27 januari, 2002 - Posthoornkerk, Amsterdam
CONCERT XXIX
27 januari, 2002 - Posthoornkerk, Amsterdam
CONCERT XXIX |
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presenteertCello ChaosGeoffry Gartner, CelloProgrammaMatthew Shlomowitz - Tick Damien Ricketson - Imagining Le Verrier Martijn Voorvelt - Who's Pushing the Pedals on the Seasons Cycle? (Dutch Premiere) Alex Hills - Drop Rosalind Page - Extrema: A Galilean Sarabande Helmut Lachenmann - Pression Alberto Ginastera - Punena No.2 Dit programma is tot stand gekomen met steun van het Amsterdams Fonds voor de Kunst This program was made possible with support from the Amsterdams Fonds voor de Kunst ToelichtingenMatthew Shlomowitz - Tick (1994) Matthew Shlomowitz: "There are four types of material in Tick and each utilises a different instrumental technique: col legno battuto, harmonics, pizzicato and conventional playing. The title is to be understood in a variety of ways: mimicking the sound of little insects and the tick of a clock and, most importantly, the material generally is contoured to match the shape of the symbol (that signifies that something is correct)". Damien Ricketson - Imagining Le Verrier (2001) Damien Ricketson: "In 1845 the English mathematician John Couch Adams proposed the existence of an undiscovered planet (Neptune, initially named Le Verrier) beyond the orbit of Uranus. Adam's approach was controversial at the time because he did not describe the physical world through direct observation, but rather applied mathematical modelling to predict and reveal an unseen world. This was the inspiration for this piece: to use abstract models to go beyond my own ear ï to create an unheard world. Imagining Le Verrier originates as the composition of movement not sound. Rather than conceiving pitches, abstract models are used to pattern the movements of the two hands of the cellist. Thus the score becomes the choreographic instructions and the instrument the physical landscape in which these movements take place. This intimate approach to the instrument would not have been possible without the assistance of cellist Geoffrey Gartner who premiered the work on the 4th March 2001 at the Bangarra Dance Theatre, Sydney". Martijn Voorvelt - Who's pushing the pedals on the season cycle? (2000) Dutch Premiere Martijn Voorvelt: "All I wanted to do was write a nice little unpretentious piece of music. But, inadvertently, 'Who's pushing...' has come to reflect a small conflict which arose in my mind during the composition proces: the conflict between wanting to write a piece about pizzicato techniques because John Addison had asked me to, and a strong inclination to write very different things. Composing became like an alternating current. Hence the music is about shooting back and forth between two poles, about the constant imbalance that makes sure nature keeps moving and changing. Day and night, summer and winter, order and chaos; like a tumbler, nature keeps falling in the opposite direction. As if everything is always attracted to that which isn't there. (A lacking propels us.) When it was finished, the 1986 song 'Season cycle' by XTC popped flop into my head. I decided to quote its chorus for a title. Because it is appropriate, but also to honour the great songwriter Andy Partridge. The Slovakian cellist Jan Slavik premiered 'Who's pushing...' during the Wetterfest in Vienna, a music festival that was all about the weather..." Alex Hills - Drop (1997) Alex Hills: "Drop is a kind of experiment in moving from extremely simple musical building blocks to very complex ones and visa versa. The simple material is pure gesture, the crude 'drop' of the beginning. The more complex material is made up of 3 brief excerpts from Bach cello suites, full of the harmonic and rhythmic richness seemingly absent from the opening. However, these materials are never treated as static quotations, but rather subject to continual mutations which lead to their gradual unfolding, transformation into one another and eventual disappearance". Rosalind Page - Extrema: a Galilean Sarabande (2001) (Amplified cello, chinese gong and tape) Rosalind Page: "Extrema: A Galilean Sarabande is an epic narrative for solo cello, Chinese Gong and tape, composed for and dedicated to Geoffrey Gartner. This work exists as the second composition in the composer's cycle Kunstwerke, drawing dual inspiration from Wassily Kandinsky and from astronomy. Traversing time and space (Sydney, Australia 2001 ï Florence, Italy 1610) GG's cello, accompanied by Kandinsky and points from the melodic curve of JS Bach's Sarabande (Cello Suite No.5 in cm), journeys to the giant planet Jupiter, encountering on the way the four Galilean moons (Galileo Galilei's Medicean stars of 1610). The title Extrema refers not only in the astronomical sense to our friend in the far neighbourhood of this solar system, but also to the use of extended instrumental techniques and to the mathematical term denoting the turning points of a curve. The composition is ordered into five moments: a. IV: Callisto, b. III: Ganymede, g. II: Europa, d. I: Io, and e. Observationes (1610)... Moments a - d, refer to the four Jovian moons, with d. I: Io embedded in parallel with moments a - g. Each moment is intended to evoke the astronomical landscapes, in geographical, poetic and emotional terms, of the four Galilean moons: from Callisto's immemorial, damaged, disposed archaic terrain, through Ganymede's reflective, polished mirror of ice-lace, enshrouded in auroral magnetospheres, riding on the rise and fall of Europa's expansive sub-surface warm (relatively!) ocean currents, and finally perceiving Io's labile, eruptive juvenescence, perpetually restless and never sleeping. Moment e. Observationes (1610)... refers to Galileo's observations as noted in his Sidereus Nuncius (1610). Pitch "whisperings" encoded from the Latin text by Galileo's own hand, inscribe while the orbital Jovian moondance continues in perpetuum. The spherical brilliance of Jupiter in the sky from our earthly perspective is symbolised by the Chinese Gong, while taped sounds, derived from radio signals emitted from the planet itself, draw the cello to its final destination: Jupiter's surface at the physical region of the largest known storm, the Great Red Spot ï or, perhaps, upon reflection, we discover we have entered instead the subjective, geometrically sensual realm of Kandinsky's 1925 work of art Small Dream in Red..." Helmut Lachenmann - Pression (1969) David Alberman: "Pression is one of the first pieces in which Lachenmann began to use the concept of a musique conr”te instrumentale. Musique concr”te was a term coined in 1949 by the French composer Pierre Schaeffer to describe the collaging and manipulation of tape-recorded 'real sounds' in musical composition. Lachenmann took this idea further, so that the sounds of the instruments become the sound-objects, which in turn create the musical argument. In Pression, for instance, Lachenmann uses the title of the piece (French: 'Pressure') as the starting point for a series of situations in which sound is produced by the pressure and friction of one surface against another. The constant transformation of one sound into another, as so often in Lachenmann's music, provides the impetus by which the piece is caried forward as the various implications of the title are explored". Alberto Ginastera - Puneßa No. 2, Op. 45 (1976) I. Harawi II. Wayno Karnavalito "Puna (a Quechua word): 1. High plateau of the Andes. 2. South American: vast terrain, barren and dry. 3. South American: Fear that one feels in certain altitudes. Punena: belonging to the Puna. Harawi: a love song filled with sorrow. Wayno Karnavalito: carnival dance of wild abondonment." Puneßa No.2 is part of an anthology of compositions written at the suggestion of Mstislav Rostropovich, for the 70th birthday of PAUL SACHER. BiografieanGeoffrey Gartner Alberto Ginastera The Argentinian composer Alberto Ginastera (1916-1983) is widely regarded as one of the most important and original South American composer of the 20th century. His attractive output for piano skillfully combines folk Argentine rhythms and colors with modern composing techniques. Exhilarating rhythmic energy, captivating lyricism and hallucinatory atmosphere are some of the characteristics of his musical style. Puneßa No.2 is from Ginastera's Neo-Expressionist period, about which he states: "There are no more folk melodic or rhythmic cells, nor is there any symbolism. There are, however, constant Argentine elements, such as strong, obsessive rhythms, meditative adagios suggesting the quietness of the Pampas; magic, mysterious sounds reminding the cryptic nature of the country." Several important works belong to this period, such as his much criticized opera Bomarzo, his Popul Vuh for orchestra, and his Concerto No. 2 for Cello and orchestra. (Edited from Elena Dabul) Alex Hills Helmut Lachenmann Helmut Lachenmann was born in Stuttgart in 1935 and studied there at the Musikhochschule between 1955 and 1958. His interest in the avant garde began with his first visit to the Darmstadt Ferienkurse in 1957, where he met Luigi Nono, with whom he studied in Venice between 1958 and 1960. Stockhausen was added to the pedagogical mix three years later, when Lachenmann attended the Cologne New Music Course. When Lachenmann's music began to be performed in the early 1960s, first at the Venice Biennale and at Darmstadt, his works appeared to fit comfortably into the aesthetic of the post-Webern serialists, in particular revealing the influence of Nono's pointilliste techniques. From the late 1960s onward, however, Lachenmann began to look for a new approach to the problems of musical language and syntax. In a series of works, beginning with temA (1968), Pression for solo cello (1969), and Air for percussionist and orchestra (1969), he started to exploit a new, alienated sound world that treated instrumental technique in a radically unconventional way. Since 1983, Lachenmann has been a featured composer at numerous festivals and concert series in Germany and abroad, including the Holland Festival in Amsterdam, Ars Musica in Brussels, Musik der Zeit in Cologne, Festival d'Automne in Paris, Wien Modern in Vienna, and Tage f‰r neue Musik in Stuttgart and Zurich. He is a member of the Akademie der K‰nste in Berlin and of the Akademien der K‰nste in Hamburg, Leipzig, Mannheim, and Munich. (Edited from Schirmer Music) Rosalind Page Damien Ricketson Matthew Shlomowitz Martijn Voorvelt Concerten Tot en Met begon vijf jaar geleden op initiatief van enkele jonge componisten uit alle hoeken van de wereld om in Amsterdam in samenwerking met getalenteerde musici heel eigen programma's samen te stellen. Ons volgende concert vindt plaats op 24 februari met de late stopwatch-werken van John Cage, en nieuwe stopwatch-werken van (onder voorbehoud) Cynthie van Eijden, Rozalie Hirs, Dante Oei, Martijn Voorvelt en Samuel Vriezen. Wilt U op de hoogte blijven van Concerten Tot en Met? Neem contact op met Samuel Vriezen: 3640437, sqv@xs4all.nl You don't want to miss: Concert XXX - 'Number Night' Zondag 24 februari 2002 ---20:30 u. Jonge componisten onderzoeken de late werken van John Cage Concert XXXI - Concert door het Amerikaanse ensemble Non Sequitur Zondag 31 Maart 2002 20:30 u. Werken van Vriezen, van Eijden, Clark, Weisser e.a. |
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