Florida Philharmonic Orchestra, and Israel Philharmonic Orchestra.

© Andrzej Białko

Andrzej Białko

Born in Cracow in 1959, Białko studied piano at the Secondary Music School. In 1973, he began learning to play the organ, first privately and then at the Academy of Music in Cracow under the supervision of Professor Joachim Grubich. In 1981 he received the first prize in the International Organ Competition in Rome, Italy. In 1985, he was awarded first prize in the National Organ Competition in Bydgoszcz-Gdańsk. Białko has taken part in many Polish organ festivals and has also performed in Austria, Bulgaria, Croatia, Czech Republic, Denmark, Finland, France, Germany, Hungary, Iceland, Italy, Slovakia, Switzerland, Sweden, Ukraine, United Kingdom, Lebanon, and in both North and South America.

He collaborates with numerous music ensembles including Cracow Philharmonic and Warsaw Philharmonic Orchestra. Audiences in Cracow remember his unforgettable performances of complete organ works of Johann Sebastian Bach in the season 1990/1991 and in the Jubilee Year 2000. He also presented an anthology of organ music from the 16th to the 20th centuries in a series of 20 concerts under the common title Ars organi (2001–2002). In 2006 he was awarded a Gloria Artis Silver Medal by the Polish Ministry of Culture and National Heritage. In his diverse and ever-expanding repertoire, embracing all styles, the artist has also performed the complete organ works of Dietrich Buxtehude, Nicolaus Bruhns, Felix Mendelssohn-Bartholdy, César Franck, Franz Liszt and Johannes Brahms. Several of his recordings have become a precious contribution to the archive of Polish Radio Channel Two. He also recorded 20 CDs. He is professor and academic teacher at the

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Organ Department of the Academy of Music in Cracow and the Władysław Żeleński State School of Music in Cracow.

© Paderewski Symphony Chorus

Paderewski Symphony Chorus

Founded in January 2000, the Choir of the Paderewski Symphony Orchestra (PaSO) debuted at Chicago’s Orchestra Hall at Symphony Center with a performance of the hymn Hej! Orle Biały (Hey! White Eagle) written by Ignacy Jan Paderewski. Composed of seasoned choral musicians and vocal music enthusiasts mostly from within the Polish-American community, the Choir is an integral part of PaSO. Its mission is to promote Polish choral music throughout Chicagoland and to inspire music lovers to participate in choral singing. For 14 years its members have been mastering their vocal skills and performing under the great leadership of Jadwiga Achimowicz-Niesiołowska – a Polish-born pianist, choirmaster and vocal coach. Since 2014 the Choir has worked under the expert tutelage of American pianist and choir master Luciano Laurentiu.

To date, the choir has performed more than 100 concerts with the Paderewski Symphony Orchestra under the baton of its conductor and music director Wojciech Niewrzoł, singing music of various time periods, styles and genres: from the Renaissance to modern, from sacred to secular, from oratorio to pop. Twice a year this one-of-a-kind group invites Chicago audience to its own choral concerts. It performs in Chicago area churches and concert halls, including the Orchestra Hall at Symphony Center, the Rosemont Theatre, Harris Theatre, Millennium Park and the Copernicus Center. Highlights of past seasons include Harnasie (The Highland Robbers) by Karol Szymanowski, Angelus and Exodus by Wojciech Kilar, Messiah by Handel, Mass in F Major by Michał Poniatowski, Litany of Ostra Brama by Stanisław Moniuszko, the oratorio The Lord

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Calls to Us by Włodzimierz Korcz, the oratorio Tu es Petrus by Piotr Rubik, and the Haunted Manor opera by Stanisław Moniuszko. The Choir has also performed a large selection of excerpts from various operas, operettas and musicals, as well as popular and artistic songs.

Very popular among all generations of Polish-American audience are “sing-along concerts” of Polish Christmas carols as well as concerts of Polish patriotic and popular songs Nasze piosenki, performed traditionally during the Labour Day weekend, as part of the Festival “Taste of Polonia” at the Copernicus Center.

© Chicago Philharmonic

Chicago Philharmonic

The Chicago Philharmonic Society is a collaboration of over 200 of the highest-level classical musicians performing in the Chicago metropolitan area. Founded 26 years ago by principal musicians from the Lyric Opera Orchestra, the Society’s orchestra, known simply as the Chicago Philharmonic, has been called “one of the country’s finest symphonic orchestras” (Chicago Tribune). Governed under a ground-breaking structure of musician leadership, the Society presents symphonic concerts that cover the full spectrum of classical music, from Baroque to modern composers, and are performed in spectacular venues such as Pick-Staiger Concert Hall in Evanston, North Shore Center for the Performing Arts in Skokie and Harris Theater in downtown Chicago, as well as Lake Geneva in Wisconsin and Koch Hall in the Lincoln Center, New York City.

Since 2010, the Chicago Philharmonic Chamber Players series, which draws its unique chamber music ensembles from its vast pool of versatile musicians, has provided audiences with professional performances in easy-to-reach locations including City Winery and Jazz Showcase in downtown Chicago, and throughout Illinois and Wisconsin. Since its inception, the Society’s has engaged in a range of community outreach initiatives to connect Chicago-area youth to classical music and provide performance opportunities for members of the community. The Chicago Philharmonic currently serves as the official orchestra of the Joffrey Ballet, continues its decades-long association with the Ravinia Festival, and has performed at celebrated Chicago venues including Symphony Center, Auditorium Theater, and Chicago Theater. They have performed with artists as

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diverse as Joshua Bell, the Los Angeles Master Chorale, Lady Gaga, Tony Bennet and Johnny Mathis. Works performed have ranged from Mendelssohn’s Violin Concerto to Arlen’s The Wizard of Oz to premiering a new work by Augusta Read Thomas.

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© Karsten Bundgaard

11.11 4:00 p.m.

The Royal Danish Library Black Diamond 1 Søren Kierkegaards Square Copenhagen Det Kongelige Bibliotek Den Sorte Diamant Søren Kierkegaards Plads 1 København

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repertoire / repertoire

Krystyna Moszumańska-Nazar (1924–2008)

Agata Zubel (*1978)

String Quartet No. 3

What is the Word

Strygekvartet nr. 3

Hvad er ordet

1. Sensibile 2. Allegretto giocoso 3. Reflessivo 4. Allegro

The Alphabet of the Ars Brevis Ars Brevis’ alfabet

performers / de medvirkende

Paul Hillier (artistic direction / kunstnerisk ledelse)

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Theatre of Voices Else Torp (soprano / sopran) Signe Asmussen (soprano / sopran) Jakob Bloch Jespersen (bass-baritone / bas-baryton)

Witold Lutosławski (1913–1994)

Rafał Augustyn (*1951)

Five Folk Songs

Five Calligrams of Apollinaire

Fem folkemelodier 1. O, My Johnny / Åh, min kære Jan 2. Hey, I Come from Cracow / Jeg kommer kørende fra Kraków 3. The Grove / Lunden 4. The Gander / En gase 5. The Schoolmaster / Skolemesteren

Fem digte fra Appolinaires samling ”Calligrammes” 1. Voyage / Rejsen 2. Mutation / Mutationen 3. Photography / Fotografiet 4. Sight / Synet 5. Departure / Afrejsen

Smith Quartet

Isabella Hübener (flute / fløjte)

Ian Humphries (violin / violin) Rick Koster (violin / violin) Nic Pendlebury (viola / bratsch) Deidre Cooper (cello / cello)

Tanja Zapolski (piano / klaver)

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repertoire / repertoire

Grażyna Bacewicz (1909–1969)

Henryk Mikołaj Górecki (1933–2010)

Songs (a selection)

String Quartet No. 1 “Already It Is Dusk” Op. 62

Udvalgte sange 1. Loneliness / Ensomhed 2. Large Bell and Small Bells / Store og små klokker 3. Over the Big and Clear Waters / Ved det klare og dybe vand 4. I Have a Headache / Jeg har hovedpine

Stringkvartet nr. 1 ”Det er skumring allerede” op. 62

performers / de medvirkende

Paul Hillier (artistic direction / kunstnerisk ledelse)

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Theatre of Voices Else Torp (soprano / sopran) Signe Asmussen (soprano / sopran) Jakob Bloch Jespersen (bass-baritone / bas-baryton)

Smith Quartet

Isabella Hßbener (flute / fløjte)

Ian Humphries (violin / violin) Rick Koster (violin / violin) Nic Pendlebury (viola / bratsch) Deidre Cooper (cello / cello)

Tanja Zapolski (piano / klaver)

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commentary

translation

Joanna Miklaszewska

Tomasz Zymer

Born in Lwów (now Lviv), Krystyna Moszumańska-Nazar was hailed as the First Lady of Polish contemporary music. Associated for many years with Cracow’s music circles, where she held the post of professor at the Academy of Music, she wrote orchestral, chamber, solo music, as well as songs. Her œuvre is often divided into three periods: neo-Classical, experimental-sonoristic and the time of synthesis. String Quartet No. 3 (1995) belongs to this last stage, the years 1973–2008, when the composer combined her earlier experiences into a whole. Composed of four movements: Sensibile, Allegretto giocoso, Reflessivo and Allegro, it shows the individual qualities of her style. It is narrative music with an internal musical drama.

Pensive contrapuntal string playing transforms into stormy culminations accompanied by complex rhythmic phenomena, by dynamics building up and textures varying in character and density. Echoes of sonorism

can be heard in the quartet’s sound colours, in the diversity of coloristic shades achieved, among others, by contrasting pizzicato with arco articulations and by playing certain tones as fast as possible, which creates an original, “quivering” type of sound.

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The concert programme also includes two pieces by Agata Zubel, a contemporary Polish composer and singer: What is the Word and The Alphabet of the Ars Brevis.

These are very recent works, composed in the current decade.

The artist has won international recognition not only for her original music, but also for her performances of new music worldwide. What is the Word to words by Samuel Beckett for voice, flute, cello and piano (2012) is a composition that exploits new extended vocal techniques: not only song, but also spoken sounds, sounds with much air flow, as well as Sprechgesang.

The light and transparent texture of

the instrumental accompaniment is combined with a rich palette of colours. The composer applies varied articulations, different for each type of instruments, for instance whistle tones in the flute part, pizzicato à la Bartók in the violin and cello. The way of setting the verbal text to music is also original, since individual words and phrases have been assigned to corresponding musical motifs.

The Alphabet of the Ars Brevis (2016) for two male voices also takes advantage of many vocal techniques: singing (including vocalise), near-song recitation, various types of speech and the sound of breathing.

The text consists of single phrases or words, some related in meaning, but also word play and rhetorical figures. Of fundamental importance are the sound colours of the sung or spoken words. The brilliant twopart polyphony of male voices, sparkling with musical humour at times, is enclosed in a fourminute formal framework.

Next in the programme come Witold Lutosławski’s Five Folk Melodies. In 1945 the composer, now considered as a 20th-century classic, arranged 12 Polish folk tunes. His purpose in writing the cycle he entitled Folk Melodies was to introduce the youngest audience to contemporary music.

The pieces have more than an educational value, however, and the composer himself confirmed this by arranging five of them in 1952 for orchestra. The cycle belongs to the early neo-Classical period in his œuvre. The miniatures combine in a masterly fashion the idiom of a folk dance with innovative musical language. These five stylisations of folk melodies from different parts of Poland are: No. 1 O, My Johnny (from the Łowicz region); No. 2 Hey, I Come from Cracow (a cracovienne – a Polish dance in duple time from the Cracow area, with characteristic syncopated rhythms); No. 3 The Grove; No. 4 The Gander and No. 5 The Schoolmaster – stylised Silesian dances.

Cinq calligrammes d’Apollinaire (Five calligrams of Apollinaire) for soprano and piano of 1990 is a cycle written by Rafał Augustyn, a contemporary Polish composer whose works have been performed and acclaimed both at home and abroad. Calligramme is a term introduced by the French poet

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Guillaume Apollinaire to describe a poem written in a meaningful graphic shape. The five songs in Augustyn’s cycle are contrasted in terms of tempi, sound colours and technique. What they have in common is the syllabic treatment of the text and the emphasis on sound colour in the piano accompaniment.

There follow songs by Grażyna Bacewicz, whose individual musical language was rooted in musical neo-Classicism and combined inspirations derived from music of the past with innovative harmonies, rhythms and textures. Lyrical vocal chamber music (16 songs for voice and piano) occupies an important place in her œuvre, along with symphonies, violin concertos, solo and chamber instrumental works, cantatas and ballets. In her songs she set very different texts, from Oriental poetry (medieval Arabic poems and works by Rabindranath Tagore) in her early period, to Polish poets (Konstanty Ildefons Gałczyński, Władysław Broniewski, Adam Mickiewicz) who dominated in her music from the 1940s, to folk songs and her own writings. The piano part in her songs is particularly elaborate and rich in varied colours.

Henryk Mikołaj Górecki’s Already It Is Dusk. Music for String Quartet Op. 62 (1988), which the composer also referred to as his String Quartet

No. 1, was commissioned by Doris and Myron Beigler and the Lincoln Center for the Performing Arts for performance by Kronos Quartet, to which Górecki dedicated his piece, and which premiered it in 1989 in Minneapolis. This one-movement quartet is a model example of the composer’s unique individual style, a marriage of tradition and modernity astonishing the audience with the power of musical contrasts. After Chorale in the Form of a Canon and Old Polish Music, it is Górecki’s third composition to quote the motet Already It Is Dusk by the Polish Renaissance composer Wacław of Szamotuły.

He used the canon technique to set the tenor melody of this motet.

The first section, in a slow tempo, strongly contrasts reflective poetic contrapuntal structures performed in pp and ppp dynamics with sharp repeated harmonies and combinations of harmonies in fff. The second section, Allegro, opens with motifs and harmonies in the 1st and 2nd violins (ff), against whose background we hear a viola melody doubled by the cello. The string ensemble sound resembles that of Tatra highland bands, but also features an innovative technique of repetition of motifs and harmonies. The third section brings a return to progressions remembered from the first part, gentle in expression and making use of the contrapuntal technique.

kommentar

oversættelse

Joanna Miklaszewska

Eva Maria Jensen

Krystyna Moszumanska-Nazar, der blev født i den polske kulturby Lwów (i dag Lviv, Ukraine), kaldtes ofte for ”den polske moderne musiks Første Dame”.

Hun var en del af Krakóws musikmiljø, hvor hun var professor i komposition ved Musik Akademiet. Moszumanska-Nazar har komponeret orkesterværker, kammermusikværker, værker for solo instrumenter og sange.

Man kan dele hendes værker i tre perioder: den første, den neoklassiske, den anden – den sonoristiske, eller eksperimentale og den sidste, den syntetiske periode. Strygekvartet nr. 3 (1995) hører i den sidste periode, der varede fra 1973 til 2008, hvor man kan tale om en syntese af alle hendes tidligere komponisterfaringer. Værket består af fire satser: Sensibile, Allegretto giocoso, Reflessivo og Allegro, og viser komponistens særegne kompositoriske træk.

Der er tale om en narrativ musik

med tydelige dramatiske forløb.

De eftertænksomme, rige på kontrapunkt klange, erstattes af voldsomme kulminationer, ledsaget af komplicerede rytmeforløb, som kendetegnes af større dynamik og en tættere musikalsk struktur. Man kan tydeligt spore ekkoerne fra den sonoristiske periode, mest mærkbart i værkets melodiske lag, hvor man kan skelne mellem mange forskellige farvenuancer, f.eks. den hyppige kontrast mellem arco og pizzicato, samt de urolige lag af toner, der skal spilles ”så hurtigt som muligt”.

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Koncertens næste programpunkt er to kompositioner: What is the Word (Hvad er ordet) og The Alphabet of the Ars Brevis (Ars Brevis’ alfabet) af den unge komponist og sanger, Agata Zubel, Det er forholdsvist nye værker, skrevet i løbet af de sidste 10 år. Agata Zubel er en international kendt komponist

og performer. Hendes værker er dybt originale. What is the Word (2012) til tekst af Samuel Beckett, er skrevet for sang, fløjte, violin, cello og klaver. Her møder man mange nye sangteknikker; udover sang findes her talte partier, partier sunget med luft på stemmen samt Sprechgesang.

Akkompagnementet er let og gennemsigtig, rig på farvenuancer.

Komponisten har brugt forskellig artikulation til de forskellige instrumentale partier, f.eks. whistle tones i fløjteparti, pizzicato à la Bartók i violin- og celloparti.

Også den måde teksten behandles på er dybt original – de enkelte fraser og ord knyttes til forskellige musikalske motiver. The Alphabet of the Ars Brevis (2016) er skrevet for to herrestemmer. Også her benytter komponisten sig af forskellige sangteknikker: sang (også som vokalise), melodisk recitation, forskellig slags tale og forskelligartet vejrtrækning.

I teksten bindes forskellige ord og

vendinger til betydningsbærende enheder, der findes også ordspil og retoriske figurer. Vigtigst er dog lydsiden af de sungne eller talte ord. Her er der tale om funklende polyfoni af de to herrestemmer, med anstrøg af musikalsk humor, alt sammen inden for et kort, kun 4-minutters lange værk.

Næste værk på programmet er Fem folkemelodier af Witold Lutosławski, den polske komponist, som anses for en af 1900-tallets klassikere.

Lutosławski skrev de 12 små klaverstykker, bearbejdelser af polske Folkemelodier, i 1945.

De var beregnet for børn og var tænkt som en slags indføring i den moderne musik. Stykkerne havde dog mere end pædagogisk sigte og i 1952 bearbejdede komponisten stykkerne for orkestret. Fem folkemelodier hører til komponistens første skaberperiode. Her forbinder komponisten på mesterlig vis folkemusikkens danseelementer med moderne musiks elementer.

De enkelte satsers udgangspunkt er folkesange fra forskellige regioner af Polen: nr. 1 Ach, mój Jasieńko (Åh, min kære Jan) stammer fra midt Polen, nr. 2 Hej, od Krakowa jadę (Jeg kommer kørende fra Kraków) er en krakowiak (en dans fra Kraków region), med todelt metrum og hyppig synkopering,

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mens nr. 3 Gaik (Lunden), nr. 4 Gąsior (En gase) og nr. 5 Rektor (Skolemesteren) er en stilisering af danse fra Schlesien.

Cinq calligrammes d’Apollinaire (Fem digte fra Appolinaires samling ”Calligrammes”) for sopran og klaver fra 1990, er en sangcyklus af ung polsk komponist, Rafał Augustyn, hvis værker spilles og værdsættes højt både i Polen og i udlandet. ”Calligram” er den franske digters Guillaume Apollinaires betegnelse for et digt, hvis mening understreges af dets grafiske form. De enkelte sange i cyklussen Cinq calligrammes d’Apollinaire står i kontrast til hinanden, både hvad angå tempo, farve og kompositionsteknik, fælles er de dog om den måde teksten behandles på, nemlig som enkelte stavelser. I klaverpartiet spiller farvenuancerne den vigtigste rolle.

Det næste programpunkt er Grażyna Bacewicz’ sange.

Komponisten er kendt for sit meget originale tonesprog, med udgangspunktet i neoklassicismen, men med benyttelsen af både gamle og nye kompositionsteknikker. De 16 sange med klaverledsagelse er en vigtig del af Bacewicz’ efterladenskab, der tæller symfonier, violinkoncerter, kammermusik, musik for

solo instrumenter, kantater og balletmusik. Komponisten benytter sig af meget forskellige tekster i sine sange, fra middelalderligt arabisk lyrik og digte af Rabindranath Tagore i de tidligste sange, til tekster af de polske digtere: Konstanty Ildefons Gałczyński, Władysław Broniewski og Adam Mickiewicz, tekster hentet fra folkesange, samt tekster skrevet af komponisten selv. Det mest raffinerede element i Bacewicz’ sange er klaverpartiet, som altid er rig på farvenuancer.

Henryk Mikołaj Górecki kaldte værket „Już się zmierzcha” (Det er skumring allerede), musik for strygekvartet op. 62 (1988), for sin 1. strygekvartet. Værket blev bestilt af Doris og Myron Beigler samt Lincoln Center for the Performing Arts for Kronos Kvartetten, og uropførtes i Minneapolis i 1989. Góreckis kvartet, der kun består af en sats, kan ses som typisk eksempel for hans originale, enestående musikstil, som befinder sig i grænseområdet mellem tradition og modernitet, og som forbavser tilhøreren med voldsomheden af de musikalske kontraster. Det er tredje gang – efter Chorał w formie kanonu (En koral i form af en kanon) og Muzyce staropolskiej (Gammelpolsk musik) – at Górecki bruger et musikcitat fra renæssancekomponisten,

Wacław fra Szamotułys, motet Już się zmierzcha (Det er skumring allerede). Górecki bearbejder motettens tenormelodi ved brug af kanonteknik. Den første del af værket, i langsomt tempo, viser stærke kontraster mellem de partier, der er fyldt med poetisk eftertænksomhed, og som bearbejdes kanonisk i meget lav dynamik, og de meget skarpe, gentagne akkordstrukturer spillet forte fortissimo. Den anden del af værket, allegro, begynder med gentagne klange i 1. og 2. violin spillet fortissimo, og på den baggrund træder en melodi i bratsch og cello frem. Sådan, som ensemblet lyder her, minder det om folkemusikensembler fra Tatra-bjergene. Samtidigt er der her tale om moderne teknik, som består af mange gentagelser af de samme toner og klange.

Kvartettens tredje del viser lignende forløb, som vi har stiftet bekendtskab med i den første del, den er blid i karakter og også her bruges der kanonteknik.

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Paul Hillier

Paul Hillier is from Dorset in England and studied at the Guildhall School of Music and Drama in London. His career has embraced singing, conducting, and writing about music. Earlier in his career in 1990 he was founding director of the Hilliard Ensemble, and subsequently founded Theatre of Voices. He has taught in the USA at the University of California campuses at Santa Cruz and Davis, and in 1996–2003 was director of the Early Music Institute at Indiana University. He was principal conductor of the Estonian Philharmonic Chamber Choir (2001–2007) and has been chief conductor of Ars Nova Copenhagen since 2003. His recordings, over a hundred and fifty CDs including seven solo recitals, have earned worldwide acclaim and won numerous prizes. His books about Arvo Pärt and Steve Reich, together with numerous anthologies of choral music, have been published by Oxford University Press. In 2006 he was awarded an Order of the British Empire for services to choral music.

In 2007 he received the Order of the White Star of Estonia, and was awarded a Grammy for Best Choral Recording with Estonian Philharmonic Chamber Choir. He received another Grammy Award for the David Lang CD The Little Match Girl Passion with Theatre of Voices and Ars Nova Copenhagen. In 2008 he became chief conductor of Chamber Choir Ireland and was appointed artistic director of the Coro Casa da Música in Porto. During 2009/2010 he was artist-in-residence at Yale University’s Institute for Sacred Music, did the Springfield Music Lecture at Rhodes College, Memphis, and performed in New York at Bang on a Can Marathon, at Lincoln Centre, at Royal Opera in Copenhagen, Barbican Centre

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in London, and at Perth International Arts Festival in Australia. Paul Hillier has conducted a large number of leading ensembles and choirs in Europe and has collaborated closely with the Kronos Quartet, London Sinfonietta, Peter Sellars, Bobbie McFarren, Tim Rushton and Richard Alston. In 2013 he was awarded the Ridder af Dannebrog (Knight of the Order of Dannebrog) – by Her Majesty the Queen of Denmark.

© Magnus Skrede

Paul Hillier

Paul Hillier er født i Dorset, England. Han studerede på Guildhall School of Music and Drama i London og har markeret sig som både sanger, dirigent, forfatter samt grundlægger af og kunstnerisk leder for de internationalt anerkendte grupper Hilliard Ensemble og Theatre of Voices. Hillier underviste en årrække i USA ved University of California Santa Cruz og Davis, og var fra 1996–2003 leder af Early Music Institute på Indiana University. Senere var han chefdirigent for både det Estonian Philharmonic Chamber Choir (2001–2007) og for Ars Nova Copenhagen. Hans over 150 indspilninger, herunder syv soloalbums, har høstet international anerkendelse og vundet et utal af priser. Hans bøger om Arvo Pärt og Steve Reich udgives af Oxford University Press sammen med en række musikantologier. I 2006 blev Paul Hillier af den engelske dronning tildelt en OBE for sin indsats for kormusik. I 2007 modtog han den Estiske orden Den Hvide Stjerne, og samme år fik han en Grammy Award for David Lang cd’en The Little Match Girl Passion med Theatre of Voices og Ars Nova Copenhagen. I 2008 blev han udnævnt til chefdirigent for Chamber Choir Ireland og kunstnerisk leder af Coro Casa da Música i Porto. I 2009/2010 var han ‘artist in residence’ ved Yale Universitets Institut for Sacred Music, underviste på Rhodes College, Memphis, og optrådte bl.a. på Bang on a Can Marathon samt i Lincoln Center i New York, Operaen i København, Barbican Center i London, og på Perth International Arts Festival i Australien. Paul Hillier har dirigeret et stort antal orkestre, førende ensembler og kor i Europa og har arbejdet tæt sammen med Kronos Quartet, London Sinfonietta, og med kunstnerne som Peter Sellars,

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Bobbie McFarren, Tim Rushton og Richard Alston. I 2013 blev han slået til Ridder af Dannebrog.

Theatre of Voices

Theatre of Voices was founded in California by Paul Hillier, but is now based in Denmark. Current projects include music ranging from Perotinus to Dowland, Carissimi, Buxtehude and Bach, and many of today’s most eminent composers such as Berio, Pärt, Reich, Cage, Pelle Gudmundsen-Holmgreen, and Stockhausen. Theatre of Voices works and records with some of the world’s best instrumentalists, including London Sinfonietta and Kronos Quartet, and has performed regularly at Edinburgh Festival, Barbican Centre and Carnegie Hall – with sold out concerts. 2008 included the opening of Berliner Festspiele with Stockhausen’s Stimmung at the composer’s own request, along with a performance at BBC Proms. The past few years have included tours to Hong Kong, Australia, Sweden, UK, Mexico, the US, Italy, France, Poland, Belgium, Germany, Portugal, Luxemburg, and Holland. The group’s most recent CDs include Stockhausen’s Stimmung, David Lang’s The Little Match Girl Passion, Stories (with music of Berio, Berberian, Cage, Marsh, Mac Low, Frank), The Christmas Story, and Arvo Pärt’s Creator Spiritus all on Harmonia Mundi, USA. On Dacapo-Records, Theatre of Voices released Buxtehude’s Scandinavian Cantatas in 2015 as the first of a series of five CDs. The latest is In Dulci Jubilo – chosen for BBC Music Magazine’s 2017 Christmas favourites. Theatre of Voices received a Grammy Award for The Little Match Girl Passion in 2010 – the year of the group’s 20th anniversary. In 2013 Theatre of Voices was nominated for the Nordic Council Music Prize, and in 2014, My Heart’s in the Highlands from Theatre of Voices’ Pärt CD Creator Spiritus was used in Oscar-winning Italian movie La Grande

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Bellezza by Paolo Sorrentino. The same track was featured in Mojo Magazine, selected by Nick Cave and the Bad Seeds as one of their favourites. The ensemble offers workshops and has worked on film projects – with for example Danish documentarist Phie Amboe and Oscar-nominated Icelandic composer Jóhann Jóhannsson.

Sponsored by The Danish Arts Council and Augustinus Foundation.

© Lars Bjarnö

Theatre of Voices

Theatre of Voices blev grundlagt i Californien af Paul Hillier, men har nu hjemsted i Danmark. Aktuelle projekter omfatter musik fra Perotin til Dowland, Carissimi, Buxtehude og Bach, og mange af nutidens mest fremtrædende komponister som Berio, Pärt, Reich, Cage, Pelle Gudmundsen-Holmgreen og Stockhausen. Theatre of Voices samarbejder med nogle af verdens bedste ensembler, herunder London Sinfonietta og Kronos Quartet, og har regelmæssigt optrådt på Edinburgh Festival, Barbican Center og Carnegie Hall – med udsolgte koncerter. I 2008 åbnede koret Berliner Festspiele med Stockhausens Stimmung på komponistens direkte anmodning, og senere opførte de det samme værk på BBC Proms. De seneste år har de optrådt i Hong Kong, Australien, Sverige, Storbritannien, Mexico, USA, Italien, Frankrig, Polen, Belgien, Tyskland, Portugal, Luxemburg og Holland. Gruppens seneste cd’er tæller Stockhausens Stimmung, David Langs Little Match Girl Passion, Beretninger (Berio, Cage, Berberian), The Christmas Story og Creator Spiritus (Arvo Pärt) – alle på Harmonia Mundi, USA. På Dacapo Records i Danmark udgav Theatre of Voices i 2015 Buxtehudes Skandinaviske Kantater, den første i en serie på fem cd’er. Den seneste i serien, In Dulci Jubilo – blev i 2017 valgt som BBC Music Magazines Christmas Favorites.

Theater of Voices vandt en Grammy Award for The Little Match Girl Passion i 2010, det år koret kunne fejre sit 20 års jubilæum. I 2013 blev Theatre of Voices nomineret til Nordisk Råds musikpris, og i 2014 blev My Hearts in the Highlands fra Theatre of Voices’ Pärt CD Creator Spiritus brugt i den Oscar-vindende italienske film La Grande Bellezza af Paolo Sorrentino. Ensemblet tilbyder workshops

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og arbejder med filmprojekter – bl.a. med dansk dokumentarfilm instruktør Phie Amboe og Oscar-nomineret islandske komponist Jóhann Jóhannsson. Ensemblet er sponsoreret af Dansk Kunstråd og Augustinusstiftelsen.

Smith Quartet

Now into its third decade, the Smith Quartet remains at the leading edge of the new music world. A champion of the works of the world’s most celebrated composers, commissioning over 200 new pieces with recent works from Michael Nyman, Kevin Volans, Joe Cutler, Donnacha Dennehy, Tunde Jegede, Gabriel Prokofiev, and the late Jon Lord. The group has not only collaborated with eminent classical musicians such as Burgess, pianist John Tilbury and guitarist David Tanenbaum but also with a diverse array of artists from other disciplines including rock group Pulp, Malian singer Rokia Traoré, jazz musicians John Taylor and Django Bates and dance companies Shobana Jeyasingh, Siobhan Davies and Ultima Vez. In 2005 they were featured in the BBC’s The Culture Show in discussion with Steve Reich and in the BAFTA and Emmy award-winning BBC documentary film Holocaust: A Music Memorial Film from Auschwitz, performing Reich’s Different Trains. Filmed on location, the film marked the 60th anniversary of the liberation of Auschwitz. The quartet’s touring schedule has taken them around the world appearing in many prestigious festivals including: Huddersfield Contemporary Music Festival, Vancouver Festival, Düsseldorf Festival, Cheltenham and Edinburgh Festivals, La Biennale di Venezia, Jauna Muzika Vilnius, Vale of Glamorgan, the Flanders Festival Brussels and New York’s Bang on a Can Festival. As Associate Artists at St John’s Smith Square London they featured all the works of Michael Nyman and Philip Glass, as well as iconic British composers including Gavin Bryars, Steve Martland and Howard Skempton. The quartet has regularly recorded for the BBC and enjoyed an ongoing relationship

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with Signum Classics. Albums on the Signum label include Steve Reich’s Different Trains and the complete Philip Glass quartets which led Classic FM magazine to ask “How long before the Kronos is labelled the ‘American Smith Quartet’? …they are ahead of the curve at generating new repertoire and taking the experimental back catalogue seriously.”

© Hugo Glendinning

Smith Quartet

Smith Quartet er på tredje årti en af den nye musiks stærkeste repræsentanter med over 200 bestillinger hos verdens mest markante komponister som Michael Nyman, Kevin Volans, Joe Cutler, Donnacha Dennehy, Tunde Jegede, Gabriel Prokofiev og Jon Lord. Kvartetten har ikke alene samarbejdet med fremtrædende klassiske musikere som trommespilleren Paul Burgess, pianisten John Tilbury og guitaristen David Tanenbaum, men også med en bred vifte rytmiske musikere, som for eksempel rockgruppen Pulp, sangeren Rokia Traoré (Mali), jazzmusikerne John Taylor og Django Bates, og dansegrupperne Shobana Jeyasingh, Siobhan Davies og Ultima Vez. I 2005 spillede kvartetten i BBC’s The Culture Show og optrådte i den BAFTA og Emmy prisbelønnede BBC-dokumentarfilm Holocaust – en mindekoncert fra Auschwitz, hvor Reichs Different Trains blev opført i anledning af 60-årsdagen for befrielsen af Auschwitz. Kvartettens koncertrejser har ført dem vidt omkring: Huddersfield Contemporary Music Festival, Vancouver Festival, Düsseldorf Festival, Cheltenham og Edinburgh Festivaler, La Biennale di Venezia, Jauna Muzika Vilnius, Vale of Glamorgan, Flandern Festival Bruxelles og New Yorks Bang on a Can Festival. Smith Quartet spillede alle Michael Nymans og Philip Glass’ strygekvartetter, de har også opført værker af ikoniske britiske komponister som Gavin Bryars, Steve Martland og Howard Skempton. Kvartetten har regelmæssigt indspillet for BBC og har haft et løbende samarbejde med Signum Classics. Indspilningen af Steve Reichs Different Trains og de komplette Philip Glass-kvartetter, fik Classic FM Magazine til at spørge: ”Hvor lang tid skal der gå før

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Kronos kvartet bliver kaldt ’the American Smith Quartet’? ...de er konstant på forkant med udviklingen ved at generere nyt repertoire og samtidig tage det eksperimentelle alvorligt”.

11.11 7:00 p.m.

Dr. Hoch’s Conservatory Clara Schumann Hall Sonnemannstraße 16 Frankfurt Dr. Hoch’s Konservatorium Clara Schumann Saal Sonnemannstraße 16 Frankfurt

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© Dr. Hoch’s Conservatory

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repertoire / repertoire

Krzysztof Meyer (*1943)

Dariusz Przybylski (*1984)

Glittering Music Op. 108

I Was, I Am, But I Will Never Be Again

Glitzernde Musik op. 108

Ich war, ich bin, aber ich werde nie wieder sein*

performers / ausfĂźhrende

Sava Stoianov (trumpet / Trompete) Michael Wendeberg (conductor / Dirigent) Ensemble Modern

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* World Premiere / Weltpremiere

Witold Lutosławski (1913–1994)

Jagoda Szmytka (*1982)

Chain 1

electrified memories of bloody cherries

Kette 1

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elektrifizierte Erinnerungen an blutige Kirschen

repertoire / repertoire

Paweł Mykietyn (*1971)

3 for 13 3 für 13

performers / ausführende

Sava Stoianov (trumpet / Trompete) Michael Wendeberg (conductor / Dirigent) Ensemble Modern

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commentary

translation

Adam Suprynowicz

Tomasz Zymer

“In this composition, built in the manner of a chain, the music is separated into two streaks or bands, in either of which the sections begin and end at different points. In other words, the start of a section in one band falls in the middle of a section in the other.” This is how Witold Lutosławski explained the chain form, one of his fundamental discoveries, whose germs can be found already in his Concerto for Orchestra (1954), preceding the avant-garde breakthrough in Polish music that came after the political thaw of 1956. The metaphor of a chain can also aptly represent the essence of transformations in art, which are never violent, but always take time. While one trend still continues, another is already emerging. There is also a similar temporal overlap between the generations of composers whose works make up the programme of this concert. Lutosławski, whose artistic life started when modernity

was only beginning to develop in Polish music, late in his life came to be universally considered as the highest authority on musical matters. Krzysztof Meyer, who looked up to Lutosławski, transformed elements of the avantgarde and tradition into his own musical language. Paweł Mykietyn’s first spectacular success as a composer came in the year of Lutosławski’s death, while Jagoda Szmytka and Dariusz Przybylski represent a generation that is likely to build the future of Polish music.

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In his three Chains of 1983–1986, Lutosławski applied the chain technique for the first time to construct larger-scale forms.

He defied the long-standing convention of European music which sees a music work as a sequence of closed sections.

“Unsynchronised transition from one section to another […] is, in a way, formally refreshing,” he wrote. In the first of his Chains, for

chamber orchestra, 14 instruments perform autonomously, which makes the “chain form” clearly audible. The composer explained: “As the end of the piece draws near, the texture becomes more complex.

The individual parts, performed ad libitum, interact to form a network of melodies. These melodies ought to be played cantabile.” The culmination comes after a twelvenote chord, which is followed by the closing coda. Dedicated to London Sinfonietta, Chain I was premiered under the composer’s baton on 4th October 1983 in London. In his Lutosławski monograph, Andrzej Chłopecki comments that it was the composer’s ambition to “create a new system of melody that would answer to the needs to music at the end of the 20th century,” and that in this context Chain I can be seen as a nostalgic farewell to modernism.

Krzysztof Meyer, who represents the next generation of composers and who did not try to conceal

his fascination with Lutosławski, was educated when the Polish avant-garde was in its heyday, in the 1960s. He eagerly adopted the new discoveries and techniques, but did not apply any of them in an orthodox fashion. In 1971 he declared: “I enjoy the chance to use many techniques in my composition process. I don’t think there is any recent one that has not had any attraction to me.” Soon, however, he defined the limits of his interest in novelty, choosing to cultivate the classical forms of a symphony, an instrumental concerto, and string quartet, and developing his individual sound language and concept of internal composition structure within these limits. His Musique scintillante (Sparkling Music), commissioned by the Kempten International Chamber Music Festival, was premiered there on 16th September 2007. Like Lutosławski in his Chain I, Meyer wrote his piece for 14 virtuosi representing all the sections of the orchestra.

He thus described the structure of his piece in a commentary: “A brief intro precedes the main section, based on one motif consistently presented in all the instruments and registers.

The texture grows ever denser, and leads through a number of breakdowns to a culmination built on complex chords, which comes just before the end of the piece.”

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Krzysztof Meyer’s œuvre is far removed from the postmodernist game with the musical past, referred to by Polish critics as “surconventionalism” (by analogy to surrealism in graphic arts). The term was co-authored by the key representative of this aesthetic trend, Paweł Szymański, whose technique depends on clashing stylistic conventions of the past with a contemporary context. Paweł Mykietyn quotes Szymański in turn as his master and inspiration.

Mykietyn extended the range of musical references and values.

“On the one hand, I have always listened to classical music, been fascinated by Bach, Beethoven and Chopin, and on the other – by rock. During the day I played Weber’s Clarinet Concerto at music school, and in the afternoon – the bass guitar in a punk band,” he recalls. Of equal importance as “autonomous works” in Mykietyn’s œuvre is his music for films and the theatre. Experiences from both these spheres mutually influence each other. 3 for 13 (1994), a Polish Radio Channel Two commission, earned the young composer success at the International Rostrum of Composers in Paris.

It is based on a four-part fugue in Bach style, whose brief manifestations can be heard in this piece, and which is also encoded in its structure. In the first phase of 3 for 13 we can guess its presence;

it then gradually emerges from scattered motifs, while in the third section it undergoes gradual decomposition. The pivot of this tripartite work is the multi-coloured sound plane that rises in a kind of disturbing glissando and forms a counterbalance to the clear-cut dramatic action of the piece.

A quite different approach to the past is represented by Jagoda Szmytka in her electrified memories of bloody cherries.

Extended Landschaft von Musik, composed as part of the “Miłosz Sounds” programme for the Sacrum Profanum Festival in Cracow, where it was first performed in 2011 by Bang on a Can All-Stars.

The composer, working in Poland and Germany, draws mostly on the contemporary world, on the notions of “social composing”, references to pop culture and fusion of music with visual and performative arts, rooted in a conceptual foundation. When commissioned to write a piece inspired by the works of the eminent poetwriter Czesław Miłosz, Szmytka returned to Miłosz’s novel The Issa Valley and to images of Poland’s pre-war Eastern frontier, lost after World War II but still present in the memories of the displaced population. Szmytka translated those images into gestures, drawing a kind of emotional map. “Before composing electrified memories…

I created a sketch, a sort of action painting, that is – a direct translation of gesture into form.

Image is reflected in the gestures of the hand,” she explained in an interview for the “Ruch Muzyczny” magazine. She then converted this sketch into a score, interpreting the movements “in terms of volume, density, texture (porous, shiny, metallic), and light.”

A performance of this music is a recollection of the gestures that accompanied its composition.

Dariusz Przybylski, who composed his piece specially for today’s concert, represents, like Szmytka, the generation of the 1980s, but his output is rooted in the more traditional trend of composed music. What is important for him is the free choice of composition techniques, bringing to mind associations with the Baroque affects, Romantic emotionality, sonoristic sensitivity to instrumental colour, and the characteristic expression of minimalism. “My most recent piece for Ensemble Modern,” Przybylski writes, “is going to explore obsessive and hypnotic micro-polyphonic musical ideas.

I believe that repetition of motifs can best induce a state of hypnosis in the audience, which makes it possible to extend and tighten musical time, to manipulate the listeners’ emotions by means of

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unexpected micro-transformations of repeated cells of sound. The trumpet is the leading instrument in my piece. It has inspired me greatly with its dynamic possibilities and the wealth of colours available thanks to the use of many types of mutes. In this piece I also wish to focus on the use of pre-composed echo, which I have applied for some time.

Multi-layered music can become three-dimensional and spatially developed.” This composition, therefore, will also take us to the varied world of sound explorations.

kommentar

übersetzung

Adam Suprynowicz

Łukasz Barański

„In diesem kettenförmig aufgebauten Werk ist die Musik in zwei Schichten aufgeteilt. In jeder der Schichten beginnen und enden die einzelnen Abschnitte an verschiedenen Stellen. Mit anderen Worten, der Anfang des Abschnittes in einer Schicht fällt in zweiter Schicht auf die Mitte des Abschnittes“ – so erklärte Witold Lutosławski eine seiner grundlegenden Entdeckungen: die Kettenform. Die Ursprünge dieser Form finden sich bereits im Konzert für Orchester (1954), einer Komposition vor der Avantgarde-Wende in der polnischen Musik, die dem politischen Tauwetter des Jahres 1956 folgte. Die Metapher der Kette beschreibt die Essenz der Veränderungen in der Kunst, die niemals heftig folgen und immer in der Zeit passieren: das vorherige Motiv ertönt immer noch, und das nächste schon beginnt. So überschneiden sich in der Zeit die Generationen von Komponisten,

deren Werke dieses Konzert füllen.

Lutosławski, dessen künstlerisches Handeln bis in die Anfänge der Moderne in der polnischen Musik zurückreicht, galt am Ende seines Lebens als die höchste Autorität.

Krzysztof Meyer bezieht sich auf diese Autorität und verwandelt Elemente der Avantgarde und der Tradition in seine eigene Musik.

Paweł Mykietyn, dessen erster spektakulärer Kompositionserfolg im Todesjahr von Lutosławski lag. Schließlich Jagoda Szmytka und Dariusz Przybylski, zwei Vertreter der Generation, die die Zukunft der Musik bildet.

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In den drei Kompositionen, die in den Jahren 1983–1986 unter einem gemeinsamen Titel Chain (Kette) entstanden sind, hat Lutosławski zum ersten Mal seine Technik zur Bildung der längeren Form angewandt. Der Komponist wollte sich über die in der europäischen Kultur verwurzelte Konvention hinwegsetzen, in der das Werk eine

Reihe geschlossener Fragmente darstellt. „Der ungleichzeitige Übergang von einem Abschnitt zum anderen [...] gibt eine gewisse formale Auffrischung“ – schrieb er. In der ersten der für das Kammerorchester gestalteten Chains werden 14 Instrumente individuell behandelt, so dass „die Kettbarkeit“ deutlich hörbar ist. Wie der Komponist weiter sagte: „Wenn sich das Ende der Komposition nähert, wird die Faktur komplizierter. Einzelne Partien, ad libitum gespielt, werden zu einem Netzwerk von Melodien verflochten. Diese Melodien sollten cantabile aufgeführt werden“. Der Höhepunkt wird in einem Zwölftonakkord erreicht, nach dem das Werk die Coda schließt. Chain I war der Londoner Sinfonietta gewidmet, die sie am 4. Oktober 1983 unter der Leitung des Komponisten in London uraufführte. Andrzej Chłopecki bemerkt in der Monographie über Lutosławski, dass das damalige

Bestreben des Komponisten dahin ging, „eine neue, am Ende des zwanzigsten Jahrhunderts aktuelle Melodik zu schaffen“, und Chain I ist in diesem Zusammenhang ein nostalgischer Abschied von der Moderne. Der Vertreter der nächsten Künstlergeneration, Krzysztof Meyer, der von Lutosławski fasziniert ist, wurde in der Blütezeit der polnischen Avantgarde, in den 1960er Jahren ausgebildet. Gern erwarb er neue Entdeckungen und Kompositionsmethoden, aber an keine davon hielt er sich streng. Er erklärte im Jahre 1971: „Beim Komponieren amüsiert mich die Möglichkeit, verschiedene Techniken anzuwenden. Ich glaube nicht, dass es unter den neusten eine solche gibt, die mich überhaupt nicht interessiert“. Gleichzeitig definierte er schnell die Grenzen seines Interesses an der Neuheit und blieb bei den klassischen Formen einer Symphonie, eines Instrumentalkonzerts oder eines Streichquartetts. Seine individuelle Klangsprache und Konzepte der internen Struktur des Werkes entwickelte er gerade in diesem Rahmen. Musique scintillante (Funkelnde Musik) von Krzysztof Meyer entstand auf Bestellung des Internationalen Kammermusikfestivals in Kempten und wurde dort am 16.

September 2007 uraufgeführt. Wie

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Lutosławski in Chain I engagiert der Komponist vierzehn Virtuosen, die alle Orchestergruppen repräsentieren. Die Struktur des Werkes erklärt er im Kommentar: „Eine kurze Einführung geht dem Hauptteil voraus, der nur auf einem Motiv basiert und von allen Instrumenten und Registern konsequent durchgeführt wird.

Die immer dichtere Faktur führt nach ein paar Brüchen zum Höhepunkt, der durch komplexe Akkorde erzeugt wird, und kurz vor Ende des Werkes erfolgt“.

Krzysztof Meyers Schaffen ist vom postmodernistischen Spiel mit der Vergangenheit der Musik weit entfernt, das – durch Analogie mit dem Surrealismus in der Kunst – von polnischer Kritik als „Surkonventionalismus“ genannt wurde. Der Mitbegründer dieses Begriffs und der wichtigste Vertreter dieses ästhetischen Trends ist Paweł Szymański, dessen Kompositionsmethode darin besteht, die stilistische Konvention dem zeitgenössischen Kontext gegenüberzustellen.

Szymański wird von Paweł Mykietyn als sein Meister genannt, wobei er die Palette der musikalischen Referenzen und bevorzugten Werte erweitert. „Einerseits habe ich immer klassische Musik gehört, mich haben Bach, Beethoven und Chopin fasziniert, und andererseits hörte

ich Rock. Während des Tages habe ich Webers Klarinettenkonzert in der Musikschule gespielt, und nachmittags spielte ich Bass in einer Punkband“ – sagt er. In Mykietyns Werken ist Film- und Theatermusik ebenso wichtig wie die „autonomen Kompositionen“, und die Erfahrungen aus diesen Handlungsfeldern beeinflussen sich gegenseitig.

Das im Auftrag des Polnischen 2. Rundfunkprogramms 1994 geschriebene Werk 3 for 13 (3 für 13) brachte dem jungen Komponisten einen Erfolg auf der UNESCO Tribune Internationale des Compositeurs in Paris. Die Grundlage der Komposition ist eine vierstimmige Fuge im Bachstil, die im Werk in kleinen Blitzen auftaucht, die aber auch in seiner Struktur anwesend bleibt. In der ersten Phase von 3 for 13 können wir sie erraten, sie entspringt langsam den verstreuten Motiven, während sie in der dritten Phase allmählich zerstört wird. Im Zentrum der dreiteiligen Komposition steht eine mysteriöse, vielfarbige Klangfläche, die in ein verstörendes Glissando steigt, und ein Gegengewicht zur expressiven Wirkung des Musikstückes schafft.

Eine völlig andere Herangehensweise an die Vergangenheit zeigt sich in der Komposition von Jagoda Szmytka electrified memories of bloody cherries.

Extended Landschaft von Musik (elektrifizierte Erinnerungen an blutige Kirschen. Erweiterte Landschaft von Musik), geschrieben für das Sacrum Profanum Festival in Krakau im Rahmen des Programms „Miłosz Sounds“ und dort zum ersten Mal im Jahre 2011 von der Band Bang on a Can All-Stars aufgeführt. Die in Polen und Deutschland tätige Komponistin, bleibt in ihren Werken eher in der zeitgenössischen Realität verwurzelt, bezieht sich auf das „soziale Komponieren“, verweist auf die Popkultur und verbindet Musik mit visuellen und performativen Elementen, mit konzeptuellen Grundlagen. In Beantwortung des mit dem berühmten Dichter und Schriftsteller Czesław Miłosz verbundenen Auftrags kehrte Szmytka zum Roman Das Tal der Issa und zu den Vorstellungen der östlichen Grenzgebiete Polens zurück, die als Folge des Zweiten Weltkrieges verloren gingen, aber noch in den Erinnerungen der Generation der Aussiedler gegenwärtig sind. Sie studierte diese Ideen, wandelte sie in Gesten um und zeichnete eine Landkarte von Emotionen. „Bevor ich das Werk electrified memories… komponierte, machte ich eine Skizze, die etwas wie ein action painting war, was eine direkte Übersetzung der Geste in eine Form bedeutet. Das

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Bild reflektiert die Bewegung der Hand“ – gab sie in einem Interview für die Zeitschrift „Ruch Muzyczny“ zu. Diese Skizze änderte sie dann in eine Partitur und interpretierte sie „in Bezug auf Volumen, Dichte, Faktur (porös, glänzend, metallisch), Licht“. Die Darbietung des Stücks ist daher ein Verweis auf die Gesten, die sein Schreiben begleiten.

Dariusz Przybylski, der das Stück speziell für das heutige Konzert komponierte, repräsentiert wie Szmytka die Generation der 80er Jahre. Sein Schaffen bleibt jedoch mit mehr traditionellerer Strömung der komponierten Musik verbunden. Für diesen Künstler ist die freie Wahl der kompositorischen Techniken wichtig, die den Zuhörer auf Assoziationen zu barockem Affekt, romantischer Emotionalität, sonoristischer Sensibilität für Instrumentalfarben oder einem spezifischen Ausdruck des Minimalismus verweist. „Das neueste Werk für das Ensemble Modern“ – schreibt Przybylski – „erforscht die obsessiven und hypnotischen mikropolyphonischen Musikideen. Es scheint mir, dass die Wiederholung des Motivs die beste Lösung ist, um den Zuhörer in den Zustand der Hypnose einzuführen; dann ist es möglich, die Zeit zu dehnen

und zu stauchen, die Emotionen des Hörers durch unerwartete Mikroveränderungen in der Struktur wiederholter Klangzellen zu manipulieren. Das führende Instrument wird in diesem Stück die Trompete sein, die mich mit ihren sehr umfangreichen dynamischen Fähigkeiten und auch – dank der Verwendung von zahlreichen Schalldämpfern – mit dem Reichtum der Farben inspiriert. In diesem Werk möchte ich mich auch auf die Verwendung des komponierten Nachhalls konzentrieren, den ich schon seit einiger Zeit verwende. Die Mehrschichtigkeit der Musik bewirkt ihre Dreidimensionalität und Räumlichkeit“. Daher kann man auch in dieser Komposition eine Vielzahl von klanglichen Erforschungen erwarten.

Michael Wendeberg

Classical repertoire – from Bach to Schönberg – comes just as naturally to Michael Wendeberg as his passion for new music.

Since 2011 he has held the musical directorship of the Ensemble Contrechamps in Geneva; in 2016 he also took up the position of “Erste Kapellmeister” with the Halle Opera House. Michael Wendeberg has conducted renowned orchestras and ensembles including the Staatskapelle Berlin, the Junge Deutsche Philharmonie, the Slovenian Philharmonic Orchestra of Ljubljana, Klangforum Wien, Remix Ensemble Porto, Ensemble Musikfabrik and the Basel Sinfonietta. He has made guest appearances at the Lucerne Festival, Munich Biennale, Bregenz Festival, Venice Biennale, ECLAT-Festival in Stuttgart and Klangspuren Schwaz, as well as at Wien Modern.

He recently made his debut with the WDR Symphony Orchestra, the Ensemble Modern, the Mahler Chamber Orchestra at the Beethovenfest Bonn and the Berlin Radio Symphony Orchestra at the Kölner Philharmonie. His opera repertoire includes Bizet’s Carmen; Britten’s A Midsummer Night’s Dream; Handel’s Orlando; Mozart’s Zaide and La clemenza di Tito; Verdi’s La Traviata and Il Trovatore; Donizetti’s Lucia di Lammermoor and Don Pasquale; Rossini’s La scala di seta and La Cenerentola; Humperdinck’s Hansel and Gretel; Ponchielli’s La Gioconda; Bernstein’s West Side Story; and Puccini’s La Bohéme and Tosca. Michael Wendeberg gained national recognition early on in his career in 2006 with Michael Nyman’s The Man Who Mistook His Wife for a Hat in Wuppertal, as well as the world premiere of Enno Poppe’s Arbeit Nahrung Wohnung in a production by Anna Viebrock in 2008 at the Munich Biennale,

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and Karl Amadeus Hartmann’s Des Simplicius Simplicissimus Jugend, staged by the director Thomas Fiedler in Zurich in 2010. In 2016 he led the world premiere of Sidney Corbett’s opera Die Andere at the Magdeburg Theatre. As a pianist, Michael Wendeberg has won several national and international piano competitions and performed as a soloist at renowned festivals and with prestigious orchestras. From 2000 until 2005 he was a member of the Ensemble intercontemporain.

© Isabelle Meister

Michael Wendeberg

Für Michael Wendeberg ist der Umgang mit klassischem Repertoire von Bach bis Schönberg ebenso selbstverständlich wie die intensive Beschäftigung mit neuer und neuester Musik. Seit 2011 ist Michael Wendeberg musikalischer Leiter des Ensemble Contrechamps in Genf und seit 2016 zudem erster Kapellmeister an der Oper Halle.

Gleichzeitig ist er als Gastdirigent bei renommierten Orchestern und Ensembles gefragt und dirigierte u.a. die Staatskapelle Berlin, die Junge Deutsche Philharmonie, das Orchester der Slowenischen Philharmonie Ljubljana, das Klangforum Wien, das Remix Ensemble Porto, die Musikfabrik Köln und die Sinfonietta Basel. Beim Lucerne Festival, der Münchner Biennale, den Bregenzer Festspielen, der Biennale Venedig, dem Eclat Festival Stuttgart, den Klangspuren Schwaz, bei Wien Modern war er mit verschiedenen Programmen zu Gast. Zuletzt debütierte er beim WDR-Sinfonieorchester, beim Ensemble Modern, mit dem Mahler Chamber Orchestra beim Beethovenfest Bonn und mit dem Rundfunk-Sinfonieorchester Berlin in der Kölner Philharmonie. Michael Wendeberg studierte Dirigieren in der Meisterklasse von Toshiyuki Kamioka in Saarbrücken und Klavier bei Markus Stange, Bernd Glemser und Benedetto Lupo. Während seiner Studienzeit arbeitete er als Assistent von Toshiyuki Kamioka an den Wuppertaler Bühnen. Es folgten Stationen am Nationaltheater Mannheim, am Luzerner Theater als Erster Kapellmeister sowie an der Staatsoper Berlin. Sein Opernrepertoire umfasst u.a. Bizets Carmen, Brittens A Midsummer Night‘s Dream, Händels Orlando, Mozarts Zaide, La Clemenza di Tito, Verdis La Traviata und Il Trovatore, Donizettis Lucia di Lammermoor und Don Pasquale, Rossinis

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La Scala di Seta und La Cenerentola, Humperdincks Hänsel und Gretel, Ponchiellis La Gioconda, Bernsteins West Side Story und Puccinis La Bohéme und Tosca. Überregionale Aufmerksamkeit erregte er mit The man who mistook his wife for a hat von Michael Nyman 2006 in Wuppertal, mit der Uraufführung von Arbeit Nahrung Wohnung von Enno Poppe auf der Münchner Biennale 2008 und mit Karl Amadeus Hartmanns Des Simplicius Simplicissimus Jugend 2010 in Zürich. 2016 leitete er die Uraufführung der Oper Die Andere von Sidney Corbett am Theater Magdeburg. Als Pianist war Michael Wendeberg Preisträger mehrerer Wettbewerbe und trat mit namhaften Orchestern als Solist auf. Von 2000 bis 2005 gehörte er als Pianist dem Ensemble intercontemporain an.

Ensemble Modern

Founded in 1980 the Ensemble Modern is one of the world’s leading ensembles for contemporary music. Currently, the Ensemble unites 18 soloists from 9 countries, all of whom contribute to the ensemble’s rich cultural background. Resident in Frankfurt am Main, the Ensemble Modern is famous for its special working and organisational structure, unlike any other in the world. There is no artistic director; all its members are responsible for jointly selecting and implementing projects, co-productions and financial matters.

Its unique and distinctive programme includes musical theatre, dance and video projects, chamber music, ensemble and orchestral concerts. Ensemble Modern gives approximately 100 concerts each year at renowned festivals, such as the Salzburg Festival, Bregenz Festival, Wien Modern, Festival d’Automne à Paris, Holland Festival, Klangspuren Schwaz, Berliner Festspiele, Ruhrtriennale, Música Viva, as well as outstanding venues worldwide, such as Wigmore Hall, Cité de la Musique, Tokyo Wonder Site, Concertgebouw Amsterdam, Elbphilharmonie, Cologne’s Philharmonie, Konzerthaus Berlin, Philharmonie Essen, the Festspielhaus Baden-Baden, Alte Oper Frankfurt. The ensemble strives to achieve the highest possible degree of authenticity by working closely with the composers themselves. The musicians rehearse an average of 70 new works every year, 20 of which are world premieres. Its work is characterised by extraordinary and often long-term cooperative ventures with renowned artists, such as John Adams, George Benjamin, Peter Eötvös, Heiner Goebbels, Hans Werner Henze, Mauricio Kagel, György Kurtág, Helmut Lachenmann, György Ligeti, Benedict

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Mason, Karlheinz Stockhausen, Steve Reich or Frank Zappa.

In addition to its multi-faceted concert activities, Ensemble Modern presents the results of its work through regular radio and CD recordings. Almost 30 of the more than 150 CD productions have been released by the ensemble’s own label, Ensemble Modern Media. Ensemble Modern was declared a “Leuchtturm” or “beacon” of contemporary culture in Germany in 2003 by the German Federal Cultural Foundation. At the seat of the International Ensemble Modern Academy (IEMA), founded the same year, the Ensemble Modern musicians offer a wide range of educational programmes, such as the Master’s Degree Course “Contemporary Music”, master courses, composition seminars and educational projects for students.

Ensemble Modern is funded by the German Federal Cultural Foundation, the City of Frankfurt, the German Ensemble Academy, the Ministry of Science and Art of the State of Hesse and the GVL. The Ensemble Modern musicians thank the Aventis Foundation for financing a chair in their ensemble. hr2-kultur is Ensemble Modern’s cultural affairs partner.

© Vincent Stefan

Ensemble Modern

Seit seiner Gründung 1980 zählt das Ensemble Modern zu den führenden Ensembles für Neue Musik. Derzeit vereint es 18 Solisten aus 9 Nationen, deren Herkunft den kulturellen Hintergrund dieser Formation bildet. Das in Frankfurt am Main beheimatete Ensemble Modern ist bekannt für seine einzigartige Arbeits- und Organisationsweise: Es gibt keinen künstlerischen Leiter; Projekte, Koproduktionen und finanzielle Belange werden gemeinsam entschieden und getragen. Seine unverwechselbare programmatische Bandbreite umfasst Musiktheater, Tanz- und Videoprojekte, Kammermusik, Ensemble- und Orchesterkonzerte.

Tourneen und Gastspiele führen das Ensemble Modern regelmäßig in etwa 100 Konzerten pro Jahr zu den renommiertesten Festivals wie u.a. Salzburger Festspiele, Bregenzer Festspiele, Wien Modern, Festival d’Automne à Paris, Holland Festival, Klangspuren Schwaz, Berliner Festspiele, Ruhrtriennale sowie herausragenden Spielstätten weltweit wie u.a. Wigmore Hall, Cité de la Musique, Tokyo Wondersite, Concertgebouw Amsterdam, Elbphilharmonie, Kölner Philharmonie, Konzerthaus Berlin, Festspielhaus Baden-Baden, Alte Oper Frankfurt und Oper Frankfurt. In enger Zusammenarbeit mit Komponisten, verbunden mit dem Ziel größtmöglicher Authentizität, erarbeiten die Musiker jedes Jahr durchschnittlich 70 Werke neu, darunter etwa 20 Uraufführungen. So entstanden außergewöhnliche und oftmals langjährige Zusammenarbeiten wie u.a. mit John Adams, George Benjamin, Peter Eötvös, Heiner Goebbels, Hans Werner Henze, Mauricio Kagel, György Kurtág, Helmut Lachenmann, György Ligeti, Benedict Mason, Karlheinz Stockhausen, Steve Reich

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oder Frank Zappa. Neben seinen vielfachen Konzertaktivitäten präsentiert das Ensemble Modern die Ergebnisse seiner Arbeit auch in regelmäßigen Radio- und CD-Produktionen, die vielfach ausgezeichnet wurden. Fast 30 der insgesamt etwa 150 CD-Produktionen erschienen im eigenen Label Ensemble Modern Medien.

Das Ensemble Modern wird gefördert durch die Kulturstiftung des Bundes, die Stadt Frankfurt sowie über die Deutsche Ensemble Akademie e.V. durch das Hessische Ministerium für Wissenschaft und Kunst und die GVL. Die Musikerinnen und Musiker des Ensemble Modern danken der Aventis Foundation für die Finanzierung eines Sitzes in ihrem Ensemble. hr2-kultur – Kulturpartner des Ensemble Modern.

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11.11 12:00 a.m.

Royal Festival Hall Southbank Centre, Belvedere Rd, Lambeth London

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repertoire

Henryk Mikołaj Górecki (1933–2010)

Symphony No. 3 “Symphony of Sorrowful Songs” Op. 36 1. Lento, sostenuto tranquillo ma cantabile 2. Lento e largo, tranquillissimo-cantabilissimo-dolcissimo-legatissimo 3. Lento, cantabile-semplice

performers

Elizabeth Atherton (soprano) David Atherton (conductor) London Sinfonietta

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commentary

translation

Joanna Grotkowska

Tomasz Zymer

The premiere of Symphony No. 3 “Symphony of Sorrowful Songs”

by Henryk Mikołaj Górecki, commissioned by the German radio station Südwestfunk Baden-Baden, took place on 4th April 1977, at the 14th International Festival of Contemporary Art in Royan.

Stefania Woytowicz sang the soprano part; the Südwestfunk (SWR) Sinfonieorchester was conducted by Ernest Bour. Similarly as the later Warsaw Autumn performance, also the premiere caused dismay among part of the audience and critics. The radical simplification of harmonic language and the ascetic character of the musical material, combined with a turn toward religious topics and folklore – caused a genuine shock. Already the premiere of Ad Matrem in 1972 had stunned the Warsaw Autumn fans. The ardent expression of the latter piece, as well as the reduction of the text to merely four words – “Mater mea, dolorosa, lacrimosa” – had

taken the audience by surprise.

Ad Matrem thus paved the way for the famous Symphony No. 3.

“It was the birth of what has been referred to as New Simplicity or New Romanticism. Górecki always aimed at maximum expression.

The material is limited and minimalist, but the impact of the music – extreme and maximalist,” wrote Andrzej Chłopecki. “As in Symphony No. 2 “Copernican”, which sets a Biblical text and features a slowing-down of sacralised time in movement two, and in the oratorio-type psalm Beatus vir dedicated to Pope John Paul II – the sound material was reduced in Symphony No. 3 to the very minimum, but was to be presented with maximum intensity: con massima passione, con massima espressione, con grande tensione quasi aggresivo.”

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This fervent expression that characterises The Symphony of Sorrowful Songs, as well as

its venture into the sphere of the sacrum, combined with a considerable reduction of music material – can be compared in the history of Polish music only to Karol Szymanowski’s Stabat Mater, a composition very close to Górecki’s heart. Both works were written under the impact of the Marian cult – extremely strong in Poland – and of its folk colouring.

However, while Szymanowski followed the traditions of the genre from Palestrina to later works, Górecki – though inspired by the same figure of the Mother of God of Sorrows – created a more-than-full-length symphony which radically trespassed the traditional boundaries of his genre.

Górecki transports us into another dimension of time. He avoids contrast, which has for centuries been the main form-building element in music. He achieves dynamic differences through repetition and accumulation of masses of sound. The incessant

repetition of “litany-like” motifs induces the audience into a kind of contemplative trance. The nearly one-hour-long composition has a wide emotional arch structure consisting of three movements, all in slow tempi, which Górecki called “sorrowful songs”. All of them draw on the motif of a mother mourning the loss of her child; in movement two, we also hear the voice of a child sentenced to death, as she tries to console her mother.

The composer exploits here an archetypal symbol related to the 20th-century war trauma on the one hand, and a very personal and painful experience from his own childhood – his mother’s untimely death – on the other. The plaintive lament of the solo soprano does not impose an expression of suffering on the audience. It flows quietly above the scanty accompaniment of the orchestra. The whole is far removed from superficial drama or bathos. The composer set simple words to music which is limited in material but greatly moving, which enhances the message of the words, expressing sorrow, not despair. The composer also referrs to religious and folk traditions, which lend the symphony its archaic and universal character – that of a spiritual mystery.

The mystery builds up from the very first, low and unsettling tones. Movement one opens with

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a theme drawing on two musical motifs: that of the Lenten hymn Behold, Christ Is Dying from the 19th-century songbook by Father Jan Siedlecki, and that of the song Let Him Be Praised from the Kurpie region, from the collection of Father Władysław Skierkowski.

This theme in turn becomes the basis for a strict canon, very slowly ascending from the low register of the basses and cellos to the highest notes of the violin, thus gradually building up tension and expression in the music. The canon is interrupted by a solo soprano invocation setting the words of the Marian Lamentation of Holy Cross Monastery (2nd half of the 15th c.), considered as one of the finest examples of medieval religious lyrical poetry. From this poem, the composer selected the invocation of Mary under the Cross, addressed to her Son: My dear son, chosen and loved one, / Share your wounds now with your mum / Since in my heart I’ve carried you, / And served you with devotion, too / Speak to your mother, comfort me, / Though you, my hope, be leaving me. The simplicity of the melody is further stressed by the orchestral accompaniment, which only colours the solo soprano line. In the end, the canon returns in its most elaborate form, gradually dying away until only single notes in the double-basses remain. The second (shortest) movement is

a kind of lament based on the simple ABABC form, setting the text of an inscription carved by 18-year-old Helena Błażusiak on the wall of a Gestapo torture cell under the “Palace” Hotel in Zakopane, where the young highland girl was imprisoned in 1944. Her words, No Mother, do not cry. / Heavens’ Queen Most Pure / Support me always were completed by someone else with the prayer invocation of Hail Mary.

The soprano’s slow lament set to Górecki’s own original melody is only supported by sustained chords in the orchestra and by some enhancements in the soprano part reminiscent of the Tatra Highland folklore. Movement three consists of variations on an authentic folk song from the Opole region, from the time of the Silesian Uprisings (1919–1921), the voice of a mother despairing after her son’s death: Where is my dear lad a-gone?

The song has been preserved in the collection of Adolf Dygacz, who studied Silesian folklore and recommended this tune to Górecki.

It was with this section that the composer began his work on the symphony in 1973. He completed it in 1976 and dedicated to his wife.

Symphony No. 3 “Symphony of Sorrowful Songs” is one of the most important works in Polish music of the 2nd half of the 20th century, and one of the

key symphonies written in that century. It brought its composer a kind of fame unheard-of in the contemporary music scene, though the recognition only came more than a dozen years after the composition of the piece. The first performances in 1977 caused a consternation and radically divided the critical circles, provoking highly controversial opinions – from deep disappointment and irritation to disregard to proclamations of the composer’s genius. The music was accused of “primitivism”, of “narrow folksiness”, “turning one’s back to all modernity”, “working against the deepest traditions of European art and culture”, and “reductio ad absurdum”. Andrzej Chłopecki was the most outspoken of those rather few who appreciated the Symphony. He wrote: “With this masterpiece, the composer has earned a place among artists of genius. Any attempt to support this claim with specific arguments would only make the great work sound banal.” It was only in 1992, after Elektra Nonesuch had released a new recording of the composition by the US singer Dawn Upshaw and London Sinfonietta under David Zinman, that the music gained international acclaim and recognition, also outside the world of classical music. The CD sold in more than a million copies – a success one could

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hardly dream of. The symphony reached the top of the classical hit charts in the USA and the UK, triumphantly conquered the world’s most prestigious concert stages, and earned the composer worldwide fame. “Górecki perfectly matched the fashion, going far beyond the narrow world of contemporary music festivals.

He set a fashion even though he ignored it by principle. His completely autonomous œuvre was built with powerful independence of spirit. What was it, then, that the composer himself most desired? ‘To see clean water, green earth, healthy woods, to breathe fresh and clean air. To see the Creator of it all – and write for Him’” (Andrzej Chłopecki).

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© Hong Kong Philharmonic

David Atherton

Atherton studied music at Cambridge University and in 1967 (aged 23) was invited by Sir Georg Solti to join the Royal Opera House, as the youngest conductor ever to appear in that theatre.

He returns there frequently as guest conductor, with most recent engagements including productions of Ravel and Stravinsky. David Atherton has also appeared with the Canadian Opera Company, Glyndebourne Festival Opera, and in several productions with the English National Opera such as Billy Budd, a work he has championed at the San Francisco and Metropolitan Operas.

He has guest performed throughout the United States, across Europe, (including a concert with the Berlin Philharmonic), as well as in Australia, New Zealand and Japan. As co-founder of the London Sinfonietta in 1968 he gave the first performance of many contemporary classical works. He was also responsible for festivals featuring the complete works of Ravel, Stravinsky, Webern and Varèse with the London Sinfonietta, London Symphony Orchestra, BBC Symphony Orchestra and the Royal Opera House. His achievements in the recording studio have earned him many accolades including the Edison Award, numerous Grammy Award nominations, and the Grand Prix du Disque. Of his recording of Tippett’s King Priam, for which he received the coveted International Record Critics’ Award, Tippett wrote “Atherton is a conductor of genius.” He has held titled positions with the San Diego Symphony Orchestra, BBC Symphony Orchestra, Royal Liverpool Philharmonic, the BBC National Orchestra of Wales, and the Hong Kong Philharmonic Orchestra. On retiring from this

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position in 2000, he was awarded the Order of the British Empire and named the orchestra’s Conductor Laureate.

© Kiran Ridley

Elizabeth Atherton

“Startling, inventive and compelling” (The Independent), Elizabeth Atherton is equally at home on the opera stage and the concert platform. She read music at Trinity College, Cambridge, before studying at the Royal Scottish Academy of Music and Drama. Having won several prestigious prizes, including the Maggie Teyte Prize, she made her debut as Helena (A Midsummer Night’s Dream) for the English Touring Opera and subsequently became an Associate Artist at the Welsh National Opera, performing repertoire ranging from Monteverdi to Schönberg. She has since gone on to become a regular performer at Opera North, where her roles include Fiordiligi (Così fan tutte), Governess (The Turn of the Screw) and Micaëla (Carmen).

Sir Harrison Birtwistle created for her the lead roles of Eurydice and Medea in his operas The Corridor and The Cure (Aldeburgh and Holland Festivals and Royal Opera House). In concert, Elizabeth Atherton frequently appears at the BBC Proms and has worked with such eminent conductors as Andrew Davis, Antonio Pappano, Neville Marriner, Pierre Boulez, David Atherton, Vladimir Jurowski, Harry Christophers, Thierry Fischer, Jac van Steen, and Charles Mackerras. She is also a committed recitalist, appearing at such prestigious venues as the Wigmore Hall, London, and St David’s Hall, Cardiff, and festivals including Aldeburgh and Leeds Lieder+. Recent and upcoming engagements include Meni in Thomas Adès’ new opera The Exterminating Angel at the Royal Opera House, her role debut as Leonore Fidelio for Longborough Festival Opera; a return to Opera North as Donna Elvira, Barber’s Knoxville with the Royal Liverpool Philharmonic Orchestra and Robert Spano, Strauss’s

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Vier letzte Lieder with the Royal Philharmonic Concert Orchestra, Beethoven’s Symphony No. 9 with the BBC National Orchestra of Wales under Ryan Wigglesworth, and concerts with the London Philharmonic Orchestra under Vladimir Jurowski, the Royal Scottish National Orchestra under Laurence Cummings, and Ulster Orchestra under Rafael Payare.

© Domizia Salusest

London Sinfonietta

The London Sinfonietta is one of the world’s leading contemporary music ensembles, formed in 1968. The group’s commitment to making new music has seen it commission 400 works and premiere hundreds more. The London Sinfonietta has had creative working relationships with great composers of the post-war period, such as Karlheinz Stockhausen, Luciano Berio, Hans Werner Henze, Iannis Xenakis, György Ligeti, and Sir Harrison Birtwistle. Its ethos today has evolved to constantly experiment with the art form, working with the best composers, conductors and players, whilst collaborating with artists from alternative genres and disciplines. The ensemble challenges perceptions, and stretches audiences’ imagination, often working closely with them as creators and performers. Resident at Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule across the UK and abroad, the London Sinfonietta’s core 18 Principal Players represent some of the best musicians in the world. Holding a leading position in education work, the London Sinfonietta believes that arts participation is transformational to individuals and communities, and new music is relevant to people’s lives. This belief is enacted through school concerts and interactive family events, as well as the annual London Sinfonietta Academy: an unparalleled opportunity for young players and conductors to train with its Principal Players. The London Sinfonietta also runs composer schemes; Blue Touch Paper and Writing the Future, which offer opportunities for early-career composers to try new things with their writing. The London Sinfonietta has broken new ground by creating Steve Reich’s Clapping Music app for iPhone, iPad and

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iPod Touch, a participatory rhythm game that has been downloaded over 200 000 times worldwide. Recent recordings include George Benjamin’s opera Into the Little Hill (Nimbus; 2017), a collaboration with Norwegian saxophonist Marius Neset on Snowmelt (ACT; 2016), a limited edition run of LPs with the artist Christian Marclay as part of his White Cube exhibition in 2015, and a disc of Sir Harrison Birtwistle’s music which topped the classical music charts in 2015.

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11.11 6:00 p.m.

Lviv Philharmonic 7 Tchaikovsky Street Lviv Львівська обласна філармонія вул. Чайковського 7 Львів Lwowska Filharmonia Obwodowa ul. Czajkowskiego 7 Lwów

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© Serhiy Horobets

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repertoire / pепертуар / repertuar

Witold Lutosławski Вітольд Лютославський (1913–1994)

Paweł Szymański Павел Шиманський (*1954)

Chain I

Two Illusory Constructions

Ланцюг I Łańcuch I

Дві ілюзорні конструкції Dwie konstrukcje iluzoryczne 1. Ritmico 2. Cantabile

performers / виконавці / wykonawcy

Roman Rewakowicz (conductor / dyrygent) Роман Ревакович (диригент)

Ensemble Nostri Temporis Natalia Kozhushko-Maksymiv (flute / flet) Наталія Кожушко-Максимів (флейта) Maksym Kolomiiets (oboe / obój) Максим Коломієць (гобой)

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Marcin Stańczyk Марцін Станьчик (*1977)

Paweł Mykietyn Павел Микєтин (*1971)

Geysir-Grisey

Little Autumn Music

Гейзер-Грізе

Мала осіння музика Eine kleine Herbstmusik

Artem Shestovskyi (clarinet / klarnet) Артем Шестовський (кларнет)

Sergiy Loginov (horn / róg) Сергій Логінов (валторна)

Andrii Tkachuk (bassoon / fagot) Андрій Ткачук (фагот)

Ihor Boichuk (trumpet / trąbka) Ігор Бойчук (труба)

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repertoire / pепертуар / repertuar

Jerzy Kornowicz Єжи Корновіч (*1959)

Dawning Light IV “Melos-Ethos” Світанкове сяйво IV „Melos-Ethos“ Zorze IV „Melos-Ethos”

performers / виконавці / wykonawcy

Renat Imametdinov (trombone / puzon) Ренат Імаметдінов (тромбон)

Maria Aleksandrova (piano / fortepian) Марія Александрова (фортепіано)

Volodymyr Veretelnyk (percussion / instrumenty perkusyjne) Володимир Веретельник (ударні)

Sophia Komandyrchyk (piano / fortepian) Софія Командирчик (фортепіано)

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Bohdan Kozhushko (accordion / akordeon) Богдан Кожушко (акордеон)

Andrii Pavlov (violin / skrzypce) Андрій Павлов (скрипка)

Zoltan Almashi (cello / wiolonczela) Золтан Алмаші (віолончель)

Igor Muravyov (violin / skrzypce) Ігор Муравйов (скрипка)

Nazariy Stets (double bass / kontrabas) Назарій Стець (контрабас)

Andriy Savych (viola / altówka) Андрій Савич (альт) 77

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commentary

translation

Krzysztof Kwiatkowski

Tomasz Zymer

Form shaped in such a way that the segments superimposed on one another do not begin and end at the same time, but overlap like links in a chain – was applied by Witold Lutosławski in several pieces from various periods of his work. Three of these are titled Chains, though they do not form a cycle. What they primarily have in common is – apart from the above-mentioned formal construct – also the time of their composition (between 1983 and 1986). Chain I for fourteen soloists (1983), commissioned by London Sinfonietta, slightly less than 10 minutes long – is Lutosławski’s only work for a rather typical large chamber ensemble to have become a staple of the repertoire, eagerly taken up especially by groups specialising in contemporary music. The piece starts with an introduction made up of “chain links”, one of which comprises the melody, the other – a chordal accompaniment. Then comes a section marked as cantabile,

consisting of longer lines and leading to a harmonically dense culmination with a loud tam-tam stroke, followed only be a brief closing passage in which the tension is relieved. In this piece Lutosławski applied the typical ingredients of his technique. Many of the melodic lines only consist of two intervals. Non-conducted sections, vertically coordinated into an “aleatory counterpoint”, are more frequent than those with a strictly defined metre.

Characteristically, the sections of the piece begin in unison, after which the instrumental parts gradually diverge, until the resulting harmonies span all the degrees of the chromatic scale.

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Paweł Szymański frequently declared his attachment to the ideal of self-explicit music that needs no additional explanations.

He rarely departs from this principle by defining extra-musical inspirations in his works. More

important than inspirations derived, for instance, from poetry, are the constructional principles borrowed from the graphic arts.

Dwie konstrukcje iluzoryczne (Two Illusory Constructions) for clarinet, cello and piano (1984) can be compared in this respect with A Kaleidoscope for M.C.E (1989 – version for cello, 1994 – version for solo violin). Both pieces refer to and draw upon the graphics of Maurits Cornelis Escher, in which elements of the real world are filtered through optical illusions that interfere with the “realism” of the works. The kaleidoscopic nature of Two Illusory Constructions manifests itself in the constant changes of configurations in which the same elements are observed.

The two constructions that make up Szymański’s piece have been contrasted in a manner typical of this composer. Section one, marked as ritmico, is based on a two-part canon whose fragments can be heard scattered in eight voices

in all the instrumental registers.

Section two, also based on a canon, is song-like (cantabile), meditative and melancholy. Fragments of melodies, repeated notes and trills are transferred freely from one instrument to another, thus forming ever new configurations.

It sounds as if a selected, isolated fragment of some composition had been fixed in a narrow temporal framework and was heard from the distance, gradually fading away.

The title of Geysir-Grisey by Marcin Stańczyk points to the two elements that inspired this piece. The first was the composer’s amazement and delight at the sight of geysers and their internal life: both the eruptions and the hidden forces that feed them. The other event, a purely musical experience, was the memorable performance of Gérard Grisey’s Four Songs for Crossing the Threshold during the 2003 Warsaw Autumn festival.

Soon afterwards, the young composer undertook an attempt to create a similar piece, following mostly his intuitions, since at that time he still knew rather little about Grisey’s techniques. The quality that is most characteristic of Geysir-Grisey, however, suggests associations with the music of Giacinto Scelsi (for instance, with his orchestral Quattro Pezzi su una nota sola) rather than that of the French spectralist master. The

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only pitch used in Stańczyk’s piece is E (in all the registers) as well as its microtonal variations. At times the strings connect these different E notes (scattered in different octaves) by means of glissandi.

This quite rudimentary material is enriched first and foremost by a great wealth of articulations, which transform tones with definite pitch into noises or percussive sounds. There are two versions of this composition – one written in 2005–2006 for two pianos, violin, viola and double bass, and the other – for an extended line-up (piano, percussion, electric guitar, clarinet, cello, and double bass) – prepared for an all-Stańczyk concert given by the US group Bang on a Can All-Stars during the 2012 Sacrum Profanum Festival in Cracow. The composition will be performed in the first version.

Paweł Mykietyn has won widespread recognition thanks to, among others, the Warsaw Autumn performances of his works. The first of these was La Strada for oboe or saxophone, cello or viola da gamba, and piano or harpsichord, presented at the festival in 1993. Two years later the Warsaw audience heard Eine kleine Herbstmusik (1995), a Warsaw Autumn commission performed by the French Ensemble Alternance. In that period, Mykietyn was strongly influenced by the

“surconventional” music of Paweł Szymański and by the latter’s extraordinary transformations of stereotypical formulas drawing mostly on the Baroque and Classicism, which constituted the “deep structure” of the music. In the Little Autumn Music, Mykietyn plays with the most obvious elements of musical tradition such as chordal figurations, harmonic and melodic progressions (deliberately prolonged beyond any reasonable limits), arranging them in unexpected combinations.

The banal melodic turns and the elementary chordal sequences of the major-minor system have been applied here in an ostentatious, nearly parodic fashion. The resulting music is witty and provides the audience with intellectual satisfaction thanks to stylistic references and easily recognisable allusions. At the same time, the music is highly accessible, which largely explains the success of this work (and of other pieces composed by Mykietyn in a similar vein in the 1990s, such as 3 for 13 and Piano Concerto) in the Polish contemporary music scene. The approximately 12-minute-long Eine kleine Herbstmusik was composed for flute, oboe, clarinet, horn, percussion, piano, violin, viola, cello, and double bass.

Jerzy Kornowicz’s cycle of four pieces under the joint title of Zorze

(Dawning Lights) refers – as the composer explains – “to moments of breakthrough that took place in the recent years in the life of our community and have also had a bearing on personal moods and attitudes.” For instance, Dawning Light I “Prague” for small symphony orchestra takes its name from the place and circumstances of its premiere, during a concert celebrating the accession of new countries, including Poland and Czechia, to the European Union.

Dawning Light IV “Melos-Ethos” (2006) was written for a large chamber ensemble, with single instruments set in the parts of woodwinds, brass and string quintet with piano, accordion and percussion. As in the case of the previous three episodes of this cycle (Dawning Light I “Prague” for Prague Chamber Philharmonic, II “Ereprijs” and III “Weltblech”), the subheading “Melos-Ethos” designates the ensemble for which this piece was written. The composer explains that the title of the entire cycle evokes hope, which, however, is “accompanied by the awareness of tragic history and the fear that history, geopolitics, the petty-mindedness of human societies and the foolishness of politicians may once again mar the fate of future generations, including that of my own children.” The character of the music corresponds to

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the title as elucidated in this commentary. Dawning Light IV starts in bright instrumental colours, with joyful repetitions of individual sounds and motifs anchored in a stable harmonic structure which may suggest waking up on a crisp and serene morning. Later the optimism gives way to a more reflective mood, but the unaffected pulse of energy gradually and unobtrusively returns and accumulates throughout the greater part of the piece. There is something invigorating in this work, a reflection in sound of hope-bringing events, but also a shade of the fear that the composer wrote about – concluding, however, that “the music itself is quite devoid of musical symbols and extra-musical references.”

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Переклад

Кшиштоф Квятковський

Ірина Прикарпатська

Форма, в якій сегменти, що накладаються один на одного, не починаються і не закінчуються одночасно, а лише находять один на одного, неначе ланки ланцюга, знайшла своє застосування в кількох творах Вітольда Лютославського, які походять з різних періодів його творчості. Хоч три з них і носять назву Ланцюг, разом вони не становлять циклу: окрім згаданої формальної будови, поєднує їх близький період створення (від 1983 до 1986). Призначений для чотирнадцяти солістів Ланцюг I (1983) написано на замовлення оркестру London Sinfonietta. Твір, який триває неповних десять хвилин та є єдиною композицією Лютославського для досить типового складу великого камерного оркестру, став елементом репертуару, до якого особливо охоче звертаються оркестри, які спеціалізуються на сучасній музиці. Ланцюг I переходить від фази інтродукції,

яка складається з „ланцюжково“ поєднаних фрагментів, один з яких містить мелодію, а інший акордовий супровід, до частини, збудованої з довших ліній, позначених cantabile, яка веде до гармонічно напруженої кульмінації, з гучним ударянням в там-там, після якої вже настає саме закінчення – коротка частина, що розвантажує напруження. У своєму творі Лютославський застосував типові для своєї композиторської техніки засоби. Велику кількість мелодичних ліній збудовано за допомогою тільки двох інтервалів, над фрагментами з точно позначеним метром переважають недириговані розділи, скоординовані вертикально за принципом „алеаторичного контрапункту“. Характерним прийомом є розпочинання формальних частин в унісон, які поступово розшаровуються аж до співзвуччя з використанням всіх ступенів хроматичного звукоряду.

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Павел Шиманський неодноразово заявляв про свою прив’язаність до ідеальної музики, яка сама себе пояснює і не вимагає додаткових зовнішніх тлумачень. У його творах і справді не так багато відхилень від цієї норми у формі позамузичних ідей – серед них важливішими від імпульсів, взятих з, наприклад, поезії, є мотиви, які походять з конструкційних принципів, прийнятих в образотворчому мистецтві. Дві ілюзорні конструкції для кларнету, віолончелі і фортепіано (1984) з цього огляду можуть асоціюватися з молодшим на кілька років A Kaleidoscope for M.C.E (1989 – версія для віолончелі, 1994 – версія для скрипки соло). Паралелі та аналогії з цими двома творами знаходимо в графіці Мауріца Корнеліса Ешера у їх представленні елементів реального світу в перспективі оптичних ілюзій, які порушують їх „реалізм“. Калейдоскопічний характер Двох ілюзорних конструкцій

проявляється в безупинній зміні конфігурацій, в яких ми бачимо ті самі елементи. Обидві конструкції, з яких складається твір, співставлені типовим для Шиманського способом, який базується на контрасті: частину першу, позначену ritmico, побудовано на основі двоголосного канону, фрагменти якого розсипані у восьми голосах і у всіх регістрах інструментів. Друга конструкція, яка теж базується на основі канону, є співучою (позначена cantabile) медитаційною і меланхолійною – фрагменти мелодії, повторення нот та трелі переходять в ній вільно від інструменту до інструменту, створюючи щоразу нові конфігурації. Складається враження, наче вибраний, окремий короткий фрагмент якогось твору знерухомів у вузьких часових рамках і звучав аж до затихання в далині. Назва Гейзер-Грізе (Geysir-Grisey) поєднує в собі два джерела натхнення, які послужили поштовхом до написання твору. Першим стали враження та захоплення від вигляду гейзерів та їх природи: виверження і таємні сили, що їх підживлюють. А другим джерелом натхнення вже суто музичного характеру було легендарне виконання Чотири пісні, щоб переступити поріг Жерара Грізе під час Варшавської осені 2003 року. Невдовзі молодий

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композитор дещо інтуїтивно зробив спробу створити щось подібне, оскільки тоді йому було відомо небагато про техніки, якими користувався Грізе. Однак найбільш характерна риса твору Гейзер-Грізе (Geysir-Grisey) швидше викликає асоціації з музикою Джячінто Шелсі (наприклад Чотири твори на одній ноті для камерного оркестру), ніж з творчістю французького майстра спектралізму: матеріалом твору щодо висоти є виключно звук «мі» в усіх регістрах та його мікротональні відхилення. Інколи смичкові інструменти звуки, що розміщені в різних октавах, поєднують glissando. Такий майже елементарний матеріал композитор передусім збагачує великим артикуляційним розмаїттям, завдяки якому звуки певної висоти переходять в шумові та перкусійні звучання. Твір існує в двох версіях – перша, створена в 2005–2006 роках, розрахована для двох фортепіано, скрипки, альта і контрабасу. В 2012 році для монографічного концерту Марціна Станьчика, який відбувся на Краківському фестивалі Сакрум Профанум (Sacrum Profanum) у виконанні американського оркестру Bang on a Can All-Stars, створено другу версію для зміненого та поширеного складу (фортепіано, перкусія, електрогітара, кларнет, віолончель

і контрабас). Композиція виконуватиметься в першій версії. Художні пропозиції Павла Микєтина здобули широке визнання, зокрема завдяки їх виконанню під час Варшавської Осені – в 1993 році його музика зазвучала там вперше (La Strada для гобою або саксофону, віолончелі або віоли да гамба а також для фортепіано або клавесину), а два роки потому на замовлення фестивалю Малу осінню музику (Eine kleine Herbstmusik, 1995) виконав французький оркестр Ensemble Alternance. У той період молодий творець перебував під великим впливом „сюрконвенційної“ музики Павла Шиманського з її неконвенційними перетвореннями загальновживаних формул, що найчастіше нагадують бароко чи класицизм, які творять „глибоку структуру“ композиції. В Малій осінній музиці Микєтин бавиться найбільш очевидними елементами музичної традиції, такі як акордові фігурації, гармонійні і мелодійні прогресії (які він свідомо надмірно подовжує), складаючи їх в несподівані поєднання. Спосіб використання банальних мелодичних зворотів та елементарних в мажоро-мінорній системі акордових послідовностей має тут майже демонстративний і пародійний характер. Завдяки таким прийомам та стилістичним

ефектам музика є дотепною, яка приносить слухачеві інтелектуальне задоволення від розпізнавання алюзії, але разом з тим дуже доступна, і це великою мірою пояснює визнання, яке отримав цей твір (а також інші витримані у схожому дусі композиції Микєтина 90-х років, такі як, наприклад 3 для 13 чи Концерт для фортепіано) на польській сцені сучасної музики. Мала осіння музика (Eine kleine Herbstmusik), яка триває приблизно 12 хвилин, розрахована на склад, до якого входить флейта, гобой, кларнет, валторна, перкусія, фортепіано, скрипка, альт, віолончель і контрабас. Цикл чотирьох творів, об’єднаних під назвою Світанкове Сяйво, стосується – як пише композитор – „переломних моментів, які відбуваються останніми роками в нашому громадському житті і які також мають вплив на особисті настрої“. І так композиція Світанкове Сяйво I „Празькe“ для малого симфонічного оркестру пов’язана з місцем та обставинами прем’єри, яка відбулася під час концерту з нагоди приєднання нових країн, в тому числі Польщі і Чехії, до Європейського Союзу. Як пише композитор, надії, що тоді прокинулись, „супроводжувались усвідомленням трагічної історії та побоюваннями, чи історія,

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геополітика, дріб’язковість суспільств і дурість політиків знову не знищать долю наступних поколінь, у тому числі поколінь моїх дітей“. Твір Світанкове Сяйво IV „Melos-Ethos“ (2006) написано для великого складу камерного оркестру з одинарним складом дерев’яних та мідних духових музичних інструментів і квінтету смичкових інструментів з фортепіано, акордеоном і перкусією. Так само як у трьох попередніх творах циклу (Світанкове Сяйво I „Празьке“, написане для Празької камерної філармонії, Світанкове Сяйво II „Ereprijs“ i Світанкове Сяйво III „Weltblech“) допис „Melos-Ethos“ у назві стосується назви оркестру, для якого створено цю композицію. Характер музики відповідає назві та змісту авторського коментаря: початок твору витримано в світлому інструментальному колориті з радісними повторами поодиноких звуків та мотивів, вкладених в стабільну, гармонічну структуру, яка може асоціюватися зі жвавим, веселим пробудженням. Інколи оптимізм поступається більш споглядальній музиці, проте невимушена пульсуюча енергія повертається і поступово, але ненав’язливо, наростає впродовж більшої частини твору. Цей твір має в собі щось життєдайне – музичний слід подій, що дають надію, але теж і нотку остраху, про яку згадує композитор, проте зі

застереженням, що „Світанкове Сяйво позбавлене музичних символів чи позамузичних тем“.

komentarz

Krzysztof Kwiatkowski

Forma ukształtowana w ten sposób, że jej nakładane na siebie segmenty nie zaczynają się i nie kończą w tym samym czasie, lecz zachodzą na siebie niczym ogniwa łańcucha, znalazła zastosowanie w kilku utworach Witolda Lutosławskiego, pochodzących z różnych okresów jego twórczości. Trzy spośród nich noszą tytuły Łańcuch, choć razem nie tworzą cyklu – łączy je przede wszystkim, oprócz wspomnianej zasady formalnej, bliskość czasu powstania (od 1983 do 1986 roku). Przeznaczony na czternastu solistów Łańcuch I (1983) napisany został na zamówienie zespołu London Sinfonietta.

Trwający niecałe dziesięć minut utwór, jako jedyna kompozycja Lutosławskiego na dość typową obsadę dużego zespołu kameralnego, stał się pozycją repertuarową, po którą chętnie sięgają zespoły specjalizujące się zwłaszcza w muzyce współczesnej. Łańcuch I przechodzi od fazy introdukcji, złożonej z „łańcuchowo”

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nałożonych odcinków, z których jeden zawiera melodię, a drugi akordowy akompaniament, do części zbudowanej z dłuższych linii oznaczonych cantabile, prowadzącej do harmonicznie zagęszczonej kulminacji z głośnym uderzeniem w tam-tam, po której następuje już tylko zakończenie – krótki odcinek rozładowujący napięcie.

Lutosławski zastosował w utworze środki typowe dla swej kompozytorskiej techniki: spora część linii melodycznych zbudowana jest przy użyciu jedynie dwóch interwałów, nad fragmentami ze ściśle oznaczonym metrum przeważają odcinki niedyrygowane, skoordynowane w pionie na zasadzie „aleatorycznego kontrapunktu”.

Charakterystycznym zabiegiem jest tu rozpoczęcie formalnych odcinków unisono, które stopniowo ulega rozwarstwianiu się, aż do współbrzmień z użyciem wszystkich stopni skali chromatycznej.

Paweł Szymański niejednokrotnie deklarował przywiązanie do ideału muzyki, która tłumaczy się sama przez się i nie potrzebuje zewnętrznych objaśnień.

Odstępstw od tej zasady w postaci pozamuzycznych inspiracji znajdziemy w jego utworach rzeczywiście niewiele – spośród nich ważniejsze od impulsów zaczerpniętych na przykład z poezji są sugestie płynące z zasad konstrukcyjnych obecnych w sztukach plastycznych. Dwie konstrukcje iluzoryczne na klarnet, wiolonczelę i fortepian (1984) pod tym względem skojarzyć można z późniejszym o kilka lat A Kaleidoscope for M.C.E (1989 – wersja na wiolonczelę, 1994 – wersja na skrzypce solo).

Odniesienia i analogie dla obu tych utworów odnajdziemy w grafikach Mauritsa Cornelisa Eschera z ich przedstawieniami elementów świata realnego w zakłócającej ich „realizm” perspektywie optycznych iluzji. Kalejdoskopowy charakter

Dwóch konstrukcji iluzorycznych przejawia się w nieustającej przemianie konfiguracji, w jakich postrzegamy te same elementy.

Obie składające się na utwór konstrukcje zestawione są w typowy dla Szymańskiego kontrastowy sposób: część pierwsza, oznaczona ritmico, zbudowana jest na bazie dwugłosowego kanonu, którego fragmenty rozsypane są w ośmiu głosach i we wszystkich rejestrach instrumentów. Druga, również oparta na podstawie kanonicznej, jest śpiewna (oznaczenie cantabile), medytacyjna i melancholijna – fragmenty melodii, repetycje nut i tryle przechodzą w niej swobodnie od instrumentu do instrumentu, tworząc coraz to nowe układy. Sprawia to wrażenie, jakby wybrany i wyizolowany krótki fragment jakiegoś utworu został unieruchomiony w wąskich ramach czasowych i rozbrzmiewał aż do zaniku w oddali.

Tytuł Geysir-Grisey łączy dwa źródła inspiracji, jakie stały się impulsem do powstania utworu.

Pierwszym było zdumienie i zachwyt wzbudzone widokiem gejzerów oraz ich naturą: erupcje i ukryte, ożywiające je siły. Natomiast drugiego źródła, inspirującego przeżycia natury czysto muzycznej, dostarczyło Marcinowi Stańczykowi pamiętne wykonanie Czterech pieśni na przekroczenie progu Gérarda

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Griseya podczas Warszawskiej Jesieni w 2003 roku. Wkrótce potem młody kompozytor podjął próbę stworzenia czegoś podobnego – w sposób nieco intuicyjny, jako że o stosowanych przez Griseya technikach wiedział wówczas niewiele. Najbardziej charakterystyczna cecha utworu Geysir-Grisey nasuwa jednak skojarzenie z muzyką Giacinto Scelsiego (np. orkiestrowe Cztery utwory na jednej nucie), a nie z twórczością francuskiego mistrza spektralizmu: materiałem utworu w zakresie wysokości jest wyłącznie dźwięk e we wszystkich rejestrach oraz jego mikrotonowe odchylenia. Niekiedy instrumenty smyczkowe dźwięki te, rozmieszczone w różnych oktawach, łączą glissandem. Ów niemal elementarny materiał kompozytor wzbogaca przede wszystkim ogromnym zróżnicowaniem artykulacyjnym, które sprawia, że dźwięki o określonej wysokości przechodzą w brzmienia o charakterze szmerowym lub perkusyjnym.

Utwór istnieje w dwóch wersjach – pierwsza, skomponowana w latach 2005–2006, przeznaczona jest na dwa fortepiany, skrzypce, altówkę i kontrabas. W 2012 roku, na koncert monograficzny Marcina Stańczyka, jaki odbył się na krakowskim festiwalu Sacrum Profanum w wykonaniu amerykańskiego zespołu Bang on

a Can All-Stars, powstała druga wersja na zmienioną i poszerzoną obsadę (fortepian, perkusja, gitara elektryczna, klarnet, wiolonczela, kontrabas). Utwór zostanie wykonany w pierwszej wersji.

Propozycje artystyczne Pawła Mykietyna zdobyły szerokie uznanie m.in. dzięki wykonaniom na Warszawskiej Jesieni – w 1993 roku jego muzyka zabrzmiała tam po raz pierwszy (La Strada na obój lub saksofon, wiolonczelę lub violę da gamba oraz fortepian lub klawesyn), dwa lata później zamówioną przez festiwal Eine kleine Herbstmusik (1995) wykonał francuski zespół Ensemble Alternance. W tym czasie młody twórca pozostawał pod dużym wpływem „surkonwencjonalnej” muzyki Pawła Szymańskiego z jej niekonwencjonalnymi przekształceniami obiegowych, nawiązujących najczęściej do baroku lub klasycyzmu formuł tworzących „strukturę głęboką” kompozycji. W Małej muzyce jesiennej Mykietyn bawi się najbardziej oczywistymi elementami muzycznej tradycji, jak akordowe figuracje, harmoniczne i melodyczne progresje (świadomie przedłużane ponad wszelką miarę), układając je w nieoczekiwane zestawienia. Sposób wykorzystania banalnych zwrotów melodycznych oraz elementarnych w systemie dur-moll połączeń akordowych ma

tu charakter niemal ostentacyjny i parodystyczny. Rezultatem tych zabiegów jest muzyka dowcipna, dzięki stylistycznym odniesieniom dostarczająca słuchaczowi intelektualnej satysfakcji z rozpoznawania aluzji i zarazem bardzo przystępna, co w dużym stopniu tłumaczy uznanie, z jakim utwór ten (oraz inne utrzymane w podobnym duchu dokonania Mykietyna z lat 90., jak 3 for 13 czy Koncert fortepianowy) spotkał się na polskiej scenie muzyki współczesnej. Trwająca około 12 minut Eine kleine Herbstmusik przeznaczona jest na obsadę obejmującą flet, obój, klarnet, waltornię, perkusję, fortepian, skrzypce, altówkę, wiolonczelę i kontrabas.

Cykl czterech utworów Jerzego Kornowicza opatrzonych tytułem Zorze odnosi się – jak pisze kompozytor – „do momentów przełomowych, mających miejsce w ostatnich latach w naszym życiu wspólnotowym i skutkujących również w nastrojach osobistych”.

I tak na przykład kompozycja Zorze I „Praskie” na małą orkiestrę symfoniczną wiąże się z miejscem i okolicznością prawykonania, które odbyło się podczas koncertu z okazji akcesji nowych krajów, w tym Polski i Czech, do Unii Europejskiej. Utwór Zorze IV „Melos-Ethos” (2006) napisany jest na skład dużego zespołu

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kameralnego z pojedynczą obsadą instrumentów dętych drewnianych, blaszanych i kwintetu smyczkowego z fortepianem, akordeonem i perkusją. Podobnie jak w przypadku trzech poprzednich utworów z cyklu (Zorze I „Praskie” skomponowane dla Praskiej Filharmonii Kameralnej, Zorze II „Ereprijs” i Zorze III „Weltblech”) dopisek „Melos-Ethos” w tytule odnosi się do nazwy zespołu, dla którego kompozycja ta powstała.

Jak pisze kompozytor, tytuł cyklu sugeruje nadzieje, którym jednak „towarzyszy świadomość tragicznej historii i obawa o to, czy historia, geopolityka, małostkowość społeczeństw i głupota polityków raz jeszcze nie wykrzywią losów następnych pokoleń, także pokolenia moich dzieci”.

Charakter muzyki odpowiada tytułowi i treści powyższego komentarza. Początek utworu Zorze IV, utrzymany w jasnym kolorycie instrumentalnym, z radosnymi powtórzeniami pojedynczych dźwięków i motywów osadzonych w stabilnej strukturze harmonicznej, może kojarzyć się z rześkim, pogodnym przebudzeniem.

Optymizm ustępuje niekiedy muzyce bardziej refleksyjnej, niemniej niewymuszona, pulsująca energia powraca i stopniowo, lecz nienachalnie, narasta przez większą jego część. Jest w tym utworze coś ożywczego – muzyczny

ślad budzących nadzieję wydarzeń, ale też nuta obawy, o której kompozytor wspomina, zastrzegając jednak, że „Zorze pozbawione są muzycznych symboli czy pozamuzycznych tematów”.

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Roman Rewakowicz

He completed his music education at Warsaw’s Fryderyk Chopin Academy of Music, obtaining degrees in orchestra conducting (after studies with Bogusław Madey) as well as in theory of music. He also studied composition with Marian Borkowski. His conducting activities include guest appearances with a number of symphony orchestras in Poland, Ukraine, Belarus, and Russia. For example, he has led such orchestras as the National Symphony Orchestra of Ukraine, the Lviv Philharmonic Orchestra, the National Ensemble of Soloists “Kyiv Camerata”, and the National Chamber Ensemble “Kyiv Soloists”.

He has also conducted choirs: the Warsaw Choir “Cappella Corale Varsaviana” as well as the National Academic Choir of Ukraine “Dumka”. Himself a trained composer, Roman Rewakowicz dedicates special attention to contemporary music. He is a co-founder and co-organiser of the “Contrasts” International Contemporary Music Festival, held in Lviv (Ukraine) since 1995. At this Festival he has also appeared as a conductor, premiering works by Ukrainian composers Yuri Laniuk, Igor Shcherbakov, and Polish composer Edward Sielicki.

Thanks to Rewakowicz, the Festival featured Ukrainian premieres of works by Witold Lutosławski, Krzysztof Penderecki, Arvo Pärt, and many others, performed under his baton. He has also premiered works by young Ukrainian composers – Bohdana Frolyak, Bohdan Sehin, Mykhailo Shved, Oleksandr Shymko, Zoltan Almashi, Svitlana Azarova, Mariya Oliynyk, and Lubava Sydorenko (recipients of Gaude Polonia scholarships, sponsored by the Polish Ministry of Culture), commissioned by the Polish Institute in Kyiv with the “Kyiv Camerata” orchestra and the Polish Sinfonia Iuventus Orchestra. In 2013 he

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conducted ten Ukrainian and four Russian orchestras in works by Witold Lutosławski to mark the centenary of the composer’s birthday.

The concerts included performances by Polish, Ukrainian and Russian soloists. The years 2016–2017 were marked by his cooperation with the National Chamber Ensemble “Kyiv Soloists”. Concerts by this ensemble under Roman Rewakowicz were held in several cities in Ukraine and Poland as part of “The Polish-Ukrainian Music Dialogues” project, and included music by Zygmunt Krauze, Wojciech Kilar, Valentin Silvestrov, Igor Shcherbakov, as well as other Polish and Ukranian composers.

© Kuba Pajewski

Роман Ревакович

Випускник Музичної академії у Варшаві, де вивчав теорію музики та композицію у Маріана Борковського, а також диригування у Боґуслава Мадея. Виступав з симфонічними оркестрами Польщі, Росії, Сербії, Словаччини та України, зокрема виступав з такими українськими оркестрами, як Національний симфонічний оркестр України, Академічний симфонічний оркестр Львівської філармонії, Національний ансамбль солістів „Київська камерата“ та Національний камерний ансамбль „Київські солісти“. Також займається хоровим мистецтвом і керує варшавським хором „Cappella Corale Varsaviana“. Як хоровий диригент багато років співпрацює з Національною хоровою капелою України „Думка“. Особливу увагу Роман Ревакович приділяє сучасній музиці. У 1995 у Львові спільно з композиторами, членами Львівської організації Національної спілки композиторів України, став засновником Міжнародного фестивалю сучасної музики „Контрасти“, на якому реалізував світові прем’єри творів Ігоря Щербакова, Юрія Ланюка, Едварда Сєліцького та українські прем’єри Вітольда Лютославського, Кшиштофа Пендерецького, Арво Пярта і багатьої інших композиторів. Диригував прем’єрними виконаннями творів молодих українських композиторів – Богдани Фроляк, Богдана Сегіна, Михайла Шведа, Олександра Шимка, Золтана Алмаші, Світлани Азарової, Марії Олійник та Любави Сидоренкo. Всі вони були в різні роки стипендіатами програми „Gaude Polonia“ Міністра культури і національної спадщини Республіки Польща і написали свої твори на замовлення Польського

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інституту в Києві, виконання яких відбулося в рамках реалізації проекту „Між словом і звуком“ у 2008 році у Києві (виконував Національний ансамбль солістів „Київська камерата”) та у 2009 році під час гастрольного турне містами Польщі та України, яке зробив Роман Ревакович разом із польським молодіжним оркестром Sinfonia Iuventus. У 2013 – ювілейному році до 100-річчя від дня народження Вітольда Лютославського – за участю українських і російських оркестрів під керівництвом Романа Реваковича в Україні та Росії відбулося 14 концертів з музикою Лютославського, які дуже добре сприйняла публіка. Солістами були, зокрема, Ольга Пасічник, Лукаш Ґенюсас, Беата Білінська, Мачєй Ґжибовський, Йожеф Ермінь, Дмитро Ткаченко. У 2016–2017 роках відбулася співпраця диригента з Національним камерним ансамблем „Київські солісти“. У кількох містах України і Польщі відбулася серія концертів під назвою „Польсько-українські музичні діалоги“. У програмі звучали твори Войчєха Кіляра, Зиґмунта Краузе, Валентина Сильвестрова, Ігоря Щербакова та інших польських і українських композиторів.

Roman Rewakowicz

Jest absolwentem Akademii Muzycznej w Warszawie, gdzie studiował teorię muzyki, a także kompozycję pod kierunkiem Mariana Borkowskiego oraz dyrygenturę w klasie Bogusława Madeya.

Występował z wieloma orkiestrami symfonicznymi w Rosji, Serbii, Słowacji, Polsce i na Białorusi; dyrygował Narodową Orkiestrą Symfoniczną Ukrainy w Kijowie, Orkiestrą Symfoniczną Filharmonii we Lwowie, Zespołem Solistów „Kijowska Kamerata”, Zespołem Kameralnym „Kijowscy Soliści”. Zajmuje się również chóralistyką, prowadząc warszawski chór „Cappella Corale Varsaviana” oraz współpracując z Narodowym Chórem Ukrainy „Dumka” w Kijowie. Roman Rewakowicz szczególną uwagę poświęca muzyce współczesnej. W 1995 roku we Lwowie wraz z kompozytorami zrzeszonymi we Lwowskim Oddziale Związku Kompozytorów Ukrainy powołał Festiwal Muzyki Współczesnej „Kontrasty”, na którym dokonał prawykonań utworów Igora Szczerbakowa, Jurija Łaniuka, Edwarda Sielickiego, jak również ukraińskich prawykonań dzieł Witolda Lutosławskiego, Krzysztofa Pendereckiego, Arvo Pärta i wielu innych kompozytorów. Dyrygował premierowymi wykonaniami kompozycji młodych ukraińskich kompozytorów – Bohdany Frolyak, Bohdana Sehina, Mychajły Szweda, Oleksandra Szymki, Zoltana Almaszi, Switlany Azarowej, Mariji Olijnyk oraz Lubawy Sydorenko (byłych stypendystów Ministerstwa Kultury i Dziedzictwa Narodowego „Gaude Polonia”) zamówionych przez Instytut Polski w Kijowie z udziałem „Kijowskiej Kameraty” i Polskiej Orkiestry Sinfonia Iuventus. W 2013 roku – roku jubileuszu 100-lecia urodzin Witolda Lutosławskiego – pod jego dyrekcją odbyło się 14 znakomicie

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przyjętych koncertów z muzyką Lutosławskiego na Ukrainie i w Rosji z udziałem polskich, ukraińskich i rosyjskich solistów. Byli nimi m.in.

Olga Pasiecznik, Lukas Geniušas, Beata Bilińska, Maciej Grzybowski, Jozsef Örmény, Dmytro Tkachenko. Lata 2016–2017 przyniosły współpracę dyrygenta z Zespołem Kameralnym „Kijowscy Soliści”.

W kilkunastu miastach Ukrainy i Polski odbyły się koncerty pt. „Polsko-ukraińskie muzyczne dialogi”, na repertuar których złożyły się utwory Wojciecha Kilara, Zygmunta Krauzego, Valentina Silvestrova, Igora Szczerbakowa oraz innych polskich i ukraińskich kompozytorów.

© Ensemble Nostri Temporis

Ensemble Nostri Temporis

A Ukrainian ensemble specialising in the performance of contemporary classical music, ENT was founded in Kyiv in 2007 by composer and oboist Maksym Kolomiiets and composer and pianist Oleksii Shmurak. Having begun their concert activity with programmes presenting a survey of the musical avant-garde and modernism, the Ensemble subsequently concentrated on the popularisation of works by the most prominent contemporary composers. From 2010 the Ensemble has been headed by composer and musical manager Bohdan Sehin. Since then, ENT has been a frequent participant in all the main contemporary music festivals in Ukraine, and regularly produces its own creative projects, as well as performing internationally. In 2012 ENT initiated and organised the International Master Classes of New Music Course, held annually ever since. In 2011 the audio book Taras Prokhasko and Serhiy Zhadan read Czesław Miłosz was released with support from the Polish Institute in Kyiv. The music for this audio book was composed by Oleksii Shmurak, Bohdan Sehin and Maksym Kolomiiets and performed by ENT. In 2012 ENT released their first CD Live. In 2016, together with the Polish NeoQuartet under the joint name of Neo Temporis Group (formed in 2014), ENT worked on the Dialogue without Borders project, recorded and released on Requiem Records. The CD comprises five pieces: two by Polish and three by Ukrainian composers. The Ukrainian composers’ works were commissioned by the programme Collections – priority Composing Commissions. By working closely with contemporary composers of different generations and countries, the Ensemble has brought to

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light many new names in music composition, and initiated a series of new original compositions. ENT popularises new music through performances in a wide range of contemporary music festivals as well as by producing their own concert projects. The Ensemble is open to collaborations with artists and organisations working in every artistic discipline, having already initiated cross-disciplinary projects in the theatre, poetry, and the cinema.

Ensemble Nostri Temporis

Український колектив, який спеціалізується на виконанні сучасної класичної музики. ENT заснували у 2007 році в Києві композитор і гобоїст Максим Коломієць та композитор і піаніст Олексій Шмурак. Розпочавши свою діяльність з резентації київській публіці антологій музичного авангарду і модернізму, ансамбль взяв курс на пропагування творчого доробку найяскравіших сучасних композиторів різного покоління. Починаючи з 2010 року, керівником ENT є композитор та музичний менеджер Богдан Сегін. З цього часу ансамбль стає постійним учасником усіх найголовніших фестивалів нової музики в Україні, регулярно реалізовує різноманітні власні творчі проекти та активно починає гастролювати за кордоном. У 2012 ENT став ініціатором проведення „Міжнародних майстер-класів нової музики COURSE“, які з того часу відбуваються в Україні регулярно. У 2011 році ENT записав музику О. Шмурака, Б. Сегіна і М. Коломійця до аудіокниги „Тарас Прохасько і Сергій Жадан читають вірші Чеслава Мілоша“. У 2012 ENT випустив свій перший аудіо-диск „LIVE“. У 2014 дебютував польсько-український ансабль Neo Temporis Group, сформований спільно з учасниками ENT та польського ансамблю NeoQuartet. У 2016 об’єднаний міжнародний ансамбль записав аудіо-диск „Dialogues Without Borders“, виданий на лейблі „Requiem Records“. До нього увійшли п’ять творів: два – польських композиторів і три – українських. Твори українських композиторів були замовленням у рамках програми „Колекції – пріоритет Композиторські замовлення“. Ансамбль тісно співпрацює з сучасними композиторами різних

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поколінь та різних країн, відкриваючи нові імена, ініціюючи появу нових творів та виконуючи їх на різноманітних фестивалях сучасної класичної музики та у концертних програмах власних творчих проектів. ENT відкритий до співпраці з представниками інших сфер мистецтва і мистецькими організаціями, ініціює кросдисциплінарні проекти, поєднуючи нову класичну музику із візуальним мистецтвом, поезією, театром та кіно.

Ensemble Nostri Temporis

Ukraiński zespół specjalizujący się w wykonawstwie muzyki współczesnej. Został założony w Kijowie w 2007 roku przez kompozytora i oboistę Maksyma Kolomiietsa oraz kompozytora i pianistę Oleksiia Shmuraka. Rozpoczynając swoją aktywność koncertową od programów prezentujących przegląd muzycznej awangardy, zespół konsekwentnie skupiał się na popularyzacji dzieł wybitnych kompozytorów współczesnych. W 2010 roku prowadzenie zespołu objął Bohdan Sehin, kompozytor i manager. Od tego czasu ENT regularnie uczestniczy w czołowych festiwalach muzyki współczesnej na Ukrainie, jak również poza granicami kraju. W 2012 roku zespół zainicjował i zorganizował międzynarodowe warsztaty muzyki najnowszej International Master Classes of New Music Course, które odbywają się co roku. W 2011 roku ansambl nagrał ścieżkę dźwiękową z kompozycjami Oleksiia Shmuraka, Bohdana Sehina i Maksyma Kolomiietsa do audiobooka Taras Prokhasko and Serhiy Zhadan read Czesław Miłosz, wydanego przy współpracy z Instytutem Polskim w Kijowie. Rok później wydany został pierwszy album CD zespołu pt. Live. W 2016 roku w kolaboracji z polskim kwartetem smyczkowym NeoQuartet pod wspólną nazwą Neo Temporis Group muzycy pracowali nad projektem Dialogue without Borders, nagranym i wydanym nakładem Requiem Records.

Album CD projektu zawiera pięć utworów kompozytorów polskich i ukraińskich; kompozycje ukraińskich kompozytorów zostały zamówione w ramach programu Zamówienia Kompozytorskie polskiego Ministerstwa Kultury i Dziedzictwa Narodowego. Ścisła współpraca z kompozytorami współczesnymi różnych pokoleń

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i z różnych krajów stanowi kanwę, na której Ensemble Nostri Temporis opiera promowanie muzyki najnowszej poprzez wykonywanie nowych, oryginalnych utworów. Zespół nie tylko gości na festiwalach muzyki współczesnej, ale jest także organizatorem własnych inicjatyw koncertowych. Będąc otwartym na współpracę z artystami i organizacjami działającymi w każdej dziedzinie artystycznej, aranżuje interdyscyplinarne projekty łączące muzykę z teatrem, poezją i filmem.

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11.11 3:00 p.m.

Meat Market 5 Blackwood Street, North Melbourne Melbourne

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repertoire

Kazimierz Serocki (1922–1981)

Dominik Karski (*1972)

Phantasmagoria

motion+form

performers

ELISION Paula Rae (flute) Eliza Shephard (flute) Jasper Ly (oboe) Luke Carbon (clarinets)

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Aviva Endean (clarinet) Mark Gaydon (bassoon) Carla Blackwood (horn) Tristram Williams (trumpet) Benjamin Marks (trombone) Marshall McGuire (harp)

Marcin Stańczyk (*1977)

Dobromiła Jaskot (*1981)

SIGHS – hommage à Fryderyk Chopin

Hgrrrsht

***

Alexander Waite (piano) Peter Neville (percussion) James Townsend (percussion) Hamish Upton (percussion) Graeme Jennings (violin) Elizabeth Welsh (violin)

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Anthony Chattaway (viola) Katherine Philp (violoncello) Kathryn Schulmeister (double bass)

repertoire

Andrzej Kwieciński (*1984)

Jagoda Szmytka (*1982)

Contregambilles

inane prattle

performers

ELISION Paula Rae (flute) Eliza Shephard (flute) Jasper Ly (oboe) Luke Carbon (clarinets)

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Aviva Endean (clarinet) Mark Gaydon (bassoon) Carla Blackwood (horn) Tristram Williams (trumpet) Benjamin Marks (trombone) Marshall McGuire (harp)

Alexander Waite (piano) Peter Neville (percussion) James Townsend (percussion) Hamish Upton (percussion) Graeme Jennings (violin) Elizabeth Welsh (violin)

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Anthony Chattaway (viola) Katherine Philp (violoncello) Kathryn Schulmeister (double bass)

commentary

translation

Ewa Szczecińska

Tomasz Zymer

Kazimierz Serocki knew how to “take the bull by the horns” in his music. His every new piece compelled admiration and caused astonishment. We owe to him many avant-garde ideas for contemporary classical music, presented in the 1960s and 70s at major European new music festivals. These ideas included: open form (more freedom for the performers), new techniques of playing classical instruments (especially the piano), the use of early instruments in new music (for instance recorders in Arrangements), the first Polish piece for large percussion ensemble only (Continuum, 1966), and – in his last work, Pianophonie of 1978 – refined interactive electronics, which proved to foreshadow the widespread present-day use of this type of medium.

Forte e piano (1967), a piece in which two pianos had been treated almost entirely percussively, even though the pianists only used the keyboards. Phantasmagoria is a milestone in the area of extended sound techniques.

Not only are the piano strings prepared using Plasticine, but the composer explores the previously undiscovered wealth of sounds found inside the piano case, playing on the strings with the hand and fingernails, with a beater and a jazz brush, producing glissandi on the tuning pins, striking the cast iron plate, as well as traditionally playing on the keyboard. What was also innovative at that time was the use of as many as 37 percussion instruments, including a marimba, a Basque drum, noisemakers and gongs as well as a bottle, which was treated as a music instrument on a par with the timpani and vibraphone. Most important for us today, however, is the composer’s sonoristic imagination, manifesting

Serocki’s Phantasmagoria for piano and percussion (1970–1971) draws on his earlier experiences from

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itself in unique combinations of instruments and playing techniques. With rare insight, Serocki combined all this diversity into micro-structures of sound.

Like most experiments from that time, Phantasmagoria is not a mere catalogue of sounds, but a fully-fledged narrative consciously constructed through self-limitation.

Serocki attained this quality by combining, for instance, sounds produced with the fingernails on the piano strings with those of the temple block, or glissandi performed simultaneously with beaters on the piano strings and on the marimba. Thanks to Serocki’s acoustic imagination, we can today take delight in Phantasmagoria – music that does not age, even fifty years after its premiere (on 12th January 1973 in Zurich).

Dominik Karski, Marcin Stańczyk, Dobromiła Jaskot, Jagoda Szmytka, and Andrzej Kwieciński – grew up in a reality quite different from

Serocki’s world. In their childhood they witnessed the decline of communism in Poland, and their talents flourished in close contact with new European music, which was made accessible to them in many different ways. The tradition of the Polish avant-garde, including the music of Kazimierz Serocki, has been an important point of reference for them. More than half a century after the great avantgarde breakthrough achieved by the Polish school of composition in the 1960s, artists of the younger generations now develop in their own creative ways ideas and experiments from that period.

Just as in the 1960s, we witness the rise of a group of outstanding artistic personalities. Dominik Karski and Andrzej Kwieciński are like musical clockmakers. They start work on a piece by examining the instruments in detail, discovering new types of sound in them, penetrating into hitherto unknown territories and taking advantage of previously unheard-of opportunities. Karski is interested in living sound matter and its various energetic states, in both the physicality and the emotional potential of the thus conceived music material. Most prominent in his explorations is rhythm, which is the backbone of his music, combined with superimposition of successive strata – as in glaze painting technique, where one

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layer shows through the next.

Karski’s music may thus be compared to a palimpsest. His motion+form of 2003, like most of his works, was composed in collaboration with the performers: virtuosi of the harp (Marshall McGuire), double bass (Joan Wright) and percussion (Peter Neville), who form ELISION new music ensemble from Australia, Dominik Karski’s country of residence.

Marcin Stańczyk built his complex orchestral music, abounding in new types of sounds and in exuberant instrumental textures, around the concept of a Chopin rubato.

The title of SIGHS – hommage à Fryderyk Chopin (2008–2010) refers to a nostalgic memory of what Chopin did not notate in his scores – a technique derived from the folk tradition of slowing down tempi, which Stańczyk refers to as a “musical sigh”. With this beautiful work, the composer speaks for the naturalness of musical phrase and gesture, such as the Chopin rubato. He comments on the mechanical elements omnipresent in our lives, which are of an inferior, unnatural order.

In her Hgrrrsht for 2 flutes (2015), composed for the Flute o’clock duo (Ewa Liebchen and Rafał Jędrzejewski), Dobromiła Jaskot explores the borderline between the instrumental (flute) and

the human (voice and breath).

Articulation concerns here both flute techniques and ways of “playing” on one’s own body, such as chattering teeth and tongue clicks, which also contribute to the music. The composer aims to explore a hybrid of flute and mouth, throat and voice box.

Like Karski, Andrzej Kwieciński focuses on experiments with nuances of sound and motifs.

Instruments and performers are for him one whole; one cannot separate the sounds from the choreography of gestures in his compositions.

His great love is early music.

His work on Contregambilles for string quartet (2014) started with a study of dances from operas by Jean-Philippe Rameau, in which he concentrated on the dance movement and choreography translated into both musicians’ gestures and the sounds of music.

Kwieciński has a huge sense of the comical in music and of situational humour, both of which are for him important aspects of his music. Both Karski and Kwieciński delight in exploring sounds related to instrument mechanics, the interplay between what was traditionally considered aesthetically beautiful and what has been rejected thus far as mere technological or mechanical sounds. Stroke and attack, the noise of the bow rubbing against

the strings – the very techniques of sound production become music in their works. Another passion they share is one for calligraphy. Their scores are like works of art, and each sheet is a graphic jewel likely to become a much sought-after collector’s item in the future. The value of such a score is comparable to that of the music itself.

Another tradition related to music notation is that cultivated

by Jagoda Szmytka in her inane prattle for amplified trumpet and 9 instruments, written in 2013 for the Lucerne Festival. For her score, she draws on the avant-garde trend of musical graphics co-created

by Roman Haubenstock-Ramati, a Polish composer residing in Austria. In her instructions for musicians, Szmytka combines, for instance, numbers and spaced-out Greek letters with specific guidelines such as strong air pressure, noisy sound, distorted sound, vacuum-cleaner effect, etc.

Apart from solo trumpet, piccolo flute, transverse flute, oboe, clarinets and strings, she also introduces a tape with the distorted voice of an Arab doctor describing a skin disease. Even someone who knows Arabic would not be able to decipher the meaning of the words, which are only a kind of eponymous “inane prattle”, of the kind that surrounds us in our everyday lives.

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© Jason Tavener

ELISION

ELISION has established an international reputation as Australia’s premier new music ensemble through its engagement with complex and challenging aesthetics. ELISION’s work has focused increasingly on pushing physical boundaries in search of certain kinds of visceral expressive experiences, the musical body in extremis being a benchmark of the ensemble’s repertoire. In a digitised world where physical presence is frequently replaced by avatars generating enormously complex effects, ELISION continues to be fascinated by an artisanal and intimately gestural approach to the production of music, co-creative processes of dialogue with composers, in which musicians imagine, develop and build new technical and expressive means. Consequently ELISION has long enjoyed significant artistic partnerships with composers Liza Lim and Richard Barrett and, more recently, with newly emergent strands of American composition as evident in work with composers Aaron Cassidy, Evan Johnson and Timothy McCormack. ELISION has performed at venues such as the Hebbel-Theater Berlin, the Berlin Philharmonic, Saitama Arts Theater Tokyo, Pompidou Centre, Sydney Opera House, Queensland Art Gallery, and Vienna Konzerthaus; and at festivals such as Wien Modern, MaerzMusik, Huddersfield Contemporary Music Festival, Festival Ars Musica of Brussels, Zurich Theater Spectacle, the 50th Warsaw Autumn Festival, Ultima Oslo Contemporary Music Festival, Transit New Music Festival of Leuven, Spitalfields Music of London, the Chekhov International Theater Festival of Moscow, BIFEM, the Shanghai New Music Week, and the Paris Autumn Festival. The group’s discography extends to over 24 compact

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discs, including recordings made at the Deutschlandfunk, Radio Bremen and BBC London Studios for release on Kairos, Neos, NMC Recordings, Mode, reviewed to acclaim in Gramophone, The Wire, New York Times, and BBC Music Magazine.

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11.11 9:00 p.m.

Auditorium Lattuada Corso di Porta Vigentina 15 Milan Milano

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repertoire / repertorio

Krzysztof Penderecki (*1933)

Henryk Mikołaj Górecki (1933–2010)

Sextet

Little Requiem for a Certain Polka Op. 66

Sestetto 1. Allegro moderato 2. Larghetto

Piccolo requiem per una Polka op. 66 1. Tranquillo 2. Allegro impetuoso – Marcatissimo 3. Allegro – Deciso assai 4. Adagio cantabile

performers / esecutori

***

Agata Zubel (voice / voce)

Sentieri selvaggi

Carlo Boccadoro (conductor / direzione)

Paola Fre (flute / flauto) Ambra Cozzi (oboe / oboe) Marco Ignoti (clarinet / clarinetto) Michele Colombo/ (bassoon / fagotto)

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Agata Zubel (*1978)

Not I Non io

Dimer Maccaferri (horn / corno) Fabio Codeluppi (trumpet / tromba) Valentino Spaggiari (trombone / trombone) Lorenzo Colombo (percussions / percussioni) Andrea Rebaudengo (piano / pianoforte)

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Piercarlo Sacco (violin / violino) Enrica Meloni (violin / violino) Virginia Luca (viola / viola) Aya Shimura (cello / violoncello) Alberto Lo Gatto (double bass / contrabbasso)

commentary

translation

Monika Żyła

Tomasz Zymer

The two compositions that open this concert programme were written by doyens of the Polish school of composition: Krzysztof Penderecki (Sextet for clarinet, horn, string trio and piano, 2000) and Henryk Mikołaj Górecki (Little Requiem for a Certain Polka Op. 66 for piano and 13 instruments, 1993).

They offer not only two extremely interesting approaches to contemporary chamber music, but also represent extremely intriguing moments of breakthrough in both composers’ artistic work. They were written when both artists already had an established position in the contemporary music scene, having reached the peak of their careers and popularity. On the one hand, they no longer had to prove anything. On the other, each new piece became a test of their creative autonomy, individual language and originality.

one and the same piece and can “cater to the collective emotions” like no other composer – was expressed by Stefan Kisielewski in 1962, long before Andrzej Chłopecki published his critical commentary entitled The Socialist-Realist Penderecki and Jan Topolski wrote his Love Me Pender. With his characteristic insight, Kisielewski recognised and defined the stylistic ingredients and aesthetic strategies of this “Pendereckiade.” He did not, however, pass a negative judgment on the composer’s artistic stance. On the contrary, he was intrigued and observed Penderecki’s development with moderation and distance. He saw these works as a symptom of our time and as an example of the then nascent postmodernist “cultural catering service.” It is interesting in this context that Penderecki’s Sextet was composed in a period when the composer came to reject the great narrative forms once typical of his art, distancing himself

The opinion that Krzysztof Penderecki in fact always writes

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from his earlier monumental and specifically operatic style, from aesthetic maximalism and acoustic inventiveness for which he was famous. It was also the time when he deflated his aesthetic balloon a little and suspended for a moment his belief in “the possibility of bringing salvation to people by means of the art of sounds” (to use Andrzej Chłopecki’s phrase). In that period, Penderecki began to play with sounds and enjoy music-making, to wink at his audience and lead the critics mischievously by the nose. The composer himself wrote about this characteristic turnabout in his music: “I now turn toward chamber music, where more can be said in a hushed voice, condensed in the sounds of 3–4 instruments.

This escape into privacy is a kind of response to our fin de siècle, to the clock of history running faster again and to the chaos related to the reshuffling of norms in culture, ethics and politics.”

This is, then, the character of Penderecki’s bipartite Sextet – changeable and capricious; now light and lively like an illustrative pastiche, with distinct rhythms and elements of dialogue, grotesque and humorous; now – deeply nostalgic, melancholy and pensive, almost mournful at times.

Written in the year 2000, it evokes Chasidic and Klezmer motifs, even a Spanish bolero. It is a rather rare example of music written by the composer “without ideological pretensions and without paying homage to a specific worldview,” claimed Andrzej Chłopecki.

For Górecki writing the Kleines Requiem für eine Polka was first and foremost an attempt to come to terms with the great international success that he had scored a year earlier in connection with the release of his Symphony No. 3 “Symphony of Sorrowful Songs” Op. 36. A recording of this symphony (which the composer himself considered as his most avant-garde piece) came out in 1992 under the US label Elektra Nonesuch, fifteen years after its composition. The Little Requiem was therefore a work of major significance in his career, written in a way under the pressure of the success of Symphony No. 3, when a sudden and enormous surge in popularity disturbed “both his mental processes and

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the perception of time,” as the British musicologist Adrian Thomas suggests. It is possibly for this reason that the Little Requiem is now considered as one of the (only) three significant works that he wrote after 1992. Composed for Schönberg Ensemble as a Holland Festival commission, it is a cycle in which the lyrical opening and closing sections are contrasted with the stormy, rough and almost aggressive central movements.

The piece opens with an extremely subtle section in a specifically gentle and pensive, almost tender mood, with a focus on attentive listening and on taking a break for an intimate encounter with the nature of sound in progress.

The section is distinguished by a spatial quality typical of this composer – a wide horizon of gradually emerging planes of sound. This meditative, stagnant sound typical of Górecki, attained by means of slowly evolving phrases, is contrasted with the dynamic, impetuous hocket of the piano and the trombone, as well as with a folk-dance-like explosion of hearty spontaneity. This section draws on the rhythm and character of the polka of the title, which is heard in section three. By combining a liturgical genre – that of the requiem (mourning mass for the dead) – with elements of the Czech national dance, the composer creatively alluded to the

disintegration of Czechoslovakia.

The specifically capricious emotional aura of the Little Requiem, its circus-style, grotesque quality brings to mind the figure of a clown who “conceals unspeakable sadness under his make-up.”

The Sextet and the Little Requiem represent two radically different types of material and energy, two different musical worlds. They also differ in the approach the question of memory in music.

In Penderecki’s piece what counts is relatively short-term memory, denied by persistent recollections, by fast-evolving and rapidly transforming repetitions of short phrases and motifs. These repetitions are responsible for the wide range and great dynamism of the narration in the Sextet.

In Górecki’s work, the musical tale depends on alternating phases of recalling and forgetting, of waiting, anticipation and then reverberation of musical phrases; on the fascinating approximation of the very essence of sound in its never-ending existence. Despite obvious differences, the two works also have much in common. Both draw abundantly on the dynamism and spontaneity of folk music, with numerous references to dance (bolero in Penderecki, polka in Górecki). At some points the two compositions also assume the same grotesque, almost literal

character, and make similarly creative references to both music of the past and the composers’ own works. “Górecki does it in the same way in which he referred to the music of Chopin and Beethoven in his Symphony No. 3, which makes the impression that the quotations are in fact his own music,” wrote Adrian Thomas about the Little Requiem in the programme book of the 1993 Warsaw Autumn.

Not I by Agata Zubel for voice, instrumental ensemble and electronics is quite a different piece. It is one of the most spectacular, singular, original and… popular compositions in the Polish contemporary music of the last decade. Written in 2012 and premiered by Klangforum Wien under Clement Power during the Sacrum Profanum Festival, it has since made a tremendous career in Poland and worldwide, being presented at the most important festivals and concert venues at home and abroad (the Vienna Konzerthaus, Ultraschall Festival für neue Musik Berlin, the Contemporary Music Festival in Huddersfield) as well as to a wide audience via numerous radio and television broadcasts.

The American music critic and New Yorker reviewer Alex Ross played it in his radio series Current Obsessions as many as three times. Not I was the selected

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work of the 60th International Rostrum of Composers in 2013, which undoubtedly contributed to its success. Inspired by Samuel Beckett’s play of 1972, it is an auto-reflective narrative based on a fascinating search for and gradual discovery of one’s own voice, and hence also – of one’s own identity. Zubel presents herself here in the double role as composer and performer. The mesmerising vocal expression of this suggestive work depends on extended vocal techniques characteristic of Zubel’s works. At the culminating point, the vocal gets symbolically separated from the body thanks to electronics and acquires an autonomous existence in perfect isolation from the protagonist, which lends yet another layer of meaning to Beckett’s text.

commento

traduzione

Monika Żyła

Magdalena Bartkowiak-Lerch

I due primi brani presentati nel programma del concerto, composti da decani della scuola polacca di composizione, ovvero il Sestetto per clarinetto, corno, trio d’archi e piano, del 2000 di Krzysztof Penderecki e il Piccolo requiem per una polka op. 66 per piano e 13 strumenti, del 1993 di Henryk Mikołaj Górecki, offrono non solo due punti di vista particolarmente interessanti sulla musica da camera contemporanea.

Ambedue i componimenti furono creati in un momento eccezionale, perfino di svolta per ciascuno dei compositori. Entrambi infatti avevano già affermato il proprio nome nel mondo della musica contemporanea, avevano raggiunto l’apice della carriera e della popolarità. Da una parte non dovevano più provare niente a nessuno, dall’altra ciascuna nuova composizione diveniva un’altra verifica della loro autonomia creativa, dell’individualità dell’espressione e della propria originalità.

Che Krzysztof Penderecki componga sempre lo stesso brano e sappia, come nessun altro, “riscaldare le emozioni di massa” lo affermava Stefan Kisielewski già nel 1962, e cioè molto prima della pubblicazione delle recensioni critiche di Andrzej Chłopecki (Penderecki del realismo socialista) e di Jan Topolski (Love me Pender). Con la sua famosa perspicacia Kisielewski aveva identificato le componenti stilistiche e le strategie estetiche del “pendereckismo”. Ciò nonostante, non valutò in modo negativo l’atteggiamento creativo del compositore. Al contrario, lo osservava incuriosito con una moderata presa di distanza. Vi vedeva il segno dei nostri tempi e un “buffet culturale” postmoderno che stava nascendo proprio allora. È tanto più interessante che il Sestetto di Penderecki nacque in quel momento importante per il compositore di abbandono delle grandi forme e narrazioni,

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nel periodo in cui egli si stava distanziando dalla monumentalità che lo caratterizzava in precedenza, da uno specifico stile operistico, dall’integralismo estetico e dallo sperimentalismo dei suoni, aspetti per i quali era diventato famoso. Fu anche il periodo in cui Penderecki rallentò nella sua corsa e smise per un momento di credere nella “possibilità di redimere con l’arte dei suoni” (espressione di Andrzej Chłopecki). Si tratta di un periodo in cui inizia a fare musica, a giocare con i suoni, a strizzare l’occhio al pubblico e a menare maliziosamente per il naso i critici.

Il compositore stesso così parlava di quel cambiamento significativo nella sua attività creativa: “Rivolgo il mio interesse alla musica da camera riconoscendo che è possibile esprimere di più a bassa voce, condensata nel suono di 3–4 strumenti. Tale fuga verso la privacy musicale è una sorta di risposta al nostro fin de siècle, a quell’accelerare dell’orologio

della storia e al caos legato alla rivalutazione delle norme nella cultura, nell’etica e nella politica”. E così è anche il Sestetto in due tempi di Penderecki: capriccioso e variabile, una volta leggero, animato, con ritmo marcato, con una certa aria di pastiche illustrativo, grottesco, dialogante, spiritoso; un’altra volta profondamente nostalgico, melanconico, meditabondo, a volte addirittura lacrimoso. Scritta nel 2000, la composizione richiama gli echi dei motivi musicali chassidici, klezmer, e anche del bolero spagnolo, essendo allo stesso tempo un esempio abbastanza raro di musica scritta da un compositore “privo di ambizioni ideologiche e di debiti nei confronti delle visioni del mondo”, per richiamare le parole di Andrzej Chłopecki.

Per Górecki il momento della creazione del Kleines Requiem für eine Polka è invece prima di tutto un tentativo di affrontare il grande successo internazionale riscosso un anno prima con la pubblicazione della sua III Sinfonia “Sinfonia dei canti lamentosi” op. 36. La registrazione di questa composizione, ritenuta dall’autore stesso come la principale sua opera d’avanguardia, fu pubblicata nel 1992 dalla casa fonografica americana Elektra Nonesuch, quindici anni dopo la creazione del brano. Il Piccolo requiem

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è quindi un pezzo particolarmente significante, scritto in un certo senso sotto la pressione del successo della III Sinfonia. È il momento in cui una immensa e inaspettata popolarità aveva sconvolto “sia i suoi processi mentali creativi che il suo tempo”, sosteneva il musicologo britannico Adrian Thomas. Forse proprio per questo il Piccolo requiem è incluso fra appena tre opere importanti del compositore scritte dopo il 1992. Creato per Schönberg Ensemble su commissione di Holland Festival, il Piccolo requiem è una composizione ciclica – i tempi lirici esterni contrastano con burrascosi, aspri, persino aggressivi tempi interni.

L’opera si apre con un tempo eccezionalmente sottile, da uno specifico, delicato, tenero clima di riflessione, rapimento in ascolto, pausa, che propone un intimo avvicinamento dell’ascoltatore alla natura del suono che dura.

Questa parte è caratterizzata dalla spazialità tipica per il compositore, da un ampio orizzonte dei piani sonori che si delineano lentamente. La stasi meditativa dei suoni, tipica di Górecki, resa tramite frasi musicali sviluppate lentamente, viene contrastata nel secondo tempo dall’impeto di un dinamico ochetto del pianoforte e del trombone, da una spontaneità e giovialità impetuosa, popolare e danzante. Essi alludono al ritmo

e carattere della polka indicata nel titolo, presente nel terzo tempo.

Coniugando il requiem, genere compositivo liturgico eseguito durante cerimonie funebri, con elementi della danza nazionale ceca, il compositore alluse in modo creativo al disgregamento della Cecoslovacchia. Creando un’atmosfera peculiare e capricciosa del Piccolo requiem, un clima grottesco, quasi da circo, il compositore faceva venire in mente la figura del clown che “sotto il trucco cela una tristezza inesprimible”.

Sia il Sestetto che il Piccolo requiem per una polka rappresentano materie ed energie sonore distinte. Sono due mondi della musica diversi.

Affrontano in modo diverso anche la questione della memoria nella musica. In Penderecki è una memoria a termine piuttosto breve, contrastata da un ricordare ostinato, da ripetizioni di brevi frasi e motivi che evolvono e si trasformano rapidamente.

Proprio esse fanno sì che la narrazione musicale sviluppata nel Sestetto con grande brio abbia una dinamica insolita. Nell’opera di Górecki, invece, il racconto musicale è basato sull’alternarsi del ricordare e dimenticare, momenti di attesa, di stare in ascolto e del durare e spegnersi delle frasi, su un affascinante

avvicinamento all’essenza stessa del suono nel suo essere infinito. Nonostante le palesi differenze le due opere hanno parecchio in comune. Entrambe attingono abbondantemente dalla spontaneità popolare, sono contrassegnate da numerosi richiami a danze (bolero in Penderecki, polka in Górecki).

Hanno in comune anche momenti di carattere immediato e grottesco, come pure riferimenti alla musica del passato sia che alla propria produzione. “Górecki lo fa nello stesso modo in cui si riferiva alla musica di Chopin e di Beethoven nella sua III Sinfonia: crea l’impressione che le citazioni siano la sua propria musica”, scriveva sul Piccolo requiem Adrian Thomas nel programma del festival Warszawska Jesień del 1993.

Not I (Non io) di Agata Zubel, per voce, ensemble e live electronics è in questo contesto una composizione del tutto diversa. È uno dei brani musicali più spettacolari, insoliti, originali e… popolari della musica polacca contemporaea dell’ultima decade.

La prima esecuzione del brano scritto nel 2012 fu eseguita dalla Klangforum Wien diretta da Clement Power durante il festival Sacrum Profanum. Da quel momento Non io conosce un successo vertiginoso, sia in Polonia che nel mondo. Viene

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presentato ai festival e sulle scene più importanti, nazionali e internazionali (Wiener Konzerthaus, Ultraschall festival di Berlino, festival della musica contemporanea di Huddersfield), a un pubblico più ampio è conosciuto grazie a numerose trasmissioni radiotelevisive. È stato trasmesso ben tre volte nel programma Current Obsessions di Alex Ross, critico musicale americano legato al periodico “New Yorker”. Al successo ha senz’altro contribuito anche la Vittoria nel 60. concorso Tribuna Internazionale dei Compositori UNESCO nel 2013. Non io, ispirato alla piece di Samuel Beckett del 1972, è un’opera di riflessione su sé stessi la cui narrazione gira intorno a un’affascinante ricerca e a un progressivo avvicinamento alla propria voce e, tramite questa, alla propria identità. Zubel vi si presenta nel doppio ruolo di compositrice-esecutrice. Crea un’intepretazione suggestiva in cui l’espressione vocale ipnotizzante, basata su tecniche vocali ampliate caratteristiche per la sua produzione, nel punto culminante si stacca simbolicamente dal corpo e con l’aiuto della musica elettronica inizia a esistere in modo autonomo, in una completa alienazione dalla protagonista, concedendo all’opera di Beckett una nuova dimensione.

Carlo Boccadoro

He studied at Milan’s Giuseppe Verdi Conservatory of Music, where he was awarded a degree in piano and percussion. At the same conservatory he also studied composition with Paolo Arata, Bruno Cerchio, Ivan Fedele, and Marco Tutino. Since 1990 his works have been performed in the most important Italian music venues and festivals: Teatro alla Scala, Santa Cecilia Academy, Venice Biennale, Verona’s Philharmonic Theatre, MITO SettembreMusica, Genova’s Carlo Felice Theater, Bologna’s City Theater, Ferrara Music, Aterforum, Maggio Musicale Fiorentino, Tuscany’s Orchestra, Montepulciano’s International Art Workshop, the Roman Philharmonic Academy, Palermo’s Massimo Theatre, and many more.

His music has also been performed abroad, including in France, Spain, Germany, the Netherlands, England, Scotland, the USA (Bang on a Can Marathon, Aspen Music Festival, Los Angeles Monday Evening Concerts), and Japan. In 2001 Luciano Berio commissioned from Boccadoro a children’s opera for the Santa Cecilia Academy, La Nave a tre piani. For the theatre he has also composed the ballet Games and four musical operas. In 2003 his piece Bad Blood for piano and five instruments was selected by RAI to be presented at the UNESCO International Rostrum of Composers. In 2011, several pieces were commissioned from him for musical events and ensembles: Variations for Orchestra for the La Scala Philharmonic Orchestra, Point of View – commissioned by the Detroit Wayne State University, Portrait of a Musician – for the Leipzig Gewandhaus Orchestra directed by Riccardo Chailly, Soul Brother No. 1 – for the Rome National Academy of St Cecilia. In 2017 the La Scala

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Philharmonic Orchestra gave the world premiere of his Concerto per pianoforte e orchestra. His books have been published by Einaudi, Marcos y Marcos, and Società Editrice Milanese. Since 2017 he has been the Artistic Director of Concerti della Normale di Pisa. He is one of the founders of the cultural project Sentieri selvaggi.

© Sentieri selvaggi

Carlo Boccadoro

Carlo Boccadoro ha studiato al Conservatorio di Musica Giuseppe Verdi di Milano dove si è diplomato in Pianoforte e Strumenti a Percussione. Nello stesso istituto ha studiato Composizione con Paolo Arata, Bruno Cerchio, Ivan Fedele e Marco Tutino. Dal 1990 la sua musica è presente in importanti stagioni concertistiche e sale da concerto tra cui Teatro alla Scala, Biennale di Venezia, Bang on a Can Marathon di New York, Orchestra Filarmonica della Scala, Gewandhaus di Lipsia, Monday Evening Concerts di Los Angeles, Detroit Symphony Orchestra, Musikverein di Vienna, Salle Pleyel di Parigi, Teatro La Fenice di Venezia, Barbican Centre di Londra, Concertgebouw di Amsterdam, National Concert Hall Dublin, Royal Academy di Glasgow, Maggio Musicale Fiorentino, Filarmonica ‘900 del Regio di Torino, Orchestra Sinfonica di Milano Giuseppe Verdi, Arena di Verona, Festival MITO e molti altri. Nel 2001 è stato scelto dalla Rai per partecipare alla Tribuna Internazionale dei Compositori dell’UNESCO a Parigi. Nel 2004 Luciano Berio gli ha commissionato, per l’Accademia Nazionale di Santa Cecilia, l’opera per ragazzi La Nave a Tre Piani. Ha inoltre scritto altre quattro Opere da camera. Nel 2017 la Filarmonica della Scala, diretta da Riccardo Chailly, ha eseguito in prima assoluta il Concerto per pianoforte e orchestra. Svolge anche attività come direttore d’orchestra: ha diretto l’Orchestra del Teatro alla Scala, L’ Orchestra Sinfonica Nazionale della RAI, la Royal Philarmonic Orchestra, i Pomeriggi Musicali di Milano, L’Orchestra Sinfonica di Milano Giuseppe Verdi, L’Orchestra del Teatro Regio di Torino, l’Orchestra della Fondazione Arena di Verona e altre ancora. Ha pubblicato diversi libri di

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carattere musicale per Einaudi, Marcos y Marcos, Mondadori, SEM. A partire dall’ottobre 2017 ricopre la carica di direttore artistico dei Concerti della Normale di Pisa. È tra i fondatori del progetto culturale Sentieri selvaggi.

Agata Zubel

Composer and vocalist, she lives in Wrocław, where she teaches at the Academy of Music. Known for her unique vocal range and the use of techniques that challenge stereotypes, Zubel gives concerts throughout the world and has premiered numerous new works. Agata Zubel’s compositions have been commissioned by prestigious music institutions such as Los Angeles Philharmonic, Seattle Symphony, Staatsoper Hannover, the Westdeutscher Rundfunk (for the Neue Vocalsolisten), Ensemble intercontemporain, the Ultraschall Festival in Berlin, the Deutsche Welle in Bonn, the Wratislavia Cantans Festival, and the Grand Theatre – National Opera in Warsaw. Winner of several competitions, both as singer and composer, she also boasts such important accolades as the Passport Award of the “Polityka” weekly for classical music (2005), Fryderyk Award for Cascando – a CD programme of her own compositions, selected work (the grand prix) of the 60th UNESCO International Rostrum of Composers for the piece Not I (2013), the Polonica Nova Prize (2014), Coryphaeus of Polish Music (2016) and the Badge of Merit for Polish Culture.

Together with the composer and pianist Cezary Duchnowski, she has formed the ElettroVoce Duo. As a singer and composer, Agata Zubel has collaborated with several dozen festivals and philharmonic companies, operas as well as the world’s leading ensembles, such as: Klangforum Wien, musikFabrik, intercontemporain, Ictus, London Sinfonietta, the Eighth Blackbird, Seattle Chamber Players, and San Francisco Contemporary Music Players. Her discography comprises more than a dozen titles, including albums dedicated to her own music – Not I (Kairos) and Cascando (CD Accord), as well as her

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vocal interpretations of songs by Copland, Berg and Szymański (Poems), el-Derwid. Blots on the Sun and the most recent Dream Lake, respectively with song cycles by Witold Lutosławski and André Tchaikowsky (CD Accord).

© Łukasz Rajchert

Agata Zubel

Compositrice e cantante, legata a Breslavia, dove insegna nell’ateneo in cui ha studiato. Conosciuta per la sua particolare estensione della voce, adoperata spesso in modo innovativo per far cadere certi stereotipi. Si esibisce in tutto il mondo, tra le sue performance conta numerose prime assolute. Compone per prestigiose istituzioni di musica, tra cui: Los Angeles Philharmonic, Seattle Symphony, Staatsoper Hannover, Westdeutschen Rundfunks per Neue Vocalsolisten, Ensemble intercontemporain, Ultraschall Festival di Berlino, radio Deutsche Welle di Bonn, Festival Wratislavia Cantans, Grande Teatro – Opera Nazionale di Varsavia. Ha vinto più di dieci concorsi di canto e di composizione musicale. Ha ricevuto il Passaporto del settimanale “Polityka” (2005), ha vinto il premio Fryderyk per il disco monografico Cascando (2010) e la competizione alla Tribuna Internazionale dei Compositori a Praga con la composizione Not I (Non io, 2013); ha inoltre ricevuto il premio Polonica Nova (2014) e il Corifeo della Musica Polacca (2016), onorificenza conferita per il Benemerito della Cultura Polacca. Insieme a Cezary Duchnowski ha creato il duetto ElettroVoce. Come cantante e compositrice ha collaborato con alcune decine di filarmoniche, teatri d’opera e festival, ha lavorato inoltre con i migliori ensemble del mondo, m.in.: Klangforum Wien, musikFabrik, intercontemporain, Ictus, London Sinfonietta, Eighth Blackbird, Seattle Chamber Players, San Francisco Contemporary Music Players. Tra le sue numerose pubblicazioni fonografiche contiamo album di composizioni musicali: Not I (Kairos) e Cascando (CD Accord), e vocali: Poems in cui interpreta canzoni di Copland,

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Berg e Szymański, Plamy na słońcu. el Derwid (Macchie solari. el Derwid) e il recente Dream Lake (Lago dei sogni) con cicli vocali di Witold Lutosławski e Andrzej Czajkowski (CD Accord).

Sentieri selvaggi

Sentieri selvaggi is an ensemble that groups some of the best Italian musicians with the aim of bringing contemporary music closer to a wide audience. It was founded in Milan 1997 by Filippo del Corno, Angelo Miotto and Carlo Boccadoro. Previously, Sentieri selvaggi was a radio programme, from which the group has inherited a communicative quality; for instance, the traditional playbill is substituted with brief, spoken introductions preceding each piece.

Over the years, Sentieri selvaggi has established a close working relationship with composers such as Philip Glass, Michael Nyman, David Lang, James MacMillan and Louis Andriessen, who choose Sentieri selvaggi to perform their compositions in Italy or even write new pieces specifically for the group. The ensemble is regular guest at the most prestigious Italian musical venues and festivals (Teatro alla Scala, Biennale in Venice, MITO SettembreMusica, Accademia Filarmonica Romana, SocietĂ del Quartetto, Scuola Normale in Pisa, Teatro Scarlatti in Naples), at important cultural events in Italy (Festivaletteratura in Mantova, Festival della Scienza in Genova, Triennale in Milan) and at international festivals (Bang on a Can Marathon, New York; SKIF Festival, Saint Petersburg; the International Review of Composers, Belgrade; the International Festival of Contemporary Music, Tashkent, Uzbekistan; Sacrum Profanum, Cracow). Since 2009, Sentieri selvaggi has organised its musical season as a group in residence at Teatro Elfo Puccini, one of the most vibrant and representative contemporary art venues in Milan. Over the years, the ensemble has produced several publications and recordings. Its latest production, Le sette stelle

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(2017) has been released under the prestigious label Deutsche Grammophon. Sentieri selvaggi has staged chamber operas, which have met with wide audience and critical acclaim. Mirco Ghirardini is now the president of the Association and Carlo Boccadoro is the artistic director and conductor of the ensemble.

© Sentieri selvaggi

Sentieri selvaggi

Sentieri selvaggi nasce vent’anni fa, nel 1997, da un’idea di Carlo Boccadoro, Filippo Del Corno e Angelo Miotto con lo scopo di avvicinare la musica contemporanea al grande pubblico. Fin dall’esordio i concerti di Sentieri selvaggi si caratterizzano per le informali presentazioni parlate di ogni brano. Del 2009 Sentieri selvaggi organizza la propria stagione musicale come ensemble in residence nella prestigiosa sede del Teatro Elfo Puccini di Milano, uno dei luoghi più rappresentativi della creatività contemporanea della città. Sentieri selvaggi è regolarmente ospite delle più prestigiose stagioni musicali italiane (Accademia Nazionale di Santa Cecilia, Teatro alla Scala, Biennale di Venezia, Società del Quartetto di Milano), dei maggiori eventi culturali del nostro paese (Festival della Letteratura di Mantova, Festival della Scienza di Genova, MITO SettembreMusica) e di importanti festival internazionali (Bang on a Can Marathon di New York, SKIF Festival di San Pietroburgo, Sacrum Profanum di Cracovia, Festival Ilkhom di Tashkent, Uzbekistan). Nel corso degli anni il gruppo stringe collaborazioni con i più importanti compositori internazionali come Nyman, Glass, Lang, Andriessen, MacMillan, Bryars, Wolfe, Vacchi e promuove una nuova generazione di compositori italiani quali Antonioni, Colasanti, Mancuso, Montalbetti e Verrando. Capitolo importante nel lavoro di Sentieri selvaggi sono poi le produzioni di teatro musicale, con allestimenti quali L’uomo che scambiò sua moglie per un cappello di Michael Nyman, The Sound of a Voice di Philip Glass, Il sogno di una cosa di Mauro Montalbetti. Il catalogo di produzioni editoriali e discografiche del gruppo conta oltre 10 titoli realizzati per Einaudi,

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RaiTrade, Sensible Records, Cantaloupe. Nel 2017 Sentieri selvaggi pubblica Le sette stelle, il suo primo cd per la prestigiosa etichetta Deutsche Grammophon. La presidenza dell’Associazione è affidata a Mirco Ghirardini e la direzione artistica e musicale dell’ensemble a Carlo Boccadoro.

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Š Roulette Intermedium

11.11 8:00 p.m.

Roulette Intermedium 509 Atlantic Ave, Brooklyn New York

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repertoire

Paweł Mykietyn (*1971)

Tadeusz Wielecki (*1954)

Klave

Numerous Branches of Ramified Plaits

performers

Jacob Greenberg (harpsichord) Steven Schick (conductor) International Contemporary Ensemble

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Lidia Zielińska (*1953)

Aleksander Nowak (*1979)

Conrad’s Seven Islands

Quantemporette

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repertoire

Agata Zubel (*1978)

Double Battery

performers

Jacob Greenberg (harpsichord) Steven Schick (conductor) International Contemporary Ensemble

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commentary

translation

Paweł Siechowicz

Tomasz Zymer

The concert programme consists of music by Polish composers born in the 1950s (Lidia Zielińska, Tadeusz Wielecki) and 1970s (Paweł Mykietyn, Agata Zubel, Aleksander Nowak). Despite the age difference, these artists could be seen as representatives of one and the same generation, since the works selected for this concert show close analogies.

The combination of instruments with electronics (Zielińska, Zubel) and intensive-type chamber music aesthetic (Wielecki, Nowak) demonstrate many similarities, even though each of the composers creates their own, individual and profoundly personal musical world.

sources. The elements of air and water produce a wealth of sound that fascinates sailors: the swoosh of wind and waves; the wailing squall and the deep beat of masses of water washing the deck; exotic sounds coming from the islands that emerge in the distance. Who lives on those islands, which were born out of the composer’s imagination and the inspiration of Joseph Conrad’s prose – we can only guess. The mysterious and dangerous charm of exotic lands depends on the unknown that attacks us with sounds unlike those produced by any creature known to us. The great advantage of electronic music is that the listeners can easily lose their way in it, lose their sense of direction, and feel amazed by some unexpected sound. Born out of a fascination with the unknown, but also out of a longing for what will inevitably be lost – this piece is, according to the composer herself, an impression on the topic

Lidia Zielińska’s Siedem wysp Conrada (Conrad’s Seven Islands, 2007) combines an electronic layer with the parts of ten amplified instruments. Amplification serves the purpose of creating a unified sound coming from the instrumental and the electronic

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of cultures that are dying even as we listen to Zielińska’s music. The noise of the natural elements that opens, permeates and closes the whole composition need not be seen as merely a marine motif. It may also symbolise the ruthless wind of history that announces both the beginning and the end of cultures and civilisations.

Paweł Mykietyn’s Klave (2004) explores the possibilities of microtonal harmony. The protagonist of this composition is a harpsichord tuned in quartertones, accompanied by a chamber orchestra. The title suggests a work with a key, but the composer does not point to any doors that it could open and does not hint at what might await us on the other side. Possibly what counts is not the world behind the doors but the very process of opening them or – to make our metaphor more precise – of crossing a certain boundary. The piece is clearly

divided into two parts. In the first we find ourselves in front of a closed door. After an orchestral introduction, in which the quivering instrumental parts gradually accumulate to reach a climax, the harpsichord begins its solo, later joined by the other instruments.

The insistent chord repetitions (which our ear, accustomed to the major-minor tonality, cannot ascribe to any specific key) – reverberate with a kind of disconsolate unrest. The strong drive of the harpsichord dominates over the other instrumental parts.

Melodic instability and harmonic ambiguity – these two categories define the first movement. Then the door opens with a jarring, earpiercing sound, and movement two can begin. Sounds get dispersed.

Produced in isolation by different instruments and scattered throughout the entire register of both harpsichord keyboards, they now build an open space in which a string cantilena is soon to be heard. The music will remain hushed until the very end.

Double Battery (2016) by Agata Zubel enters all at once with wild energy. Two competing sets of percussion supplemented by strings divided into two groups and two pairs of wind instruments (a high flute and an oboe as well as low bass clarinets) fight for dominant position in this herd of

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instruments. They dominate the concert space even more when the performers decide to use the option (provided by the composer) of electronically extending the sound space. Also the smaller groups within this diversified ensemble compete with each other, but the most distinct opposition is that between the eminently low and dark bass clarinets and the disjointed ensemble sound consisting of the other disparate instruments. Clashes between the groups lead to ever new discharges of energy. Setting pairs of instrumentalists (and the musicians within each pair) against each other provides the driving force for the formal mechanism devised by the composer. The piece – written for Ensemble intercontemporain, an ensemble founded by Pierre Boulez – exploits the soloistic skills of the individual performers. The double cell constructed by the composer has a great power, but even such a powerful battery must run out at some point. The composition ends with long bundled streaks of sound supported by a distinct, dark bass.

Liczne odnogi rozgałęzionych splotów (Numerous Branches of Ramified Plaits) for clarinet, piano and cello (1987–1988) by Tadeusz Wielecki begins and ends in a manner similar to Zubel’s closing section. The individual,

long and quiet sounds performed by each of the three instruments combine into harmonies which at first do not foreshadow the drama of the events to come, but in the end bring comfort and solace after these events have already taken place. Assigning a different expressive purpose to the same sound pattern is made possible by what comes in between.

There are four culminations announced by groaning glissandi in the cello. The culminations differ in their dramatic contour and force, though each consists of similar elements: recurring calls of the clarinet, dynamic passages with cello pizzicato, violent sound attacks, heavy chords on the piano, as well as hissing, tapping, squealing and whistling. The multiple repetitions of similar sound patterns make the impression of some insoluble knot. We follow one end, but instead of untying the tangled threads we tighten them even more. Another end – and the result is the same. With every failure our determination grows. This Gordian knot can in fact be untied in one way only. The final culmination ends with sharply cut clarinet phrases and the sound of the bow pressing against cello strings, supported by heavy strokes of the piano. A moment of repose after this sudden cut reveals that we are still close to the point of departure.

Quantemporette for clarinet, trombone, cello and piano (2008)

by Aleksander Nowak also follows its own drama. The title is a portmanteau word consisting of three elements which, as the composer claims, played a role in the process of composition but should not preoccupy the audience. Those three elements are: quantum, temporal and quartette. After a timid opening, harmonies gradually build up and then disintegrate in ascending arpeggios of the piano. The instruments, encouraged by this opening, start to present their individual statements, but do not seem to listen to one another and lose their energy after a while. The quiet piano inspires movement in the other instruments. They respond to the calls of the piano, with each repetition – ever more confidently and insistently.

For a short time they unite in a cacophonic outcry, then return to their quiet conversation in which every voice is clearly audible. At the breakthrough point in the piece, the piano begins to repeat one and the same harmony – obsessively, with steady pulse. This new strategy of motivating partners to action proves more efficient and soon the other instruments join the piano’s basso ostinato, playing a many-measure-long crescendo that leads to the final culmination.

In the end the ascending-waning

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arpeggio returns, but the last word belongs to the piano, which plays several low sounds. Here the music comes to its close.

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© Bill Dean

Steven Schick

Percussionist, conductor, and author. Steven Schick was born in Iowa, USA and raised in a farming family. For forty years he has championed contemporary music by commissioning or premiering more than 150 new works. He was the founding percussionist of the Bang on a Can All-Stars (1992–2002) and served as artistic director of the Centre International de Percussion in Geneva (2000–2005).

Schick is founder and artistic director of the percussion group, Red Fish Blue Fish. Currently he is music director of the La Jolla Symphony and Chorus and artistic director of the San Francisco Contemporary Music Players. In 2012 he became the first artist-in-residence with the International Contemporary Ensemble (ICE). In June 2015 he served as the music director of the 69th annual Ojai Music Festival in Ojai, California. Schick founded and is currently artistic director of Roots and Rhizomes, a summer course on contemporary percussion music held at the Banff Centre for Arts and Creativity. He maintains a lively schedule of guest conducting including appearances in this season with the BBC Scottish Symphony Orchestra, the Saint Paul Chamber Orchestra, the Nova Chamber Ensemble and the Asko|Schönberg Ensemble. Among his acclaimed publications are a book The Percussionist’s Art: Same Bed, Different Dreams and numerous recordings of contemporary percussion music, including a 3 CD set of the complete percussion music of Iannis Xenakis (Mode). Mode released a companion recording on DVD of the early percussion music of Karlheinz Stockhausen in September of 2014. In 2014, Schick received two notable honours: he was named Champion of New Music by the

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American Composers Forum and he was inducted into the Percussion Hall of Fame. Steven Schick is Distinguished Professor of Music at the University of California, San Diego.

© Gus Powell

Jacob Greenberg

Pianist Jacob Greenberg’s work as a soloist and chamber musician has earned worldwide acclaim. As a long-time member of the International Contemporary Ensemble (ICE), he has performed throughout the Americas and Europe. His solo concert series, Music at Close Range, shows his equal commitment to classics of the repertoire. A leading pianist of modern song, he has toured extensively with soprano Tony Arnold; their 2013 recording of Olivier Messiaen’s Harawi has been singled out by critics. Other ensemble performances include MusicNOW, with members of the Chicago Symphony Orchestra, and Contempo at the University of Chicago.

As an orchestral player, he has also appeared with the New York Philharmonic, Israel Philharmonic Orchestra, and Australian Chamber Orchestra. In addition to his solo albums for New Focus Recordings, which feature works by over a dozen composers, Jacob Greenberg has recorded for the Nonesuch, Sony, Bridge, Naxos, Mode, Kairos, Centaur, Tzadik, and New Amsterdam labels. Live performances have been heard on WQXR New York, BBC Radio 3, WFMT Chicago and Radio Netherlands. Greenberg is also a record producer, and has completed discs for major domestic and international labels; he is the director of ICE’s in-house Tundra imprint. As a composer, he makes recorded pieces with spoken and sung texts. Recent highlights include a guest performance of works of György Kurtág at the International Summer Courses for New Music in Darmstadt, Germany, under the composer’s guidance; a recital tour with flutist Claire Chase; solo works by Boulez at the Ojai Festival; and solo and concerto appearances with ICE at Lincoln

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Center’s Mostly Mozart Festival. Jacob Greenberg is on the faculty of Hunter College, City University of New York, and the Tanglewood Music Center. He has also taught at the State University of New York at Buffalo. He is a graduate of Oberlin College, where he earned degrees in music and religion, and he completed his master’s and doctoral degrees at Northwestern University, where he studied with Ursula Oppens. He lives in Brooklyn, New York.

© Armen Elliott

International Contemporary Ensemble

The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced.

As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present. A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River. New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances.

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ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE.

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11.11 7:30 p.m.

Le Carreau du Temple 4 Eugène Spuller Street 4 rue Eugène Spuller Paris

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© Fernando Javier Urquijo

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repertoire / répertoire

Henryk Mikołaj Górecki (1933–2010)

Roman Haubenstock-Ramati (1919–1994)

Genesis I: Elementi Op. 19 No. 1

Alone I Seul I

performers / artistes

Hélène Walter (soprano / soprano)

Ensemble intercontemporain

Mehdi Lougraïda (conductor / chef d'orchestre)

Martin Adámek (clarinet / clarinette) Samuel Favre (percussion / percussion) Jeanne-Marie Conquer (violin / violon) John Stulz (viola / alto) Pierre Strauch (cello / violoncelle)

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Andrzej Kwieciński (*1984)

Karol Szymanowski (1882–1937)

No. 27 [A]

Word-Songs Op. 46 bis Chants de paroles op. 46 bis 1. Słowisień / Cerisiers 2. Green Words / Dans la forêt 3. Saint Francis / Saint François 4. The Guelder-Rose Orchard / Chanson rouge 5. Wanda

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repertoire / répertoire

Jerzy Kornowicz (*1959)

Agata Zubel (*1978)

Dawning Light IV “Melos-Ethos”

Aphorisms on Miłosz

Aurore IV « Melos-Ethos »

Aphorismes d’après Miłosz 1. The Gaze / Le Regard 2. The Runner / Le Coureur 3. Sorrow / La Douleur 4. The Abyss / L’Abîme 5. The Flame / La Flamme 6. The Lining / La Doublure 7. If / Si

performers / artistes

Hélène Walter (soprano / soprano)

Ensemble intercontemporain

Mehdi Lougraïda (conductor / chef d'orchestre)

Martin Adámek (clarinet / clarinette) Samuel Favre (percussion / percussion) Jeanne-Marie Conquer (violin / violon) John Stulz (viola / alto) Pierre Strauch (cello / violoncelle)

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commentary

translation

Iwona Lindstedt

Tomasz Zymer

The programme of this concert spans more than 90 years of music history. The works come from different periods and represent diverse technical and aesthetic problems. They seem to have little in common except for the fact that each is its composer’s response to some specific challenge, possible only in the individualised context of that particular composer’s creative aims and strategies. Each exists in its own artistic reality, constitutes a point of reference for itself, defines its own conditions and purpose of existence.

three basic music parameters, which for him were: colour, dynamics, and tempo. At this stage, he only employed three string instruments exploring untypical articulations (Górecki himself claimed that he had discovered as many as about a hundred ways of playing on the strings with the bow and fingers). These articulations include spectacular glissandi, creaking strings, de-tuning effects, as well as long rough-sounding tones and dense harmonies built out of those tones. Importantly, the pitches are ordered here by serial principles while the other parameters are regulated by numerical rules. One need not understand this sophisticated construction, however, in order to appreciate the exceptional emotional intensity that characterises the entire musical narrative and is a trademark of Górecki’s style, found also in works from his later period after stylistic transformations.

Henryk Mikołaj Górecki’s Elementi per tre archi (the first part of the Genesis cycle, 1962–1963) was conceived as part of a project whose aim was to test “the possibilities of sound and those that can still be discovered in the performing forces used hitherto.”

In the first stage, the composer undertook an attempt to penetrate the essence of sound by exploiting

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Górecki saw “the constantly released ENERGY inherent in MOVEMENT” as the unifying element of his cycle. This highly individual concept can be compared with the idea of Jerzy Kornowicz’s composition written more than half a century later.

Though – as the composer himself stressed – the cycle Zorze (Dawning Lights, 2004–2006) lacks “musical symbols or extra-musical themes,” these four pieces do present a clear supra-musical reference.

The optical phenomenon evoked in the title corresponds to an artistic utterance that recalls “moments of breakthrough that took place in the recent years in the life of our community and also had a bearing on personal moods and attitudes.” This declaration merely serves, however, as a pretext for the presentation of autonomous musical content expressed in the language of an early 21st-century composer who moves with great skill and competence between

tradition and modernity. Dawning Light IV “Melos-Ethos” is a music of new chances and new hopes which forms a splendid dramatic progression through different energetic states – now dynamic, changeable and repeated, now – calm and static.

Two other compositions explore the important field of relations between music and the word.

When Karol Szymanowski began to set five poems by Julian Tuwim to music he most likely could not predict that Słopiewnie (Word-Songs, 1921) would become a landmark in Polish music history and would be interpreted as a turning point in the evolution of his own style. The cycle – inspired by the unusual lyrics of a poet who dreamt of creating a poetic language with no equivalent in everyday speech – epitomises the idea of Polish national music.

While working on his artistic generalisation of original, “racial” elements in music (this term referred in his thinking to elements that determined the character and culture of the nation), Szymanowski drew on the one hand on the specific mood and sound of highlander folklore, and on the other – on gestures derived from imitation of nature (Słowisień, Saint Francis), folk-style “wailing” vocals (Wanda) and shouts (The Guelder-Rose

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Orchard). Innovative harmonies, an intricate musical-poetic structure integrated by one shared leitmotif, moods changing from lyricism to ecstasy – these are the key qualities responsible for the superior artistic level of Szymanowski’s song cycle.

Agata Zubel’s Aforyzmy na Miłosza (Aphorisms on Miłosz), composed for the centenary of the Polish Nobel Prize winner’s birthday (2011) – aspire to similar artistic heights. The texts consist of brief excerpts from Czesław Miłosz’s poetry and prose from the years 1982–2006, arranged into a sequence of seven “aphorisms”.

The composer made sure that “at moments when the words are accompanied by music […] the music is tantamount to the words.”

The metaphorical dimension of Miłosz’s texts has been particularly carefully emphasised by musical means. Zubel draws abundantly on her wide experience with sound explorations, repeats the key words and makes effective use of silence. By juxtaposing texts of different character and provenience she creates a surprisingly coherent dramatic whole, leading the listener through a series of existential questions and answers set to music in an intriguing fashion – until we reach an anti-climax in which passages on the meaning of human life are saturated by doubt.

Another challenge faced by composers is the relation between music and visual arts. Alone I for any low instrument and percussion ad libitum (1965) by Roman Haubenstock-Ramati was the crowning point of his long search for a new essential form of musical graphics expressing new musical ideas. His creative path led Haubenstock-Ramati through the concept of mobile form to gradual rejection of traditional music notation.

Whereas in the mobiles the form was as a rule imposed by the composer, in his graphic works Haubenstock-Ramati left the performers freedom in interpreting his notation, opening his music up to a multiplicity of senses and interpretations. “My graphics are an attempt (or the product of a desire) quickly to grasp the idea of the music that I have imagined, to catch it ‘red handed’,” he explained, and added: “performing graphically notated works is like playing patience – it is an attempt to organise the disorganised.”

Out of the multi-coloured signs and symbols, the characteristic arrows, ovals and semicircles, letters and numbers – the musicians are to create a spontaneous and ambiguous musical

progression that follows the shape, order and density of the graphic elements.

Though it obviously seems impossible to translate the secret of graphic shapes into the language of music, many Polish composers continue to be inspired by visual arts. Andrzej Kwieciński, for instance, confessed to such an inspiration already in the title – No. 27 [A] (2006), which refers the audience directly to one specific work by Jackson Pollock, inventor of action painting which records the moment of painting the picture. The energy of this process, preserved on the canvas, produces multi-layered, tangled and blurred lines, “splashes” of texture in ochre and pink, trajectories of white, brown and silver paint. In Kwieciński’s music the process is reversed in a way, as the visual density of notation translates into the energy of sound. The piece is based on precise organisation of musical time and exploration of sound colours. Fast figurations and slow glissandi constitute the two main elements of musical form (one static, one dynamic). They undergo constant transformations, related organically to the processes of temporal acceleration and slowing down. The final result proves genuinely intriguing, as it also is the case with the other compositions discussed above:

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those that build bridges to other disciplines of art and those that create autonomous musical microcosms of their own.

commentaire

traduction

Iwona Lindstedt

Joanna Gorecka-Kalita

Dans le programme de concert se rencontrent des œuvres créées sur une période de plus de quatre-vingt-dix ans. En raison d’un tel espacement temporel ainsi que de la diversité indéniable de problèmes techniques et esthétiques abordés dans les compositions, celles-ci ne semblent pas avoir grand-chose en commun.

Cependant, chacun de leurs créateurs se confronte à un défi particulier. Qui plus est, chacune de ces œuvres serait impensable en dehors du contexte individuel des objectifs de composition et des stratégies créatives, en dehors de la réalité artistique – typique de la longue histoire de la musique contemporaine – où chaque œuvre crée son propre système de référence et définit ses propres modalités et sa raison d’être.

cadre d’un projet visant à tester « les possibilités sonores et d’autres possibilités que recèle en lui tout « l’appareil » dont disposaient alors les exécutants ». Dans une première étape, le compositeur a tenté de parvenir à l’essence du son en exploitant trois « éléments » de base de la musique : le timbre, la dynamique et le tempo. Seuls trois instruments à cordes y prennent part, utilisant des articulations non-conventionnelles (Górecki a admis avoir découvert lui-même une centaine de façons de jouer sur les cordes avec l’archet et les doigts), tels que des glissandos spectaculaires, le grincement des cordes, les effets du désaccordage, ainsi que de longues sonorités rugueuses, construisant des consonances d’une particulière densité. Il faut savoir que la hauteur des sons obéit ici au principe sériel ; d’autres éléments musicaux sont également réglés par l’ordre numérique. Il n’est pas nécessaire, pourtant, de comprendre cette

Ainsi, Elementi per tre archi – la première partie du triptyque Genesis (1962–1963) de Henryk Mikołaj Górecki – est née dans le

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structure sophistiquée pour apprécier l’extraordinaire intensité émotionnelle de l’œuvre, qui reste une marque caractéristique du style de composition de Górecki dans toute sa création artistique.

Pour Górecki, le facteur unifiant le cycle Genesis est «la libération constante de l’ÉNERGIE existant par le MOUVEMENT». Et, quoiqu’il s’agisse d’une expression idiomatique, il ne serait pas hors de propos de la rapporter ici à l’œuvre de Jerzy Kornowicz, composée plus de cinquante ans plus tard. Bien que dans le cycle Zorze (L’Aurore) – comme le souligne le compositeur lui-même – « les symboles musicaux ou les thèmes non-musicaux » fassent défaut, néanmoins ces quatres compositions, écrites dans les années 2004–2006, possèdent chacune une trame expressive « au-delà de la musique ».

Le titre du cycle renvoie à un phénomène lumineux observé dans la nature, signalant par

là une déclaration artistique qui se réfère aux « moments décisifs qui ont marqué notre vie communautaire et personnelle dans les dernières années ».

Pourtant, une telle déclaration n’est qu’un prétexte pour présenter de manière autonome des contenus musicaux exprimés dans la langue du compositeur du début du XXIe siècle, oscillant habilement entre tradition et modernité. Zorze IV « Melos-Ethos » est une musique d’opportunités et d’espoirs nouveaux, formant un flux parfaitement dramatisé de différents états d’énergie : des sons tantôt agiles, changeants et répétés, tantôt calmes et statiques.

Deux autres compositions abordent l’importante question de la relation entre la musique et la parole.

Lorsque Karol Szymanowski a mis en musique cinq poèmes de Julian Tuwim, il ne se doutait probablement pas que Słopiewnie (Chants de paroles, 1921) entrerait dans le panthéon de la musique polonaise et marquerait un tournant dans l’évolution de son propre style. Le compositeur y a concrétisé l’idée de la musique nationale polonaise, ayant trouvé le point de départ de son inspiration dans les textes phénoménaux de Tuwim, qui rêvait de créer un langage poétique nouveau, sans équivalent dans le langage quotidien. Tâchant d’atteindre une

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généralisation musicale d’éléments « raciaux » primitifs (façonnant la face et les traits d’une nation, ainsi que sa culture), Szymanowski s’est tourné d’une part vers l’ambiance spécifique du folklore musical montagnard et, d’autre part, vers les gestes issus de l’imitation de la nature (Cerisiers, Saint François), des plaintes populaires (Wanda) et des cris de ralliement (Chanson rouge). L’innovation dans le domaine de l’harmonique, la finesse de la construction musicale et poétique avec la présence du leitmotive intégrateur commun, l’ambiance variée, allant du lyrisme à l’extase, ne sont que quelquesuns des indices les plus importants du rang artistique de Słopiewnie.

Aforyzmy na Miłosza (Les Aphorismes d’après Miłosz) d’Agata Zubel, composés à l’occasion du centenaire de la naissance du poète et prix Nobel polonais (2011), aspirent au même rang artistique. La compositrice a réuni les extraits de poèmes et de pièces en prose écrits entre 1982 et 2006 dans une séquence de sept « aphorismes », en veillant à ce que « dans les moments où la parole est accompagnée de musique […], la musique dise la même chose que la parole ». La dimension métaphorique des textes de Miłosz a donc été particulièrement mise en valeur par des moyens musicaux. Ceux-ci puisent

abondamment dans la propension de Zubel aux recherches sonores ; ils recourent aux répétitions de mots ou phrases les plus importants et gèrent habilement le silence. De cette confrontation de textes de provenance et de caractère différents naît une surprenante unité ; son parcours dramatique mène à travers une série de questions et de réponses existentielles mises en musique de manière frappante vers une sorte de point anti-culminant : une réflexion pleine de doute sur le sens de l’existence humaine.

Un autre problème auquel sont confrontés les créateurs des œuvres incluses dans le programme de concert est la relation entre la musique et les arts visuels. Alone I (1965) de Roman Haubenstock-Ramati est l’exemple d’une’œuvre qui couronne de nombreuses années de recherche d’une nouvelle forme pour de nouvelles idées musicales : à savoir la manifestation de l’essence du graphisme musical.

Son chemin aboutissant à la composition d’une œuvre destinée à un bas instrument indéfini et à une percussion ad libitum l’a conduit à travers le concept de forme mobile à l’abandon pprogressif de la notation musicale traditionnelle. Cependant, alors que la forme mobile était imposée essentiellement par le

compositeur, par le graphisme Haubenstock-Ramati a donné aux interprètes la liberté d’interpréter la partition, en ouvrant celle-ci à une multitude infinie de significations et de sens. « Mes graphismes ont été conçues comme une tentative (ou une volonté) de saisir rapidement l’idée de la musique que j’avais imaginée, de la prendre en flagrant délit » – a-t-il expliqué, en ajoutant que « la réalisation des œuvres notées graphiquement ressemble à un jeu de patience : il s’agit de ranger ce qui est en désordre ». A partir d’un ensemble de signes et de symboles colorés, comprenant des flèches, des ovales, des fers à cheval, mais aussi des lettres et des chiffres, les artistes exécutants sont censés créer un parcours musical spontané et polyvalent, en se laissant guider par la couleur, la forme, l’agencement et la condensation des éléments graphiques perçus.

Bien qu’il ne semble pas possible de transposer directement le mystère caché parmi les signes graphiques dans le langage musical, les inspirations des arts visuels sont importantes pour de nombreux compositeurs polonais.

Andrzej Kwieciński, par exemple, en composant son No. 27 [A] (2006), l’a démontré déjà dans le titre de sa composition : celui-ci renvoie le public à une œuvre précise de Jackson Pollock, créateur du

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mouvement de l’action painting, qui consiste à privilégier l’acte physique de peindre. L’énergie de ce processus, captée dans la toile, se traduit par des lignes superposées, entremêlées et floues, des éclaboussures texturées en ocre et en rose, des trajectoires de peinture blanche, brune ou argentée. La musique de Kwieciński renverse en quelque sorte cette situation, traduisant la densité visuelle de la partition en énergie sonore, puisque sa composition est basée sur des concepts précis concernant l’organisation du temps musical et l’exploration des timbres sonores. Les figurations rapides et les glissandos lents s ont deux éléments primordiaux (statique et dynamique) de la forme de l’œuvre; ils sont ensuite sujets à des transformations incessantes, en un lien organique avec les processus d’accélération et de décélération de son parcours temporel. L’effet final est absolument fascinant, de même que dans le cas des autres œuvres évoquées plus haut, qu’elles s’ouvrent à différentes relations avec d’autres domaines de l’art, ou qu’elles élaborent leur propre microcosme musical autonome.

Mehdi Lougraïda

Born in 1985, Mehdi Lougraïda was drawn to the world of music from a very young age. At the age of fourteen he began his studies at the Conservatoire National de Région de Lyon in the flute class, as well as in the classes of musical analysis, composition and chamber music.

In 2009 he obtained his Diplôme d’études musicales in flute; he continued his studies at the Conservatoire à Rayonnement Régional de Rueil-Malmaison and was appointed flautist with the Orchestre des Sapeurs-Pompiers de Paris. In September 2006, he was admitted to the École Normale de Musique de Paris, where he studied conducting with Dominique Rouits and the Orchestre de l’Opéra de Massy. He was awarded Premier Prix à l’unanimité along with the Diplôme Supérieur de Direction d’Orchestre in June 2008. He is currently working on his master’s degree in orchestral conducting at the Royal Conservatory of Brussels. He has worked with the Orchestre régional de Cannes-Provence-Alpes-Côte d’Azur as well as with the Luxembourg Chamber Orchestra. In February 2016 he participated in the prestigious Järvi International Winter Academy of Conducting in Estonia. Further studies took him to the Peter Eötvös Contemporary Music Foundation in Budapest, where he was taught

by Peter Eötvös, Gregory Vajda and Olivier Cuendet. He has also worked with composers such as Helmut Lachenmann and György Kurtág. He was assistant conductor to Matthias Pintscher when Ensemble intercontemporain premiered the Genesis cycle at the Philharmonie de Paris in March 2017. He won the Conducting Prize at the 17th International Competition of Symphonic Bands in Ostrava in the Czech Republic in June 2015. He has been the music director

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of the Orchestre Symphonique interUniversitaire de Paris (since September 2015) and of the recently formed Ensemble Cobalt, which specialises in contemporary music. In 2018 he conducts the choir and orchestra of the Opéra Eclaté in Les Contes d’Hoffmann in the opera houses at Clermont-Ferrand, Massy and Perpignan. This production has been prepared for the Saint-Céré Festival in August 2018.

© David Seyer

Mehdi Lougraïda

Né en 1985, Mehdi Lougraïda se passionne dès son plus jeune âge pour l’univers musical. A 14 ans, il entre au Conservatoire National de Région de Lyon en flûte traversière dans la classe de Michel Lavignolle, ainsi qu’en classe d’analyse, d’écriture et de musique de chambre. En 2009, il obtient son Diplôme d’Etude Musicale en flûte traversière, rentre au Conservatoire de Rueil-Malmaison et est nommé flûtiste à l’Orchestre des Sapeurs-Pompiers de Paris.

En septembre 2006, il est admis à l’École Normale de Musique de Paris en direction d’orchestre où il travaille avec Dominique Rouits et l’Orchestre de l’Opéra de Massy. Il obtient le Premier Prix, à l’unanimité, du Diplôme Supérieur de Direction d’Orchestre en juin 2008. Actuellement, il poursuit un Master de direction d’orchestre au Conservatoire Royal de Bruxelles. ll travaille avec l’Orchestre Régional PACA de Cannes auprès du chef Wolfgang Doerner ainsi qu’avec l’Orchestre de Chambre du Luxembourg et David Reiland.

En février 2016, il participe à la prestigieuse Järvi International Winter Academy of conducting en Estonie. Il étudie également à la fondation Peter Eötvös à Budapest, il reçoit l’enseignement de Peter Eötvös, Gregory Vajda et Olivier Cuendet. Il travaille également avec des compositeurs tels que Helmut Lachenmann et György Kurtág.

Il a été chef assistant de l’Ensemble intercontemporain auprès de Matthias Pintscher lors de la création de Genesis à la Philharmonie de Paris en mars 2017. Il remporte le prix de direction d’orchestre lors du 17ème concours international de « Symphonic Band » à Ostrava en République Tchèque en juin 2015. Il est le chef d’orchestre de l’Orchestre Symphonique Inter-universitaire de Paris depuis

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septembre 2015 et du nouvel ensemble Cobalt, spécialisé dans la musique contemporaine. En 2018, il dirigera Les contes d’Hoffmann à l’opéra de Clermont-Ferrand, Massy et Perpignan avec le choeur et orchestre de la production de l’opéra Eclaté, puis au festival de Saint-Céré en août 2018.

Hélène Walter

Hélène Walter obtained her master’s degree with honours in 2013 from the Haute École de Musique de Lausanne. She has been a prizewinner in four international singing competitions (Kattenburg 2017, Mirabent i Magrans 2017, Clermont-Ferrand 2015, and Mâcon 2014). She has sung in such prestigious theatres as the Lausanne Opera House and the Paris Champs-Elysées theatre, under conductors such as Marc Minkowski, Jean-Claude Malgoire, Jean-Yves Ossonce, Corrado Rovaris, Ton Koopman, and Raphaël Pichon. In 2014, she sang the title role of Mélisande in Debussy’s Pelléas et Mélisande. She also performed as a soloist in religious and concert repertoire, among others: Chausson’s Poème de l’amour et de la mer, Ravel’s Shéhérazade, Berg’s Sieben frühe Lieder, as well as Bach’s Christmas Oratorio and Easter Oratorio, two Passions, Jesu, meine Freude and Magnificat. She has explored a wide variety of repertoires and performs Baroque, Classical, Romantic and Contemporary music with such excellent ensembles as Les Musiciens du Louvre, the Orchestre d’Auvergne, and Pygmalion. She also works regularly with the Lemanic Modern Ensemble and performs works

by Pierre Boulez, Michael Jarell, Oscar Bianchi and Xavier Dayer, among others at Royaumont Abbey. She has had the privilege to improve her skills with great teachers such as David Jones, Raúl Giménez, and Heidi Brunner.

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© Marc Vanappelghem

Hélène Walter

Après une formation à la Haute Ecole de Musique de Lausanne où elle obtient un Master en 2013 avec les plus hautes distinctions, Hélène Walter devient lauréate de quatre concours internationaux (Kattenburg, Mirabent i Magrans, Mâcon et Clermont-Ferrand). Sa jeune carrière l’emmène sur les scènes des opéras de Lausanne et de Paris et lui permet de chanter sous la baguette de Marc Minkowski, Fabien Gabel, Jean-Claude Malgoire, ou encore Jean-Yves Ossonce et Corrado Rovaris. En 2014, elle interprète le rôle titre dans Pelléas et Mélisande de Debussy à Paris. Elle se produit également en soliste dans le grand répertoire sacré et le répertoire de concert.

On a pu l’entendre dans le Poème de l’Amour et de la Mer de Chausson, Shéhérazade de Ravel, les Sieben frühe Lieder de Berg ainsi que le Dixit Dominus de Haendel, l’ Oratorio de Noël et de Pâques, le Magnificat, les Passions et Jesu meine Freude de Bach.

Eclectique, attirée par le répertoire baroque, classique, romantique ou contemporain, elle collabore notamment avec les Musiciens du Louvre, l’Orchestre d’Auvergne, l’ensemble Pygmalion et le Lemanic Modern Ensemble aux côté desquels elle chante les œuvres de Pierre Boulez, Michael Jarrell et Xavier Dayer. Hélène Walter se perfectionne auprès de Raul Gimenez, Heidi Brunner, Teresa Berganza ou encore David Jones et Helmut Deutsch.

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Ensemble intercontemporain

In 1976, Pierre Boulez founded Ensemble intercontemporain with the support of Michel Guy (who was Minister of Culture at the time) and in collaboration with Nicholas Snowman. The Ensemble’s 31 soloists share a passion for 20th- and 21st-century music. They are employed on permanent contracts, which enables them to fulfil the major aims of the Ensemble: performances, creation and education for young musicians and the general public. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that combine music, dance, theater, film, video, and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis with the support of Fondation Meyer.

The Ensemble is renowned for its strong emphasis on music education: concerts for kids, creative workshops for students, training programmes for future performers, conductors, composers, etc. Since 2004, the Ensemble’s soloists have been tutoring young instrumentalists, conductors and composers in the field of contemporary repertoire at the Lucerne Festival Academy, a several-week-long educational project held by the Lucerne Festival. Resident of the Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide. The Ensemble is financed by the Ministry of Culture and Communication and receives additional support from the Paris City Council. The new creations of Ensemble intercontemporain are supported by Fondation Meyer.

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© Christophe Urbain

Ensemble intercontemporain

Créé par Pierre Boulez en 1976 avec l’appui de Michel Guy (alors secrétaire d’État à la Culture) et la collaboration de Nicholas Snowman, l’Ensemble intercontemporain réunit 31 solistes partageant une même passion pour la musique du XXe siècle à aujourd’hui.

Constitués en groupe permanent, ils participent aux missions de diffusion, de transmission et de création fixées dans les statuts de l’Ensemble. Placés sous la direction musicale du compositeur et chef d’orchestre Matthias Pintscher, ils collaborent, au côté des compositeurs, à l’exploration des techniques instrumentales ainsi qu’à des projets associant musique, danse, théâtre, cinéma, vidéo et arts plastiques. Chaque année, l’Ensemble commande et joue de nouvelles œuvres, qui viennent enrichir son répertoire.

En collaboration avec l’Institut de Recherche et Coordination Acoustique/Musique (IRCAM), l’Ensemble intercontemporain participe à des projets incluant des nouvelles technologies de production sonore. Les spectacles musicaux pour le jeune public, les activités de formation des jeunes instrumentistes, chefs d’orchestre et compositeurs ainsi que les nombreuses actions de sensibilisation des publics, traduisent un engagement profond et internationalement reconnu au service de la transmission et de l’éducation musicale.

Depuis 2004, les solistes de l’Ensemble participent en tant que tuteurs à la Lucerne Festival Academy, session annuelle de formation de plusieurs semaines pour des jeunes instrumentistes, chefs d’orchestre et compositeurs du monde entier. En résidence à la Philharmonie de Paris depuis son ouverture en janvier 2015 (après avoir été résident de la Cité de la musique de 1995 à décembre

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2014), l’Ensemble se produit et enregistre en France et à l’étranger où il est invité par de grands festivals internationaux. Financé par le ministère de la Culture et de la Communication, l’Ensemble reçoit également le soutien de la Ville de Paris. Pour ses projets de création, l’Ensemble intercontemporain bénéficie du soutien de la Fondation Meyer.

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© Forward Stroke

11.11 １１月１１日

3:00 p.m. 午後３時

Sumida Hokusai Museum Kamezawa, 2−7−2, Sumida Tokyo すみだ北斎美術館 墨田区亀沢２丁目７－２ 東京

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repertoire / レパートリー

Karol Szymanowski カロル・シマノフスキ

(1982–1937)

String Quartet No. 1 Op. 37 String Quartet No. 2 Op. 56 弦楽四重奏曲 第１番 作品３７ 1. Lento assai — Allegro moderato

弦楽四重奏曲 第2番 作品56

レント・アッサイ――アレグロ・モデラート

2. Andantino semplice. In modo d'una canzone アンダンティーノ・センプリーチェ、イン・モード・ドゥナ ・カンツォーネ

3. Vivace — Scherzando alla burlesca. Vivace ma non troppo ヴィヴァーチェ――スケルツォ・アッラ・ブルレスカ、ヴィヴァー チェ・マ・ノン・トロッポ

1. Moderato, dolce e tranquillo モデラート、ドルチェ・エ・トランクイッロ

2. Vivace, scherzando ヴィヴァーチェ、スケルツァンド

3. Lento レント

performers / 出演者

Łukasz Syrnicki (viola)

Silesian String Quartet シレジア弦楽四重奏団

ウカシュ・スィルニツキ（ヴィオラ）

Szymon Krzeszowiec (1 violin)

Piotr Janosik (cello)

シモン・クシェショヴィエツ（第１ヴァイオリン）

ピョートル・ヤノシク（チェロ）

st

Arkadiusz Kubica (2nd violin) アルカディウシュ・クビツァ（第２ヴァイオリン） 156

100 for 100. Musical Decades of Freedom

Grażyna Bacewicz

Witold Lutosławski

グラジナ・バツェヴィチ

ヴィトルト・ルトスワフスキ

(1909–1969)

(1913–1994)

String Quartet No. 4

String Quartet

弦楽四重奏曲 第４番

弦楽四重奏曲

1. Andante. Allegro molto

1. Introductory movement

アンダンテ、アレグロ・モルト

導入楽章

2. Andante

2. Main movement

アンダンテ

主楽章

3. Allegro giocoso アレグロ・ジョコーソ

***

Natan Berkowicz (video projection) ナタン・ベルコヴィチ（映像）

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repertoire / レパートリー

Paweł Mykietyn

Henryk Mikołaj Górecki

パヴェウ・ミキェティン

ヘンリク・ミコワイ・グレツキ

(*1971)

(1933–2010)

String Quartet No. 3

String Quartet No. 1 “Already It Is Dusk” Op. 62

弦楽四重奏曲 第３番

弦楽四重奏曲 第１番『すでに 日は暮れて』作品６２

***

performers / 出演者

Łukasz Syrnicki (viola)

Silesian String Quartet シレジア弦楽四重奏団

ウカシュ・スィルニツキ（ヴィオラ）

Szymon Krzeszowiec (1 violin)

Piotr Janosik (cello)

シモン・クシェショヴィエツ（第１ヴァイオリン）

ピョートル・ヤノシク（チェロ）

st

Arkadiusz Kubica (2nd violin) アルカディウシュ・クビツァ（第２ヴァイオリン） 158

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Zbigniew Bujarski ズビグニェフ・ブヤルスキ

(*1933)

String Quartet No. 2 “Quasi una fantasia” Op. 64 弦楽四重奏曲 第２番『幻想曲風 に』作品６４ 1. Largo sostenuto – Mesto / ラルゴ・ソステヌート――メスト 2. Deciso energico / デチーゾ・エネルジコ 3. Arioso: Adagio cantabile / アリオーソ：アダージョ ・カンタービレ

4. Allegro: Lento – Tranquillissimo / アレグロ：レント ――トランクイリッシモ

*** Natan Berkowicz (video projection) ナタン・ベルコヴィチ（映像）

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Quartet for Autumn 秋のカルテット

repertoire / レパートリー

Krzysztof Penderecki クシシュトフ・ペンデレツキ

(*1933)

String Quartet No. 1 弦楽四重奏曲 第１番

String Quartet No. 3 “Pages of an Unwritten Diary” 弦楽四重奏曲 第３番『書かれ なかった日記のページ』

performers / 出演者

Łukasz Syrnicki (viola)

Silesian String Quartet シレジア弦楽四重奏団

ウカシュ・スィルニツキ（ヴィオラ）

Szymon Krzeszowiec (1 violin)

Piotr Janosik (cello)

シモン・クシェショヴィエツ（第１ヴァイオリン）

ピョートル・ヤノシク（チェロ）

st

Arkadiusz Kubica (2nd violin) アルカディウシュ・クビツァ（第２ヴァイオリン） 160

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String Quartet No. 2 弦楽四重奏曲 第２番 1. Lento molto レント・モルト 2. Vivace ヴィヴァーチェ 3. Lento molto レント・モルト

Natan Berkowicz (video projection) ナタン・ベルコヴィチ（映像）

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commentary

translation

Krzysztof Stefański

Tomasz Zymer

Quartet music plays a double role in composers’ work. On the one hand, the small complement of instruments combined into a full four-part texture ideally suits the purpose of experimentation, of exploring new ideas. On the other, this chamber music genre is a medium of intimate and private artistic expression.

Hence the numerous occasional or retrospective pieces, containing references to folklore and to musical tradition.

passionate atonal melodies – and, on the other hand, elements of modality and folklore in the final polytonal Scherzo, which situates Szymanowski in the same trend as the early polytonal works by Prokofiev, Bartók and others.

Karol Szymanowski’s String Quartet No. 1 in C Major Op. 37 (1917) was the last work he wrote in Tymoszówka (now Timoshivka, Ukraine) before the Russian Revolution forced him to leave the family estate.

This forcible departure meant that only three out of the four movements of the piece were completed. The quartet is a summa of Szymanowski’s musical language from that period, featuring both dense neo-Romantic harmonies,

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Szymanowski’s String Quartet No. 2 Op. 56 was written in the autumn of 1927 in Warsaw, most likely under the spell of the composer’s favourite Polish mountains – the Tatra. The piece is permeated with the atmosphere of the region, and in movements two and three the composer directly quotes a number of highland tunes, some of which he had also used in his ballet Harnasie (Highland Robbers) Op. 55, on which he was working simultaneously with the quartet. The piece ends with a fugue characterised by a folk-dance-like stamping beat.

Polish folklore also played a major role in the works of Grażyna Bacewicz. In her String Quartet

No. 4 of 1951 folk elements can be found mostly in the melodies of the second (lullaby-like) movement and in the final rondo, which makes use of a rhythmic figure typical of oberek – a lively Polish folk dance.

Polish folk music was of equal importance to Henryk Mikołaj Górecki, who – like Szymanowski – was fascinated by the Tatra. His String Quartet No. 1 “Already It Is Dusk” Op. 62 (1988) depicts the Tatra village of Chochołów just before dark. Apart from highlander folklore, the composer also used the tenor part from a song by the Polish Renaissance composer Wacław of Szamotuły (Venceslaus Samotulinus) to construct the canon in movement one. The characteristic repetitions and clear-cut division into melodic and harmonic instruments in the dynamic second movement brings to mind the sound of a folk band.

Górecki’s second quartet, “Quasi una fantasia” Op. 64 (1990), alludes in

its very title to the music of Ludwig van Beethoven. Rather than quoting the Viennese classic directly, the composer only draws on a type of dramatic construction marked by cyclically recurring chords, which he calls “Beethovenian”.

The piece he quotes directly is the popular Christmas carol Silent Night. He also introduces quasifolk motifs, similar to those we can hear in his 1st Quartet.

A different kind of musical reference can be found in Paweł Mykietyn’s String Quartet No. 3 (2016), where the form-building element is a continuous accelerando. The looped motifs in the individual voices are played faster and faster until they reach a certain “critical speed”. Then they begin to be replaced by successive slow motifs which in turn gradually get denser. At some rather rare moments of condensation in tempo and texture, the audience can hear a recurrent melodicharmonic pattern borrowed from a popular radio hit – the song Bitter Sweet Symphony by The Verve.

Such musical quotations are quite absent from Witold Lutosławski’s String Quartet of 1964. Converesely, the solutions worked out for this piece served the composer in this later works. It is in the Quartet that Lutosławski applied the controlled aleatory technique

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on an unprecedented scale. The individual parts in the piece are independent to such an extent that for a long time the composer refused to produce a score. It was only his wife Danuta who created a special notation, placing the different parts in frames so that no vertical harmonies are suggested by the arrangement of staves. Despite this autonomy of parts, the composer retains full control of the harmony, selecting classes of intervals and pitches for each part in such a way that only strictly premeditated types of harmony can result. The use of octaves and the note C are the best example. In movement one they appear exclusively in rhythmically coordinated interludes that separate the various sections of the piece. In the Quartet Lutosławski also develops his concept of form. On the one hand, the composition is made up of brief segments (so-called mobiles) to which the music owes its uniquely fluid movement. On the other hand, the whole consists of two parts: introduction and main movement. The former is a loose collection of musical ideas. The latter unfolds in a linear fashion.

The composer applied the same formal model in his later works, in particular – in Symphony No. 2.

Also of experimental character are the first two string quartets by

Krzysztof Penderecki, in which he explores the sound possibilities of bowed instruments. String Quartet No. 1 (1960) begins with percussive strokes performed with the hand on the strings and the instrument body. These strokes gradually transform into musical “notes” in the form of the highest pitches available as well as pizzicato sounds, until they become long sounds with irregular vibrato. The percussive quality recurs several times in the piece, eventually giving way to long sound decay.

String Quartet No. 2 of 1968 features a milder sound.

Percussive treatment of the instruments is replaced by long-resounding sound planes.

Through a vibrato (with varying tempi), long stretched glissandi and narrow-range quartertone passages – we come to an eruption of semiquaver cascades in the culmination, gradually suppressed until the original static state is restored. Penderecki applies here repeated sound segments which produce a similar effect to the controlled aleatoricism developed by Lutosławski.

A distance of 40 years separates String Quartet No. 3 “Pages of an Unwritten Diary” of 2008 from the composer’s previous work in this genre. During this time Penderecki radically changed his

musical language and – from an artist in search of new instrumental sound qualities – turned into one who looks for new aesthetic values in the music of the past. He composed this quartet for his 85th birthday and – as the subheading suggests – he conceived of it as a kind of composer’s diary, settling accounts with the various stages of his life and with the musical tradition. In the piece we hear, among others, echoes of a theme from his own opera Ubu Rex and a quotation from a folk melody (kołomyjka), which for the composer is a childhood memory.

Penderecki’s contemporary Zbigniew Bujarski composed his String Quartet No. 1 “For the Opening of the House” for the inauguration of Penderecki’s restored manor house in Lusławice.

The piece is a good illustration of how the quartet functioned in the composer’s œuvre. It is a private statement occasioned by specific circumstances. Bujarski developed this idea in his later quartets, which bear such subheadings ad For Advent, For Easter, and his last – For the Autumn. He himself described the latter piece as a quartet “for the autumn of life,” which corresponds well with the nostalgic, melancholy character of the music, evoked by the strongly emphasised interval of the minor third and by the low and dark

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register of the instruments. This quartet was written in 2001 for the 80th birthday of the eminent Polish musicologist, Professor Mieczysław Tomaszewski.

Talking of special anniversaries – what better opportunity can there be for a performance of these eleven wonderful Polish string quartets than the centenary of Poland regaining independence, which we celebrate on 11th November 1918?

曲目解説

翻訳

クシシュトフ・ステファンスキ

重川 真紀

四重奏曲は作曲家の創作の中で二つの 役割を果たすものである。一つ目とし て、四声をいっぱいに使ったテクスチ ュアを保持する小さい編成は、作曲 の新しいアイデアを試す実験の機会 を与えてくれる。二つ目として、その 室内楽的な編成は、作曲家により内的 で私的な芸術的表現を促すところがあ る。そのために、多くの四重奏曲は その機会ならではの音楽となること もあれば、回顧的となって民謡や伝 統音楽と結びつくこともあるのだ。

楽章の〈スケルツォ〉では、旋法的な要 素と民謡風の要素まで現れる。この〈 スケルツォ〉によって、《弦楽四重奏 曲 第一番》は、同時期に書かれたプロ コフィエフやバルトークの初期の複調 的な作品に連なるものとなっている。

カロル・シマノフスキの《弦楽四重奏 曲 第1番 ハ長調》作品37（1917年作曲） は、彼の故郷ティモシュフカ（現ウク ライナ）で書かれた最後の作品であ る。1917年にロシア革命が勃発したため に、シマノフスキは住み慣れたこの場所 を離れなければならなくなったからだ。 移住を余儀なくされたことで、当初構想 されていた全四楽章のうち、シマノフス キが書き上げたのは三つの楽章だけだっ た。しかしこの作品には、当時のシマノ フスキの音楽語法が発展していく様子を 集約するのかのように、密度の濃い後期 ロマン派的な和声や無調的な旋律が姿を 現すだけでなく、複調的に書かれた最終

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《弦楽四重奏曲 第2番》作品56は、1927 年の秋にワルシャワで書かれた作品だ が、おそらくシマノフスキの頭の中に あったのは、彼が愛したポーランド南部 のタトリ山地だったに違いない。タト リ山地一帯に特有の雰囲気はこの作品 に浸透しており、第二、第三楽章では 当時シマノフスキが同時進行で作曲し ていたバレエ《ハルナシェ》作品55でも 用いた山岳民族の旋律が引用されてい る。作品の最後を飾るフーガは、まさ に山の民の足拍子そのもので終わる。 ポーランドのフォークロアは、グラジ ナ・バツェヴィチの作品でも重要な役 割を果たしている。《弦楽四重奏曲 第 4番》（1951年作曲）では、子守唄風の 第二楽章および終曲のロンド楽章に民 俗的素材を見て取ることができる。な かでもロンド楽章ではポーランドの快

活な民俗舞踊である「オベレク」に典 型的なリズム型が用いられている。 シマノフスキと同じくタトリ山地に魅 せられた作曲家ヘンリク・ミコワイ・ グレツキの作品でも、ポーランドのフ ォークロアは重要である。《弦楽四重奏 曲『すでに日は暮れて』》作品62（1988 年作曲）は、タトリ山地にあるホホウ フ村の黄昏時の風景を描いたかのよう だ。グレツキは、「グラレ」と呼ばれる ポーランド山岳民族のフォークロアの 他に、ルネサンスのポーランド人作曲 家シャモトゥウィのヴァツワフ（1520頃 ～1560年）が残した声楽曲からテノール 声部の断片を取り出し、第一部のカノン 素材として用いている。躍動感のある第 二部は、特徴的な繰り返しや旋律楽器と 和声楽器のはっきりした使い分けによっ て、民俗楽団の響きを思い起こさせる。 グレツキの《弦楽四重奏曲『幻想曲風 に』》作品64（1990年作曲）は、すでに タイトルそのものがルートヴィヒ・フ ァン・ベートーヴェンの《ピアノ・ソ ナタ第14番『幻想曲風に』》作品27-2と の結びつきを示している。しかし、グ レツキはこのウィーン古典派の作曲家

の音楽を直接引用するのではなく、ベ ートーヴェンの音楽のある種のドラマ トゥルギーと結び付けており、そのこ とは作品中で周期的に繰り返される、 グレツキが言うところのベートーヴェ ン風の和音によって象徴されている。 またこの作品には、有名なクリスマ ス・キャロル《きよしこの夜》からの 引用や、《弦楽四重奏曲『すでに日は 暮れて』》で見られるものとよく似た 民謡風モティーフもいくつか現れる。 パヴェウ・ミキェティンの《弦楽四重奏 曲 第3番》（2016年作曲）は、また別の 文脈に言及している。ミキェティンはこ の作品の中で、絶え間ないアッチェレラ ンドと共に音楽を構成するアイデアを 展開している。この作品では、個々の 声部内でモティーフが結び合わされ徐々 に速度を上げていき、それらがある「決 定的な速度」に達すると、次にゆっくり したモティーフが登場し、それらもま た徐々に密度を増していく。速度が速 まりテクスチュアが密になるごくまれ な瞬間に、イギリスのロックバンド「 ザ・ヴァーヴ」のヒット・ソング《Bitter Sweet Symphony》の旋律と和声から取ら れた一定の音の配列が聴こえてくる。 ヴィトルト・ルトスワフスキの《弦楽四 重奏曲》（1964年作曲）に、他の音楽へ の言及を探そうとしても無駄だろう。む しろ作曲者は、まさにこの作品で、後に 彼が創作活動の中で幾度となく立ち返る ことになるいくつかの解法を得たのだ。 この作品でルトスワフスキが用いている のは、独特な「管理された偶然性」の技 法である。この作品は当初パート毎に別 々に書き進められたが、ルトスワフスキ は長い間その総譜を仕上げることをため

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らっていたという。彼の妻ダヌタが個々 の声部をそれぞれ枠で囲む特殊な記譜法 を考案したことで、楽譜が和声の垂直 的な構造を示唆することのない現在の形 ができた。とはいえ、ルトスワフスキは もっぱら特定の協和音に向かうようない くつかの音程と音高をそれぞれの声部で 選択することで、この作品の和声を完全 にコントロールしている。オクターヴの 跳躍とハ音の使用がその最もよい例とな っており、それは導入楽章において楽曲 を個々のプロットに切り分ける、均質化 されたリズムの間奏の中に見て取れる。 ルトスワフスキはまた、この《弦楽四 重奏曲》で作品の形式概念も発展させ ている。この作品は、一方では「モビ ール」と呼ばれる独特の流動性を生み 出す短い断片で構成されているが、他 方では導入楽章と主楽章の二つに分か れていて、導入楽章がばらばらの楽想 の寄せ集めからなるのに対し、主楽章 ではモティーフを紡いで発展させる手 法が取られている。この考えは、その 後のルトスワフスキの作品、とくに《 第二交響曲》の中で活かされている。 クシシュトフ・ペンデレツキの最初の 二つの弦楽四重奏曲も、弦楽器の響き の可能性を探求している点で実験的な 作品に数えられよう。《弦楽四重奏曲》 （1960年作曲）は、手のひらで楽器の弦 と胴体を打楽器のようにたたく音で始 まり、それらは次第に出しうる限りの高 音やピッツィカート音の形をとって「 楽音化」し始め、やがて変則的なヴィ ブラートを伴う長く引き伸ばされた音 となる。打楽器的な語法は、この後も 作品の中で何度か繰り返されるが、最 後は音が鳴りやんで曲が閉じられる。

続く《弦楽四重奏曲 第2番》（1968年作 曲）では響きがいくぶんやわらいでい る。なぜならここでは、長く伸びる音 からなる面を展開させる手法が打楽器 的なアイデアに取って代わっているから だ。ペンデレツキは、さまざまにテンポ を変えるヴィブラート、長く引き伸ばさ れたグリッサンド、狭い音域の四分音 のパッセージを経て16分音符の音の滝が なだれ落ちるようなクライマックスへ と導いていき、そこから徐々に滝の勢 いを弱めながら作品冒頭の静けさへと 戻していく。この作品では、音の断片 を反復させることで、ルトスワフスキ が築き上げた「管理された偶然性」の 技法に似た効果が生み出されている。 ペンデレツキの《弦楽四重奏曲 第3番『 書かれなかった日記のページ』》（2008 年作曲）は、先に挙げた二つの弦楽四 重奏曲と40年の隔たりがある。この作 品でペンデレツキは自身の音楽語法を 180度転換させ、美的価値を楽器の響き に求めるそれまでの在り方から、改め て過去の音楽に求める在り方へと変化 した。ペンデレツキの85歳の誕生日に 作曲されたこの作品は、そのタイトル が示すように彼の日記ともいえるもの であり、人生のそれぞれの段階を総括 すると同時に、音楽の伝統を総括する ものとなっている。ここでは自身のオ ペラ《ユビュ王》の主題のエコーや「 コウォムィカ」と呼ばれる子供時代に 聴いた民謡からの引用が姿を現す。 ペンデレツキと同年齢であるズビグニ ェフ・ブヤルスキは、自身の《弦楽四 重奏曲『改築祝いのために』》を、ル スワヴィツェにあるペンデレツキの邸 宅の改築祝いのために作曲した。この

作品は、ブヤルスキの作品における弦楽 四重奏の機能をよく表している。すなわ ち、具体的な機会と結びついたいわば私 的な芸術的表現なのだ。ブヤルスキは、 この考えを以後の作品である《夜のカル テット》、《復活祭のカルテット》、そ して《秋のカルテット》という副題付き の弦楽四重奏曲の中で発展させていっ た。ブヤルスキ自身が述べたように、こ の最後の作品は「人生の秋の」弦楽四重 奏曲であり、そのことは短三度音程と楽 器の低く暗い音域の提示によって喚起さ れるメランコリックでノスタルジックな 味わいと調和している。この作品は2001 年にポーランドの有名な音楽学者であ るミェチスワフ・トマシェフスキ教授 の80歳の誕生日を祝して作曲された。 今年は数々の記念祭が行われている が、ポーランド独立記念100周年に あたる本日2018年11月11日は、11曲 の素晴らしいポーランドの弦楽四重 奏曲を演奏するにふさわしい、ま たとない機会といえるだろう。

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Silesian String Quartet

One of Poland’s leading chamber music ensembles. In its early years, its members developed their abilities under the supervision of musicians from such quartets as LaSalle, Amadeus, Juilliard, Smetana, and Alban Berg. Today the Silesian String Quartet enjoys international fame, giving concerts throughout Europe as well as in the United States, Canada, Mexico, Japan, China, and South Korea. It has performed in such famous venues as Concertgebouw in Amsterdam, Wiener Konzerthaus, deSingel in Antwerp, Schauspielhaus in Berlin, Tivoli in Copenhagen, Salle Pleyel in Paris, the Carnegie Hall in New York, the Jordan Hall in Boston, the Hoam Art Hall in Seoul, and Palacio de Bellas Artes in Mexico City. The quartet performs the canon of great chamber music masterpieces, but also dedicates special attention to the music of our own time. Since 1993 the Quartet has organised the annual International Chamber Music Festival “The Silesian String Quartet and Its Guests”, whose twenty-five editions held so far have brought together dozens of outstanding Polish and foreign artists. The Quartet’s extensive discography includes music from many different periods, with particular emphasis on Polish music of the last three decades. The Quartet’s recordings have been released on more than 40 CDs under such labels as ECM, EMI Poland, Olympia, Chandos, Naxos, CD Accord, and Radio Katowice. Several of these have won the Fryderyk Award of the Polish Phonographic Academy for the Best Chamber Music Album. In 2017 their recording of Grażyna Bacewicz’s complete string quartets (for Chandos) earned the Quartet the prestigious Gramophone Classical Music Award for the Best Chamber Music Album of the Year.

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© Silesian String Quartet

シレジア弦楽四重奏団

ポーランドを代表する室内楽団体の一つ。結成当初、ラ・サー ル四重奏団、アマデウス四重奏団、ジュリアード四重奏団、ス メタナ四重奏団、アルバン・ベルク四重奏団のメンバーの指導 のもとで研鑽を積んだ。今日、本四重奏団は国際的な名声を得 ており、ヨーロッパのほか、アメリカ合衆国、カナダ、メキシ コ、日本、中国、韓国でも演奏活動を行っている。これまでに アムステルダム・コンセルトヘボウ、ウィーン・コンツェルト ハウス、アントワープのdeSingel、ベルリンのシャウシュピー ルハウス、コペンハーゲンのティヴォリ、パリのサル・プレイ エル、ニューヨークのカーネギー・ホール、ボストンのジョー ダン・ホール、ソウルのホアム（湖巌）アートホール、メキシ コ・シティのべジャス・アルテス宮殿など、名高いホールで演 奏。本四重奏団は定評ある室内楽の名曲を演奏するほか、同時 代の音楽にも特別な注意を払っている。1993年より毎年、国 際室内楽フェスティヴァル「シレジア四重奏団とその仲間達」 を開催し、これまでの25回を通してポーランド内外の卓越した 芸術家を数多く、一堂に会させてきた。幅広いディスコグラフ ィーは様々な時代の音楽を含んでおり、とりわけ過去30年間の ポーランド音楽に力点を置いている。本四重奏団のレコーディ ングはこれまでECM、EMIポーランド、オリンピア、シャンド ス、ナクソス、CD ACCORD、カトヴィツェ放送などのレーベ ルから40枚以上ものCDでリリースされ、そのうちのいくつか はポーランド・フォノグラフ・アカデミーのフリデリク賞最優 秀室内楽部門を獲得している。2017年には「グラジナ・バツェ ヴィチ／弦楽四重奏曲全集」で権威あるグラモフォン・クラシ カル・アワード年間最優秀室内楽アルバム部門を受賞。

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11.11 5:00 p.m.

Semperdepot Studio Building of the Academy of Fine Arts Vienna Lehargasse 6 Vienna Atelierhaus der Akademie der bildenden KĂźnste Wien Lehargasse 6 Wien

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Š Philip Jelenska

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repertoire / repertoire

Artur Malawski (1904–1957)

Roman Haubenstock-Ramati (1919–1994)

Piano Trio

String Trio No. 1 “Ricercari”

Klaviertrio 1. Lento – Allegro moderato 2. Andante sostenuto 3. Scherzo. Allegro molto 4. Rondo. Vivace

***

Streichtrio No. 1 „Ricercari“ 1. Allegro, molto inquieto 2. Lento 3. Allegro molto

performers / ausführende

Klangforum Wien Vera Fischer (flute / Flöte) Markus Deuter (oboe / Oboe) Olivier Vivarès (clarinet / Klarinette)

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Gerald Preinfalk (saxophone / Saxophon) Christoph Walder (horn / Horn) Anders Nyqvist (trumpet / Trompete) Andreas Eberle (trombone / Posaune) Gunde Jäch-Micko (violin / Violine)

Constellation No. 1

Pluriel

Konstellation No. 1

Plural

Games 2*

Constellation No. 2

Spiele 2*

Konstellation No. 2

Sophie Schafleitner (violin / Violine) Dimitrios Polisoidis (viola / Viola) Benedikt Leitner (cello / Violoncello) Alexandra Dienz (double bass / Kontrabass) Bjรถrn Wilker (percussion / Perkussion)

Bjรถrn Wilker (percussion / Perkussion)*

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Peter Bรถhm (sound design / Sounddesign)

repertoire / repertoire

Roman Haubenstock-Ramati (1919–1994)

Morendo – double/echo (revised by Bernhard Lang)

Constellation No. 3 Konstellation No. 3

Morendo – Doppel/Echo (überarbeitet von Bernhard Lang)

performers / ausführende

Klangforum Wien Vera Fischer (flute / Flöte) Markus Deuter (oboe / Oboe) Olivier Vivarès (clarinet / Klarinette)

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Gerald Preinfalk (saxophone / Saxophon) Christoph Walder (horn / Horn) Anders Nyqvist (trumpet / Trompete) Andreas Eberle (trombone / Posaune) Gunde Jäch-Micko (violin / Violine)

Sophie Schafleitner (violin / Violine) Dimitrios Polisoidis (viola / Viola) Benedikt Leitner (cello / Violoncello) Alexandra Dienz (double bass / Kontrabass) Bjรถrn Wilker (percussion / Perkussion)

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Bjรถrn Wilker (percussion / Perkussion)* Peter Bรถhm (sound design / Sounddesign)

commentary

translation

Iwona Lindstedt

Tomasz Zymer

This concert programme brings together works belonging to two different realms of 20th-century music. One is a quintessence of uncompromisingly avant-garde thought, while the other revives categories of beautiful sound and expressive intensity that the avant-garde rejected. What these two parallel worlds have in common are the biographies of their representatives. In the mid-1930s in Cracow, the teenage Roman Haubenstock-Ramati made his first steps as a composer under the supervision of Artur Malawski.

become the target of attacks from followers of socialist realism who criticised his innovative technique.

This attack took him by surprise and made him an inner emigrant.

As a consequence, his musical language never again approximated the radicalism of such pieces as his Symphonic Études (1947) and Toccata with Fugue in Variation Form (1949). Nevertheless, owing to its technical mastery and coherent use of material the Piano Trio is now considered as one of the most outstanding works of 20th-century Polish chamber music.

At that time, Malawski himself had not completed his composition studies yet and approached composition rather intuitively. He destroyed most of his works from that period since he did not deem them worthwhile. Two decades later, in 1953, when he wrote his Piano Trio, he had already been recognised as a composer. Just a few years earlier he had also

What is striking in the Trio is the presence of distinctly late Romantic qualities such as the dominant melody, the fluid rhythmic movement and the frequent use of virtuoso instrumental elements (the difficulty of the piano part is evident in the fact that in some places it is notated on as many as four separate staves). The approximately half-an-hour-long composition

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consists – as in classical trios – of four movements. The first of these was written in sonata form with two contrasted themes derived from the same source. Their transformations reflect Malawski’s treatment of form as one continuous process of variations. Movement two, Andante sostenuto, borrows its main motif from the first movement, but presents it here in rhythmic augmentation (i.e. with longer note values). The third, Scherzo. Allegro molto, features motifs that resemble those from the fast sections of the opening Allegro. The final Rondo refers back to the material of the opening, both with regard to melody and rhythm. The final effect is striking in its unity of melodic and harmonic aura combined with extremely powerful expression.

In the context of Malawski’s late works one ought to mention his encounter with Arnold Schönberg’s Moses and Aaron at the 1957 ISCM World Music Days in Zürich,

which attracted him greatly to the twelve-note technique – to which he had previously exhibited a reluctant attitude. Had he not died in the same year, Malawski could well have used this technique in his own music. His pupil Haubenstock-Ramati had got “infected” by dodecaphony much earlier, already during his studies with Józef Koffler in Lwów (now Lviv) in the late 30s / early 40s.

Haubenstock-Ramati, however, embraced Webern’s version of the twelve-note doctrine, which Koffler considered as a dead end, and this difference of opinion frequently led to friendly arguments between the composers. Haubenstock-Ramati’s fascination with Webern finds its fullest expression in Ricercari for string trio, composed in 1948, where the twelve-note series (i.e. a fixed sequence of 12 different sounds treated in a music work as a whole to be further transformed) is approached rather freely and (as in Webern) – non-thematically.

The whole is strongly polyphonic, as the title itself suggests. Most importantly, however, in the third movement of the trio the composer took up the question of “iteration” as a trigger for generating musical form, which later led him to formulate the principle of “dynamically closed” variable form.

Such a form – outlined by the composer, but given actual shape

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by the performers – became Haubenstock-Ramati’s main field of exploration after 1958. He also called it a “mobile”, by analogy to visual arts (the sculptures of Alexander Calder, with interacting mobile parts). Form was created through variable repetition of elements, or, in other words, through “constant change through constant repetition.” The composer sought for an adequate way of translating the construction of such a form into music notation, which resulted in developing a peculiar type of music score made up of a number of fields arranged on the page. One example of such notation is Jeux 2 (Games 2) for two percussionists (1965), whose score consists of a single chart with fields filled with symbols which describe the composer’s intentions with regard to performance. As many as 7 pages of detailed explanations (concerning the choice of instruments, volume, tempi and durations of the individual structures) were necessary for a proper understanding of this score. In Konstellationen (Constellations, 1971), on the other hand, the score consists of a series of coloured drawings copied either in modified versions or in different colours and against different backgrounds.

This kind of graphic notation suggests how the music ought to be interpreted by means of combined

lines, dots and geometric figures of various sizes. The mobile in Pluriel (Plural, 1991) depends on the four bowed instruments (which play as a quartet, trio or three different duos) forming wholes refined in sound and expression. The piece celebrates the 90th birthday of Alfred Schlee – eminent musicologist and long-time director of Universal Edition, who employed Haubenstock-Ramati in his prestigious publishing house when the latter came with his family from Israel in 1957. In the same year the composer also worked in Pierre Schaeffer’s Parisian studio of musique concrete, where he gained precious experience that helped him in his later work on musical form and material. With time, Haubenstock-Ramati composed less and less electro-acoustic music. One such piece is Morendo for tape (1991), to which he planned to add a flute part, but did not find time to create such a version. In 2002, at the request of flautist Eva Furrer, Bernhard Lang carried out this at first seemingly impossible task despite the complete lack of any original sketches. One morning he had a kind of revelation: “[…]

Suddenly I heard the voice of the flute in the electronic part. The problem of composition became one of a possible transcription […]

I did not write a single note myself.”

In practice, Lang transcribed the original electronic tape part into

a score by means of computer software and then arranged it for bass flute. Since repetition of musical processes plays a major role in Lang’s own musical aesthetic as well, in Morendo – double/echo he preserved one of the key constructive principles of Haubenstock-Ramati’s music – that of variation through repetition. We should recall that Artur Malawski also attempted to integrate musical form through variations, so we can say that the protagonists of today’s concert are linked not only by the fact of their personal acquaintance, but also – notwithstanding all the aesthetic differences – by their endeavours to meet one of the greatest challenges that 20th-century composers had to face.

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kommentar

übersetzung

Iwona Lindstedt

Łukasz Barański

Das Programm des Konzerts umfasst die Werke aus zwei verschiedenen musikalischen Welten des 20. Jahrhunderts, von denen eine der Inbegriff des avantgardistischen Denkens ist, mit all seiner Kompromisslosigkeit und die andere im Gegenteil – sie kehrt zu den von der Avantgarde verlassenen Kategorien zurück, die mit der Schönheit vom Klang und Intensität des Ausdrucks verbunden sind. Doch seitdem in der Mitte der 1930er Jahre in Krakau der jugendliche Roman Haubenstock-Ramati unter der Leitung von Artur Malawski die ersten kompositorischen Erfahrungen sammelte – teilen die Vertreter dieser „Parallelwelten“ einen gemeinsamen biografischen Faden.

seiner Werke aus dieser Zeit zerstörte er einfach und erkannte sie nicht als bemerkenswert an. Als er 1953 sein Klaviertrio schrieb, war er bereits ein etablierter Künstler, aber auch einer, der erst vor wenigen Jahren auf scharfe Kritik der Fürsprecher des sozialistischen Realismus an Neuartigkeit seiner kompositorischen Werkstatt stieß.

Von diesem Angriff überrascht, ging Malawski in die innere Emigration. Infolgedessen kam seine musikalische Sprache nie der Radikalität von den Werken wie Symphonic Etudes (1947) oder Toccata mit Fuge in Form von Variationen (1949) nahe. Die technische Meisterschaft und das Streben nach materieller Kohärenz haben das Malawskis Klaviertrio zu einer der herausragendsten Kammermusikkompositionen der polnischen Musikgeschichte des letzten Jahrhunderts gemacht.

Malawski selbst hatte damals noch keine kompositorischen Studien abgeschlossen, bewegte sich intuitiv auf dem Gebiet der Komposition, und die meisten

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Die Präsenz klarer Züge der Spätromantik ist im Trio

auffallend: mit einer dominanten Melodie, einer geschmeidigen rhythmischen Bewegung oder einem breiten Einsatz von virtuosen instrumentalen Möglichkeiten (der Schwierigkeitsgrad des Klavierparts wird durch die Tatsache belegt, dass er an manchen Stellen bis auf vier Notensysteme geschrieben wurde). Die Komposition, die etwa eine halbe Stunde dauert, besteht – wie in der klassischen Sätzen – aus vier Teilen. Der erste wurde auf der Basis des Sonaten-Allegro mit zwei gegensätzlichen Themen konzipiert, die jedoch aus einer gemeinsamen Quelle stammen und – als Folge der Verarbeitung - einen Ausdruck der Formbehandlung als kontinuierlicher Variationsprozess darstellen. Der zweite Satz ist Andante sostenuto mit dem Hauptmotiv des ersten Satz des Trios, das in der rhythmischen Augmentation (mit Verlängerung der Notenwerte) gezeigt wird. Auf dem dritten Platz im Trio befindet sich das Scherzo. Allegro molto mit

Motiven, die an jene erinnern, die in den zügigen Abschnitten des ersten Teils vorkommen. Im Schlussrondo tauchen wieder Hinweise auf das Ausgangsmaterial auf, was sich im Bereich der Melodik und Rhythmik bemerkbar macht. Der ultimative Effekt der Anwendung all dieser Behandlungen ist die auffallende Einheit der melodisch-harmonischen Atmosphäre vom Trio, kombiniert mit extrem intensiver Ausdrucksweise.

In Bezug auf Malawskis Spätwerke ist zu erwähnen, dass der Komponist im Jahre 1957 Moses und Aaron von Arnold Schönberg auf dem Festival der Internationale Gesellschaft für Neue Musik in Zürich hörte und die Zwölftontechnik, zu der er zuvor eine widerstrebende Einstellung hatte, sehr interessant fand. Vielleicht würde er sogar versuchen, sie in seine eigene Arbeit aufzunehmen, aber er starb im selben Jahr. Wiederum wurde Haubenstock-Ramati viel früher von der Zwölftontechnik angesteckt und entwickelte dieses Interesse bereits um die Wende der 1930er und 1940er Jahre, als er bei Józef Koffler in Lemberg studierte. Der junge Adept der Zwölftonkomposition erwies sich als Verfechter der Webern-Version dieser Doktrin, und da Koffler sie für eine Sackgasse hielt, waren

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diese Meinungsverschiedenheiten oft ein Grund für freundschaftliche Streitigkeiten zwischen den beiden Komponisten. Haubenstock-Ramati drückte seine Faszination für Webern am stärksten im Streichtrio Ricercari aus, das er 1948 komponierte. Die Zwölftonreihe (d.h. eine spezifische Sequenz von 12 verschiedenen Klängen, die ein bestimmtes, transformierbares Ganzes in einem Musikstück erzeugt) wird hier frei und – nach Webern – athematisch behandelt, und das ganze Werk ist stark von polyphonem Denken geprägt, was der Titel der Komposition selbst suggeriert. Vor allem aber griff Haubenstock-Ramati im dritten Satz des Trios das Problem der „Iteration“ als musikalischer Formgeber auf und leitete damit die Idee ein, die ihn später zur Umsetzung des Prinzips der „dynamisch geschlossenen“ variablen Form führte.

Eine solche Form, deren Rahmen vom Komponisten festgelegt wird, und die tatsächliche Form von Musikern abhängt, war das Hauptthema der HaubenstockRamati-Erforschung nach 1958. Er nannte sie auch „Mobiles“, analog zu den visuellen Künsten und besonders zu den Skulpturen von Alexander Calder, die durch die Interaktion ihrer beweglichen Teile gekennzeichnet sind. Der Prozess der Formbildung bestand in den

Wiederholungen ihrer Elemente und gleichzeitiger Differenzierung solcher Wiederholungen, also in der „kontinuierlichen Variabilität durch ständige Wiederholung“.

Haubenstock-Ramati war auch auf der Suche nach einer entsprechenden Methode, die Konstruktionsprinzipien einer solchen Form auf die Notenschrift zu übertragen, was ihn dazu brachte, eine bestimmte Art von Partitur zu schaffen, die eine Reihe von den auf dem Blatt angeordneten Feldern zeigte.

So entstand Jeux 2 (Spiele 2, 1965), eine Komposition für zwei Schlagzeuger. Ihre Partitur ist ein einzelnes Brett, dessen einzelne Felder mit Zeichen gefüllt sind, die die Verwirklichungsabsichten des Komponisten wiedergeben.

Um die Zeichen richtig verstehen zu können, benötigt man sogar 7 Seiten detaillierter Erklärungen zu verwendeten Instrumenten, Lautstärke, Spielgeschwindigkeit oder der Dauer einzelner Strukturen. Bei Konstellationen (1971) handelt es sich dagegen um eine Partitur aus einer Reihe von 25 farbigen Stichen, die entweder in abgewandelter Form oder in anderen Farben oder auf unterschiedlichen Hintergründen kopiert werden. Dies ist ein Beispiel für eine grafische Notation, die eine musikalische Interpretation unter Verwendung einer Kombination von Linien, Punkten

und geometrischen Figuren unterschiedlicher Größe andeutet.

Das Wesen des Pluriel-Mobiles (1991) ist die Schaffung des klanglich und expressiv ausgefeilten formalen Ganzen durch vier Streichinstrumente, die ein Quartett, Trio oder drei verschiedene Duette bilden. Die Komposition entstand zum 90.

Geburtstag eines herausragenden Musikwissenschaftlers, langjährigen Direktors der Universal Edition, Alfred Schlee – der auch im Jahre 1957 den aus Israel mit seiner Familie angekommenen Haubenstock-Ramati bei einem renommierten, von ihm geführten Verlag anstellte. Im Jahre 1957 arbeitete Haubenstock-Ramati auch beim Pierre Schaeffers Studio für Konkrete Musik in Paris und sammelte dort wertvolle Erfahrungen, die für formale und materielle Lösungen in späteren Werken von großer Bedeutung sind. Mit der Zeit griff er nur selten nach elektroakustischer Musik, wie zum Beispiel in komponierten im Jahr 1991 Morendo, Version für Tonband. Er wollte das Werk um die Flötenpartie ergänzen, aber er schaffte dieses Konzept nicht mehr. Allerdings im Jahre 2002 – auf Wunsch der Flötistin Eva Furrer – wurde es von Bernhard Lang realisiert. Am Anfang, mangels jeglicher Skizzen, schien ihm die Aufgabe unmöglich, aber

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eines Morgens verschwand die Hilflosigkeit des Komponisten nach einer eigentümlichen Erleuchtung, die er selbst so beschrieb: „[...] Plötzlich hörte ich die Flötenstimme in der Elektronik.

Das Problem der Komposition verwandelte sich in eine der möglichen Transkriptionen. [...]

Ich habe selbst keine einzige Note komponiert“. In der Praxis sah es so aus, dass zuerst die ursprüngliche Aufnahme des elektronischen Teils auf dem Band in die Form der Partitur umgeschrieben und dann für eine Bassflöte arrangiert wurde. Da aber in Langs eigener Ästhetik die Frage nach der Wiederholung des musikalischen Prozesses einen exponierten Platz einnimmt, in Morendo – Doppel/Echo ein der wichtigsten Konstruktionsprinzipien von Haubenstock-Ramatis Klangkunst beibehalten wurde – die Idee der Variation durch Wiederholung.

In Anbetracht dessen, dass Artur Malawski die Bemühungen zur Integration der musikalischen Form durch Variation kannte, kann man sagen, dass die Hauptpersonen des heutigen Konzerts nicht nur durch das anfangs erwähnte persönliche Treffen, sondern – mit allen ästhetischen Unterschieden – durch den Versuch verbunden sind, einer der wichtigsten Herausforderungen der Kunst der Komposition im 20. Jahrhundert gewachsen zu sein.

Klangforum Wien

24 musicians from 10 different countries represent an artistic idea and a personal approach that aims to restore to their art something that seems to have been lost, gradually, almost inadvertently, during the course of the 20th century: music that has a place in the present, in the community for which it was written and which wants to listen to it. Ever since its first concert, which the ensemble played under its former name, the Societé de l’Art Acoustique, at the Palais Liechtenstein under the baton of its founder Beat Furrer, Klangforum Wien has made music history. The ensemble has premiered roughly 500 new pieces by composers from three continents, giving voice to their music for the first time. Klangforum Wien boasts a discography of over 70 CDs, a series of honours and prizes, and around 2000 appearances at renowned festivals and in the premier concert and opera venues in Europe, the Americas and Japan, as well as various fresh and original initiatives. Like art itself – beyond and above its professional skills – Klangforum Wien is an enterprise aiming to improve the world. The moment they step onto the podium, the musicians know that only one thing counts: everything. Love of their art and absolute conviction are what makes their concerts unique. The members of Klangforum Wien come from Australia, Bulgaria, Germany, Finland, France, Greece, Italy, Austria, Sweden, and Switzerland. Sylvain Cambreling, Friedrich Cerha and Beat Furrer are three outstanding musicians who have been awarded an honorary membership of Klangforum Wien through an unanimous decision by the ensemble. Sylvain Cambreling has been the ensemble’s principal guest conductor

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since 1997. Klangforum Wien performs with the generous support of Erste Bank.

© Judith Schlosser

Klangforum Wien

24 MusikerInnen aus 10 Ländern verkörpern eine künstlerische Idee und eine persönliche Haltung, die ihrer Kunst zurückgeben, was dieser im Verlauf des 20. Jahrhunderts allmählich und fast unbemerkt verloren gegangen ist: einen Platz in ihrer eigenen Zeit, in der Gegenwart und in der Mitte der Gemeinschaft, für die sie komponiert wird und von der sie gehört werden will. Seit seinem ersten Konzert, welches vom Ensemble noch als Société de l‘Art Acoustique unter der musikalischen Leitung seines Gründers Beat Furrer im Palais Liechtenstein gespielt wurde, hat das Klangforum Wien unversehens ein Kapitel Musikgeschichte geschrieben: Das Ensemble 500 Kompositionen von KomponistInnen aus drei Kontinenten uraufgeführt und somit zum ersten Mal ihre Notenschrift in Klang übersetzt. Auf eine Diskografie von mehr als 70 CDs, auf eine Reihe von Preisen und Auszeichnungen und auf 2000 Auftritte in den ersten Konzert- und Opernhäusern Europas, Amerikas und Japans, bei den großen Festivals ebenso wie bei jungen engagierten Initiativen, könnte das Klangforum Wien zurückblicken, wenn das Zurückblicken denn seine Sache wäre. Und so wie die Kunst selbst ist auch das Klangforum Wien nichts anderes als eine durch ihr Metier nur sehr behelfsmäßig getarnte Veranstaltung zur Verbesserung der Welt. Wenn sie das Podium betreten, wissen die MusikerInnen des Ensembles, dass es nur um eines geht: Um alles. Eros und Unbedingtheit dieses Wissens machen das Besondere der Konzerte des Klangforum Wien. Die Mitglieder des Klangforum Wien stammen aus Australien, Bulgarien, Deutschland, Finnland, Frankreich, Griechenland, Italien, Österreich, Schweden und der Schweiz.

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Sylvain Cambreling, Friedrich Cerha und Beat Furrer sind die drei herausragenden Musiker, denen das Klangforum Wien durch jeweils einstimmigen Beschluss aller MusikerInnen die Ehrenmitgliedschaft des Ensembles verliehen hat. Seit 1997 ist Sylvain Cambreling erster Gastdirigent des Klangforum Wien. Das Klangforum Wien spielt mit freundlicher Unterstützung von Erste Bank.

The programme “100 for 100. Musical Decades of Freedom” is implemented by PWM Edition, Cracow Director and Editor-in-Chief: Daniel Cichy, PhD Programme Board

Małgorzata Małaszko-Stasiewicz – chairperson Artur Szklener, PhD – vice-chairperson Ewa Bogusz-Moore Szymon Bywalec, PhD Habil.

Daniel Cichy, PhD Marcin Gmys, PhD Habil., Professor at the Adam Mickiewicz University Alicja Jarzębska, Professor, PhD Habil.

Jerzy Kornowicz Mieczysław Kominek, PhD Iwona Lindstedt, PhD Habil.

Joanna Wnuk-Nazarowa

PWM Edition Staff Members and Collaborators working on the programme “100 for 100. Musical Decades of Freedom” Maria Bielatowicz – senior editor, project coordinator Adam Suprynowicz – expert coordinator Barbara Orzechowska-Berkowicz – chief recording specialist Agata Gołębiowska – financial director and head accountant Janina Warzecha – head of copyright department Mateusz Barłóg – copyright expert Karolina Ciesielska – public procurement specialist Monika Dziurawiec – editor Alina Gaworska – movie clip coordinator Mariusz Gradowski – movie clip MC Radosław Kotapka – promotion and PR consultant Katarzyna Marianowska – rights transfer specialist Alicja Myśliwiec – promotion expert Anna Olak – chief controlling expert Anna Pęcherzewska-Hadrych – educational unit coordinator Adam Rorat – editor Marek Sinior – expert accountant

Danuta Ambrożewicz, Angelika Barnowska-Nawara, Klaudia Bilczewska, Bibianna Ciejka, Agnieszka Cieślak, Joanna Dąbek, Grażyna Gajewska, Małgorzata Gańko, Tomasz Gilski, Violetta Helbin-Kolasa, Marcin Hernas, Justyna Jachimczak, Paulina Krupa, Teresa Kozak, Justyna Marciniak, Hanna Murłowska-Zając, Justyna Neuer-Luboradzka, Jakub Nikiel, Justyna Pieszczek-Zadańska, Ilona Polak-Wróblewska, Magdalena Poźniak-Mietła, Sylwia Religa, Elżbieta Rzyczniak, Małgorzata Sadowska, Bogdan Sowiński, Maria Strączek, Gabriela Szala, Anna Walczak, Urszula Wesołowska, Katarzyna Wiesiołek, Agnieszka Winkowska, Janusz Wojdowski, Emil Wojtacki, Maryla Zając, Dominika Zatoń, Agnieszka ZatykaSzlachcic, Elżbieta Żegleń.

The Organiser of Concerts held as part of “100 for 100. Musical Decades of Freedom” is PWM Edition in Cracow Director and Editor-in-Chief: Daniel Cichy, PhD Expert supervision

Daniel Cichy, PhD Concert programmes and coordination

Filip Berkowicz – Music Consulting Organisational support

Maciej Kopiński

Programme Book Expert supervision

dr Daniel Cichy Book concept and publishing coordination

Filip Berkowicz – Music Consulting Book cover and graphic designji

The Codeine Editors

Maciej Kopiński, Daria Szwed Desktop editing and page makeup

Magdalena Pieczka Proofreader

Daria Szwed Polskie Wydawnictwo Muzyczne / PWM Edition al. Krasińskiego 11a, 31-111 Kraków (11a Krasińskiego Ave., 31-111 Cracow) www.pwm.com.pl Printed and bound by: Petit Skład – Druk – Oprawa Wojciech Guz i Wspólnicy Spółka Komandytowa, ul. Tokarska 13, 20-210 Lublin

10

Chicago St. Hyacinth Basilica • Kilar

106

Milan Auditorium Lattuada • Penderecki, Górecki, Zubel

Natalia Rubiś, Katarzyna Sądej, Jesse Donner, Kurt Link, Andrzej Białko

Agata Zubel

Paderewski Symphony Chorus

Sentieri selvaggi

Chicago Philharmonic

Carlo Boccadoro

Marek Moś 122 26

Copenhagen The Royal Danish Library • Moszumańska-Nazar, Zubel, Lutosławski, Augustyn, Bacewicz, Górecki

New York Roulette Intermedium • Mykietyn, Wielecki, Zielińska, Nowak, Zubel Jacob Greenberg ICE International Contemporary Ensemble

Isabella Hübener, Tanja Zapolski

Steven Schick

Theatre of Voices Smith Quartet

136

Paul Hillier 44

Frankfurt Dr. Hoch’s Conservatory • Meyer, Przybylski, Lutosławski, Szmytka, Mykietyn

Paris Le Carreau du Temple • Górecki, Haubenstock-Ramati, Kwieciński, Szymanowski, Kornowicz, Zubel Hélène Walter Ensemble intercontemporain

Ensemble Modern

Mehdi Lougraïda

Michael Wendeberg

London Royal Festival Hall • Górecki

Tokyo Sumida Hokusai Museum • Szymanowski, Bacewicz, Lutosławski, Mykietyn, Górecki, Bujarski, Penderecki

Elizabeth Atherton

Silesian String Quartet

154 60

London Sinfonietta David Atherton 72

Lviv Lviv Philharmonic • Lutosławski, Szymański, Stańczyk, Mykietyn, Kornowicz Ensemble Nostri Temporis Roman Rewakowicz

94

Melbourne Meat Market • Serocki, Karski, Stańczyk, Jaskot, Kwieciński, Szmytka ELISION

170

Vienna Semperdepot • Malawski, Haubenstock-Ramati Klangforum Wien

Kraków Filharmonia im. Karola Szymanowskiego • Paderewski, Szymanowski

Szczecin Filharmonia im. Mieczysława Karłowicza • Górecki

Anna Mikołajczyk-Niewiedział, Ewa Marciniec, Leszek Skrla, Kevin Kenner

Elżbieta Szmytka

Chór i Orkiestra Filharmonii im. Karola Szymanowskie

Orkiestra Symfoniczna Filharmonii w Szczecinie

Tadeusz Strugała

Jerzy Maksymiuk

Katowice NOSPR • Kilar, Górecki

Poznań Filharmonia Poznański im. Tadeusza Szeligowskiego • Tansman, Szeligowski, Panufnik

Iwona Hossa, Ewa Wolak, Rafał Bartmiński, Wojciech Gierlach

Orkiestra Filharmonii Poznańskiej

Chór Narodowego Forum Muzyki

Łukasz Borowicz

Narodowa Orkiestra Symfoniczna Polskiego Radia Michał Klauza, Agnieszka Franków-Żelazny

Białystok Opera i Filharmonia Podlaska – Europejski Centrum Sztuki • Szymanowski, Kilar

Wrocław Narodowe Forum Muzyki im. Witolda Lutosławskiego • Lutosławski NFM Filharmonia Wrocławska Giancarlo Guerrero

Adam Zdunikowski Chór i Orkiestra Opery i Filharmonii Podlaskiej Mirosław Jacek Błaszczyk

Warszawa Teatr Wielki – Opera Narodowa • Górecki, Paderewski, Penderecki

Olsztyn Warmińsko-Mazurska Filharmonia im. Feliksa Nowowiejskiego • Nowowiejski, Penderecki, Stachowski, Chyrzyński, Kilar

Iwona Hossa, Karolina Sikora, Arnold Rutkowski, Mariusz Godlewski,

Orkiestra Symfoniczna Filharmonii Warmińsko-Mazurskiej

Jacek Kaspszyk

Tomasz Konieczny, Garrick Ohlsson Chór i Orkiestra Teatru Wielkiego – Opery Narodowej

Piotr Sułkowski

Łódź Filharmonia Łódzka im. Artura Rubinsteina • Bacewicz, Palester, Tansman

Gdańsk Europejskie Centrum Solidarności • Kotoński, Penderecki, Dobrowolski, Schaeffer, Rudnik, Mazurek, Michniewski, Sikorski, Knittel, Szymański, Sikora

Iwona Socha, Julia Kociuban

Michał Jacaszek, Stefan Wesołowski

Orkiestra Symfoniczna Filharmonii Łódzkiej Paweł Przytocki

Rzeszów Filharmonia Podkarpacka im. Artura Malawskiego • Górecki, Panufnik, Malawski, Kilar Chór Wydziału Muzyki Uniwersytetu Rzeszowskiego Orkiestra Symfoniczna Filharmonii Podkarpackiej Dawid Runtz

The organisers

Co-organisers of the Warsaw Gala

Strategic partners

Partner

Patron of the Gala and the Institute

Main Partner of the Gala

Institutional partners in Poland

Institutional partners abroad

PWM Edition would like to express its warmest thanks to all the Embassies and Consulates General of the Republic of Poland, as well as Polish Institutes in 10 countries of the world in which the concerts of the "100 for 100. Musical Decades of Freedom" project are held. We are grateful to Ambassadors, Consuls, Polish Institute Directors in Berlin, Kiev, London, New York, Paris, Rome, Tokyo and Vienna, as well as the staff of those institutions, for their commitment and assistance in organising the concerts and accompanying events.

Media partners

100 for 100

www.stonasto.pl

Programme

www.pwm.com.pl

100 for 100 Musical Decades of Freedom Programme