program:
SA CD 1 total time 59:14
James Dillon (* 1950)
String Quartet No. 6 (2010)
World Premiere · Simultaneous Performing
Work commissioned by SWR
[01] Arditti Quartet 16:21
Irvine Arditti, violin Ashot Sarkissian, violin
Ralf Ehlers, viola Lucas Fels, cello
[02] Diotima Quartet 13:25
Naaman Sluchin, violin Yun-Peng Zhao, violin
Franck Chevalier, viola Pierre Morlet, cello
[03] JACK Quartet 14:00
Christopher Otto, violin Ari Streisfeld, violin
John Pickford Richards, viola Kevin McFarland, cello
Philippe Manoury (* 1952)
[04] stringendo First String Quartet (2010) 14:53
World Premiere Work commissioned by SWR
Arditti Quartet
Irvine Arditti, violin Ashot Sarkissian, violin
Ralf Ehlers, viola Lucas Fels, cello
SA CD 2 total time 67:06
Brian Ferneyhough (* 1943)
[01] String Quartet No. 6 (2010) 23:48
World Premiere Work commissioned by SWR and BBC
Arditti Quartet
Irvine Arditti, violin Ashot Sarkissian, violin
Ralf Ehlers, viola Lucas Fels, cello
Ondrej Adamek (* 1979)
[02] Lo que no' contamo' String Quartet No. 2 (2010) 16:53
World Premiere Work commissioned by SWR
Diotima Quartet
Naaman Sluchin, violin Yun-Peng Zhao, violin
Franck Chevalier, viola Pierre Morlet, cello
Alberto Posadas (* 1967)
[03] The reflection of the sombra 16:57
for bass clarinet and string quartet (2010)
World Premiere Work commissioned by SWR
Diotima Quartet
Naaman Sluchin, violin Yun-Peng Zhao, violin
Franck Chevalier, viola Pierre Morlet, cello
Alain Billard, bass clarinet (guest)
Aaron Cassidy (* 1976)
[04] Second String Quartet (2010) 09: 00
World Premiere Work commissioned by SWR
JACK Quartet
Christopher Otto, violin Ari Streisfeld, violin
John Pickford Richards, viola Kevin McFarland, cello
SA CD 3 total time 66:37
Marco Stroppa (* 1959)
Let me sing into your ear 22:31
for amplified basset horn and chamber orchestra (2010)
World Premiere Work commissioned by SWR
[01] A 1. Sdoppiato, con pudicizia (dédoublé, avec pudeur) 08:11
[02] A 2. Marmoreo (de marble) 03:50
[03] A 3. Pulviscolante (comme des grains de poussière) 02:45
[04] B 1. Danzante (dansant) 01:38
[05] B 2. Irredento (irrédent) 02:57
[06] B 3. Rintanato (terre) 03:10
Michele Marelli, basset horn
Radio Kamer Filharmonie, Hilversum
Peter Eötvos, conductor
Vinko Globokar (* 1934)
Radiography d'un roman 43:53
for mixed chorus (with seven soloists), accordion solo, percussion solo, 30 instrumentalists and live electronics (2010)
World Premiere Work commissioned by SWR
[07] 10:58 p.m
[08] 10:02 p.m
[09] 11:32 p.m
[10] 11:20 p.m
Luka Juhart, accordion
Jean Pierre Drouet, percussion
David Moss, voice
EXPERIMENTAL STUDIO of the SWR
Michael Acker and Thomas Hummel, sound directors
Rita Torres, assistant
SWR Vocal Ensemble Stuttgart
Aleksandra Lustig, soprano Maria van Eldik, mezzo-soprano Ute Wille, alto
Hubert Mayer, tenor Mikhail Shashkov, baritone Mikhail Nikiforov, bass
SWR Symphony Orchestra Baden-Baden and Freiburg
Rupert Huber, conductor
SA CD 4 total time 62:17
Simon Steen Andersen (* 1976)
[01] double up for sampler and small orchestra (2010) 16:43
World Premiere Work commissioned by SWR
Radio Kamer Filharmonie, Hilversum
Peter Eötvos, conductor
Ivan Vyshnegradsky (1893-1979)
[02] Rainbow Op. 37 09:12
for six grand pianos in 12-tone tuning (1956)
German premiere
[03] Arc en ciel II (Excerpt from Les Arcs-en-ciel, Op. 52a) 03:06
for six grand pianos in 12-tone tuning (1972, unfinished)
World Premiere · Housed in the Paul Sacher Foundation
Pianos: Pi-hsien Chen, Christoph Grund, Florian Hoelscher,
Akiko Okabe, Sven Thomas Kiebler, Julia Vogelsänger
Sylvain Cambring, conductor
George Frideric Haas (* 1953)
limited approximations 32:43
Concerto for six pianos in 12-tone tuning and orchestra (2010)
World Premiere Work commissioned by SWR
[04] 12:43 p.m
[05] 12:33 p.m
[06] 07:27 p.m
Pianos: Pi-hsien Chen, Christoph Grund, Florian Hoelscher,
Akiko Okabe, Sven Thomas Kiebler, Julia Vogelsänger
SWR Symphony Orchestra Baden-Baden and Freiburg
Sylvain Cambring, conductor
Press:
13.04.2013
DONAUESCHINGER MUSIC DAYS 2010
La última entrega de las Jornadas musicales de Donaueschingen vertidas al disco, corresponden a la edición de 2010 y presentan alguna novedad with respecto a los años anteriores.
Las seis Primas Obras Están Esritas Para Cuareto de Cuerdas, Lo Que Apenas Tiene Precedentes En Estos Encuentros, Y Las Que Ocupan Los Discero Y Cuarto Se Alinean En La Acostumbrada Misecelánea Estética de Donaueschingen, Aunque con una variant: Clusiva, La firmada by Georg Friedrich Haas (n. 1953), it was worked out on a part of the material from the anterior part of the program, Rainbow, compuesta en 1956 por Ivan Wischnegradski (1893-1979), quien, como siempre en su carrera, emplea aquí la microintervalica como elemento fundamental del discurso.
In this Russian music you will hear the musicality that has an extra material, in principle, in the same way as the sound, as the pianos are attached to the tone, the sound Limited approximations, de Haas, que agrega a esos seis pianos una orquesta sinfonica, no posee la intensed de otras obras a gran escala que han dado fama a este compositor austriaco. Haas it fell a su estilo acumulativo, pero la intensidad lograda otras veces a partir de la repetición obstinada del material, aquí no aparece, quedando el homenaje (o la cita) al ruso Wischnegradski, algo estéril.
Este nuevo volume procedente de Donaueschingen, merece la pena, sobre todo, por la presencia de dos obras pensadas para cuarteto de cuerdas, las de James Dillon (n. 1950) and Brian Ferneyhough (n. 1943). Se da la circunstancia de que los dos cuartetos hacen el number 6 en la carrera de cada compositor. Como quiera que los dos autores británicos han sido repetidas veces clasificados dentro de la corriente New Complejidad, it interesting observar si estas dos obras se encuadran todavía hoy, 2013, in this tendencia que la musicología inglesa descubrió en los años 70, in buena medida, para dar lustre a esta generación de compositores.
Al lado de otras piezas de estas Jornadas musicales (la endeble, y casi de inspiration pop, double up, de Steen-Andersen, el insustancial Second String Quartet, de Cassidy, the extreme tremendista The reflection of the sombra, de Alberto Posadas, y the fragile tímbrica de Stroppa o el collage Great taste for ages 60 and up Radiography d'un roman, de Globokar), las obras de los autores británicos son, en efecto, de una complejidad sin tacha. Y por si mismas expelen un fulgor que solo está al alcance de los elegidos.
La pieza de Dillon, presented in three versions (las de los cuartetos Arditti, Diotima y JACK), posee una compacidad de sonido que la hace tal vez más asequible que el Sexto Cuarteto de Ferneyhough, quien firma aquí, muy posiblemente, una de sus obras mayores. En este cuarteto, el músico parece haberse apartado al fin de la exacerbada influencia del expressionismo desde que estrenara la obra maestra Sonatas for string quartet.
Ferneyhough conforma un discurso plagado de temas proliferantes (él los llama, en su commentario inserto en el libreto, y con su habitual lenguaje críptico, “meandros” o “estrategias formales efímeras”) que no espesan el espacio sonoro, sino que continuamente ofrece puntos de apoyo y motivos recurrentes que permits al oyente, casi por primera vez en Ferneyhough, atrapar un material de gran riqueza expresiva y que cambia, en la percepción, con cada escucha.
Francisco Ramos
Review in the “Neue Magazin für Musik” 1/2012
12/2011
Each year, Neos releases a compilation of recordings from the summer school held in the Black Forest town of Donaueschingen, Europe's longest established and arguably still most important new music festival. The 2010 programme, documented in the latest set, put a special emphasis on new works for string quartet, with the Arditti, JACK and Diotima quartets all in residence, and two of the four discs are devoted to their performances. One work, James Dillon's Sixth Quartet, was played by ALL three groups, and their three performances follow one another on the first disc. They are markedly different - the Arditti take almost three minutes longer over the quarter-hour piece than the Diotima, who give what is Dillon's most tautly compressed quartet so far a wispy, quicksilver intelligence; the harder-edged JACK performance comes in between. That disc also includes Philippe Manoury's first quartet Stringendo, played by the Ardittis, who also introduced Brian Ferneyhough's rather impenetrable Sixth Quartet at the Musiktage. As well as the Ferneyhough, there are pieces by Ondr˘ej Adámek and Aaron Cassidy on the second disc, but the highlight is Alberto Posadas's Del Reflejo de la Sombra for bass clarinet and quartet (Alain Billard with the Diotima), which infiltrates the woodwind instrument into the string textures in a way that strikingly reconfigures the conventional sonorities of the clarinet quintet.
The second half of the set is made up of orchestral and ensemble pieces. Marco Stroppa's basset horn concerto Let Me Sing into Your Ear is yet another unremarkable work by the fiftysomething Italian composer that fails to show why he is so highly regarded in some quarters, while Radiographie d'Un Roman, for choir, accordion, ensemble and electronics by the veteran Vinko Globokar is a bit of a trip down memory lane, back to the anything-goes avant garde of the 1960s. Simon Steen-Andersen's Double Up for small orchestra and sampled sounds is memorable in a nagging sort of way, but Georg Friedrich Haas's Limited Approximations, a concerto for piano sixs tuned in 12th-tone temperament (which divides each octave up into 72 equal steps) is the most ambitious, and in many ways the most extraordinary, work in the set. Preceded by two pieces by the pioneer of microtonal music, Ivan Wyschnegradsky, Haas's half-hour piece is full of striking harmonic effects and shapes that constantly shift and evolve, sometimes occupying recognisable musical territory but often moving into regions that seem totally unexplored.
Andrew Clements
12 / 2011 - 01 / 2012
A sparkling universe of sounds
New music on new CDs. Presented by Max Nyffeler
The phonographic yield of the Donaueschinger Musiktage 2010 was rich. It was the year of the string quartets, and six of them can now be heard in the 4-CD box, that of James Dillon even in the interpretation of all three quartets represented at that time - Arditti, Jack and Diotima - which allows interesting conclusions.
Further plus points are Marco Stroppa's "Let me sing into your ear" with its differentiated live electronics, Vinko Globokar's colorful "Radiographie d'un roman", and of course "limited approximations" by Georg Friedrich Haas, which with its sophisticated sound space design in twelfth tones marked the end.