Basic information
| Composer |
Hyvärinen, Asko |
| Duration |
7 min. |
| Year of composition |
2000 |
| First performance (year) |
2001 |
| First performance (venue) |
Time of Music, Viitasaari, Finland |
| First performance (performers) |
Timo Kinnunen, accordion, Tempera Quartet |
| Submitter |
Uusinta Chamber Ensemble |
| Publisher |
|
| Conductor |
No |
| Soloist(s) |
, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
|
Musicians |
Instruments |
| Keyboard |
1 |
Accordion
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Additional notes |
Third prize in the International PanAccordion 2000 competition arranged by the Finnish Accordion Institute 2000
|
Waves of Reflection
Basic information
| Composer |
Bruun, Peter |
| Duration |
17 min. |
| Year of composition |
2000 |
| First performance (year) |
2000 |
| First performance (venue) |
Academy of Music Esbjerg |
| First performance (performers) |
Esbjerg Ensemble + Frode Andersen |
| Submitter |
Esbjerg Ensemble |
| Publisher |
Edition Wilhelm Hansen |
| Conductor |
Obligatory |
| Soloist(s) |
accordion, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
|
Musicians |
Instruments |
| Keyboard |
1 |
Accordion
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
Obstinatissimo
Basic information
| Composer |
Bosse, Denis |
| Duration |
18 min. |
| Year of composition |
2006 |
| First performance (year) |
2006 |
| First performance (venue) |
Ars Musica - Mons |
| First performance (performers) |
Ensemble Musiques Nouvelles, Dominica Eyckmans, dir. Jean Thorel |
| Submitter |
Ensemble Musiques Nouvelles |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
1 viola, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
Bass
|
|
| Bassoon |
1 |
Bassoon
Contrabassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
B-flat
|
|
| Trombone |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Chimes
Marimba
Vibraphone (C3)
Timpani
Xylophone
Bass Drum
Cymbals
Tamtam
Tom-Toms
Other
|
| Harp |
1 |
- |
| Keyboard |
1 |
Piano
Celeste
|
| Other instruments and playing techniques |
| Timbales, gongs |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
À Dominica Eyckmans
|
Appendix
for piccolo and chamber ensemble
Basic information
| Composer |
Szymański, Paweł |
| Duration |
12 min. |
| Year of composition |
1983 |
| First performance (year) |
1984 |
| First performance (venue) |
Frederic Chopin University of Music (formerly Music Academy), Warsaw |
| First performance (performers) |
Elżbieta Gajewska - flute, Chamber ensemble, Mieczysław Gawroński - cond. |
| Submitter |
Orkiestra Muzyki Nowej |
| Publisher |
Chester |
| Conductor |
Obligatory |
| Soloist(s) |
flute piccolo, |
Instruments
|
Musicians |
1st player |
2nd player |
| Viola | 2 | | |
|---|
| Cello | 2 | | |
|---|
| Flute |
1 |
Piccolo
|
|
| Horn (F) |
1 |
|
|
| Trombone |
1 |
Alto
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Marimba
Vibraphone (C3)
Timpani
Bass Drum
Cymbals
Tom-Toms
Temble Blocks
Wood Blocks
Other
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
'Appendix' for solo piccolo and chamber ensemble, is a work rich in contrapunctal texture. An idilic dialogue between piccolo and strings (reminiscent of birdsong) gives way first to a nostalgic waltz tune, then to a funeral march which gets more and more pathetic towards the end of the piece, only to be stopped abruptly by a caustic tutti chord; its authority, however, is impaired by the pitiful glissando of the violas which closes the work.
|
Ladies' Room
Basic information
| Composer |
Haapanen, Perttu |
| Duration |
18 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Musica nova, Helsinki |
| First performance (performers) |
Helena Juntunen, soprano, Dmitri Slobodeniouk, condactor, Avanti! Chamber Orchestra |
| Submitter |
Uusinta Chamber Ensemble |
| Publisher |
FIMIC |
| Conductor |
Obligatory |
| Soloist(s) |
soprano, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 4 | | |
|---|
| Viola | 2 | | |
|---|
| Cello | 2 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
| Bassoon |
1 |
Bassoon
Contrabassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Tenor
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Chimes
Bass Drum
Cymbals
Tamtam
Tom-Toms
Temble Blocks
Other
|
| Harp |
1 |
- |
| Keyboard |
1 |
Piano
Celeste
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Ladies' Room (2007, rev 2008)
Ladies' Room is a song cycle for soprano and chamber orchestra. The texts of the songs are from the Bible, search engine Google (re-composed and manipulated by the composer), the Scotland Yard Archives, by Jutta Seppinen and Paul Celan (trans. by Jukka Koskelainen). Individual songs are separated by ”4 hommages à Adolf Wölfli”. These interludes are inspired by texts (like Trauermarsch -poems) of Adolf Wölfli, who was Swiss schitzophrenic artist at around the turn of the 20th century. A subject around the texts is amnesia (conscious or unconscious, personal or collective) and its reflections (such as fear, hate, supression) on society and on individuals.
The soloist represents a variety of different personalities through the texts, who also have different attitudes on the subject. Compared to Arnold Schönberg's Erwartung, the way how music deals with the texts is not expressionistic, neither ”Freudian”. I would rather describe the way of the setting of the texts as ”anti-Freudian”.
|
| Additional notes |
Text by Seppinen, Haapanen, Celan and others (in Finnish)
Commissioned by the Musica nova Helsinki
Dedicated to the memory of Kim Wuorela-Stenberg
|
Moving Still
For baritone, string quartet and sound media
Basic information
| Conductor |
No |
| Soloist(s) |
Baritone (voice), |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Other instruments and playing techniques |
| Includes sound media with baritone track. |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The Kronos Quartet, Paul Hillier and Hans Christian Andersen?
Distinctly American, English, Danish?
A meeting point between these different elements seemed attractive. For one thing because for me Charles Ives, Edgar Varese, John Cage and the American minimalism have been a crucial source of inspiration since the 60s. Hans Christian Andersen ever since the 30s! Of course. A natural (and also curious) part of my upbringing. Let me just fasten on one point here. This unique writer’s peculiar linguistic tone. The word order, the RHYTHM! After long fantastical twists - a sudden blow. A short, dry, sarcastic comment. Florid richness in detail and sensitivity followed by laconic irony. I think that this ‘mannerism’ has become part of my own musical expression.
I collected my thoughts in two movements: an American movement and a
Danish movement. Hans Christian Andersen’s brief text “ In a Thousand
Years” is a vision of how the young Americans of a distant future will cross the Atlantic in ‘steam ships of the air’ and ‘do Europe in a week’! Andersen also predicted the submarine tunnel England-France! It became a nervous, pulsating first movement – with a greeting to American minimalism.
In short, the second movement is a ‘Danish song’. My own melody (which resembles that of Poul Schierbeck) for Hans Christian Andersen’s poem ‘In Denmark I was born’. However, the song is invaded by outside influences (comp tickets for Krarup, Langballe and Pia is worth a consideration).
|
| Technical specs |
The piece includes sound media - baritone track. See the score for further information.
|
| Additional notes |
Dedicated to Paul Hillier and the Kronos Quartet. The piece is based on Andersen's "In a thousand years" and the poem "In Denmark I am born" and commissioned especially for the performers by Edition SAMFUNDET.
|
Die Sterne des Hungers
Basic information
| Composer |
Lang, Bernhard |
| Duration |
40 min. |
| Year of composition |
2007 |
| First performance (year) |
2007 |
| First performance (venue) |
Kunstfest Weimar 2007 |
| First performance (performers) |
Enno Poppe (cond), Sabine Lutzenberger (mezzo-soprano), Vera Fischer (flute), Florian Müller (piano) |
| Submitter |
Klangforum Wien |
| Publisher |
Zeitvertrieb Wien Berlin |
| Conductor |
Obligatory |
| Soloist(s) |
soprano/mezzosoprano, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
C bass
|
|
| Oboe |
1 |
Oboe
Cor anglais
|
|
| Clarinet |
1 |
B-flat
Bass
|
|
| Bassoon |
1 |
Bassoon
Contrabassoon
|
|
| Horn (F) |
1 |
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
„Die Sterne des
Hungers“ beziehen sich auf Texte von Christine Lavant, und zwar auf die Gedichte
„Im rueckgrat aufwaerts glimmt ein licht“, „So also geht erleuchtung vor“, „Zeig an mir die kräuter welche bestärken“, „Lösch
aus mein gesicht und führe mich blind“. Dazwischen
wurde Machauts Rondeaux „Ma Fin es mon commencement“ interpoliert, das nach 20
Takten im Original exakt rückwärts läuft.
Die Lavant-Texte
wurden, um das Original unangetastet zu
lassen, mittels des Textgenerators „Abulafia“ unterschiedlich zersplittert und
erscheint nur in Bruchstücken.
Harmonisch erforscht
das Stück weiter die neuen Frequenzmodulationsspektren, die erstmals in DW14
Verwendung fanden und in den Folgestücken zur harmonischen Grundlage wurden.
Auch die in DW9 zitierten Zellulären Automaten finden hier als algorithmische
Komplexe Eingang in die Instrumentaltextur.
|
Klavierkonzert 76
Basic information
| Composer |
Urbanner, Erich |
| Duration |
18 min. |
| Year of composition |
1976 |
| First performance (year) |
1977 |
| First performance (venue) |
ORF Landesstudio Tirol |
| First performance (performers) |
Erich Urbanner, conductor, Käte Wittlich, piano, Innsbrucker Ensemble für Neue Musik |
| Submitter |
ensemble reconsil |
| Publisher |
Doblinger Musikverlag |
| Conductor |
Obligatory |
| Soloist(s) |
Piano, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
2 |
B-flat
|
Bass
|
| Horn (F) |
1 |
|
|
| Trombone |
1 |
Tenor
|
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
The work is in a single movement, the basic compositional idea of which contains a dramatic character. In spite of lyrical portions, major triads and dissonances of every sort create two contrasting strata of sonority which are continually brought into opposition. The many possibilities of this seeking contact - and occasionally finding it - produces a developmental character in the musical design. Its course runs as follows:
- 1. An introductory passage in a kind of shorthand presents within a few measures the two opposing strata of sound: the piano’s vehement A-flat triads are immediately followed by the freely tonal answer of the ensemble.
- 2. A short transition beginning in the piano in quasi-improvisatory style leads to a Grazioso, in which the piano unfolds its virtuosity still in an improvisatory manner over a rhythmic pattern in the strings, which provides unity in this section.
- 3. A contrasted lyrical passage is played by the orchestra; the piano superimposes arabesques which revert ever more constantly to the realm of the major triad
- 4. In the following developmental section, piano and orchestra share equally. The orchestra remains freely tonal, while the piano keeps trying to establish the consonant material.
- 5. Over a metrically free iridescent background of woodwinds and strings, horn and trombone assert the triadic stratum and lead to
- 6. piano cadenza beginning in the triadic realm but gradually becoming more and more extended tonally, so that at the end a sort of compromise has been achieved
- 7. The orchestra undertakes a short, lyric continuation of the cadenza.
- 8. The following fast part is divided into two planes: the piano part conceived in wide-ranging extended tonality, while the orchestra intones blocks of sound that revolve around central tones. Accordingly, this passage has a rather hovering, uncertain and indecisive effect.
- 10. This very lively part is substantially a counterpart to the second section. The triadic stratum is emphasized
- 11. The rhythmic pattern of the second section is extended. Over it piano and winds build up a stretto. After a general pause, which interrupts the constantly more urgent activity, there follows
- 12. the coda, with an enlargement of the opening shorthand figure; thus the arch from beginning to end is closed, achieving through this overall conception a powerful sense of unity
Robert Schollum
|
(étude scénographique)
for mezzo soprano and ensemble on text by Ricardo Reis
Basic information
| Composer |
Janssens, Daan |
| Duration |
10 min. |
| Year of composition |
2008 |
| First performance (year) |
2008 |
| First performance (venue) |
TRANSIT FESTIVAL (B, Leuven) |
| First performance (performers) |
Spectra Ensemble |
| Submitter |
Spectra Ensemble |
| Publisher |
|
| Conductor |
Obligatory |
| Soloist(s) |
Mezzo-soprano, |
Instruments
|
Musicians |
1st player |
2nd player |
| Viola | 1 | | |
|---|
| Cello | 1 | | |
|---|
| Flute |
1 |
C bass
|
|
| Clarinet |
1 |
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
1 |
Chimes
Glockenspiel
Vibraphone (F3)
Bass Drum
Cymbals
Tamtam
|
| Keyboard |
1 |
Piano
|
| Other instruments and playing techniques |
| Piano also uses plectrum, Percussion also bongo (medio) |
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Daan Janssens (étude scénographique) (2008)
for mezzo soprano and six instruments
The origin of (étude scénographique) – a composition for mezzo soprano and six instruments – was an ode by Ricardo Reis (one of the heteronyms of the renowned Portuguese writer Fernando Pessoa). Most of the text is effective audible in the composition. However, the first and the last words are only virtually present.
Pequena vida consciente, sempre
Da repetida imagem perseguida
Do fim inevitável, a cada hora
Sentindo-se mudada,
E, como Orfeu volvendo à vinda esposa
O olhar algoz, para o passado erguendo
A memória pra em mágoas o apagar
No báratro da mente.
Little knowing life, always
Pursued by the repeated image
Of its inevitable ending, itself continually
Feeling a different life
And, like Orpheus who turned
His killing glance to his wife, raising
Memory to what was, to erase it in sorrows
In the abyss of the spirit.
In my composition, I work primarily with different short motifs and musical gestures, sometimes linked to one instrument. Rather than being intended to illustrate the text word for word, the music evokes the underlying thought. The text, which is more lyrically, yet fragmentarily presented, is pursued by continually recurring short musical images: a nervous tremolo in the viola, a bowed crotale...
(Daan Janssens)
|
Piano Concerto
Basic information
| Composer |
Brødsgaard, Anders |
| Duration |
22 min. |
| Year of composition |
1995 |
| First performance (year) |
1996 |
| First performance (venue) |
Musikhuset Århus, Denmark |
| First performance (performers) |
Rolf Hind (solo piano), Aarhus Sinfonietta, Søren K. Hansen (cond) |
| Submitter |
Esbjerg Ensemble |
| Publisher |
Edition Wilhelm Hansen |
| Conductor |
Obligatory |
| Soloist(s) |
Piano, |
Instruments
|
Musicians |
1st player |
2nd player |
| Violin | 2 | | |
|---|
| Viola | 2 | | |
|---|
| Cello | 1 | | |
|---|
| Double-bass | 1 | 4-string | |
|---|
| Flute |
1 |
C
Piccolo
|
|
| Oboe |
1 |
Oboe
|
|
| Clarinet |
1 |
B-flat
|
|
| Bassoon |
1 |
Bassoon
|
|
| Horn (F) |
1 |
|
|
| Trumpet |
1 |
C
|
|
| Trombone |
1 |
Tenor
Bass
|
|
|
Musicians |
Instruments |
| Percussion |
2 |
Chimes
Crotales
Marimba
Vibraphone (F3)
Tamtam
Other
|
| Other instruments and playing techniques |
|
|
Equipment |
| Sound electronics |
|
| Visuals |
|
|
Notes
| Programme notes |
Brødsgaard is a pianist himself; He studied piano with Rosalind Bevan at the Carl Nielsen Music Academy in Odense, and currently teaches piano and gives occasional concert performances. However it is as a composer that he is best known. He studied composition with Per Nørgård, Karl Aage Rasmussen and Hans Abrahamsen at the Music Academy in Aarhus.
However his earlier works were influenced more by two Ferien-kurse in Darmstadt, the stronghold of modernism. These works are tightly structured and show a strong influence of the serial composers of the 50s, in particular Karlheinz Stock-hausen.
Brødsgaard’s musical style has developed since then. His more recent pieces have a greater sense of immediacy and the instrumental writing is more straightforward. Brødsgaard uses fundamental musical principles such as tonality (overtone rows and their mathematical relations) and pulse (complicated polyrhythms, eg 5 agains 7, are broken down to the lowest common denominator). Brødsgaard seeks to link together these musical structures by using the numeric relations of the overtone row (which of course are to be found in nature), to multi-layered rhythmic structures; (polyrhythms).
The Piano Concerto is, in this sense, one long polyrhythm of approximately 20 minutes; All the material in the concert is derived from the juxtaposition of various different pulses (which, in the end, eventually come out ‘lenghtwise’ in the music) and various tone rows, which interact vertically, according to the same numeric relationships which are found in the main polyrhythm: 2 against 3 against 5 against 7 against 11.
Although the concerto is through-composed, strictly speaking it consists of a number of overlapping movements. For instance, there is a solo piano movement with underlying winds, a pizzi-cato movement, a woodwind movement and so on, which exist simultaneously with others ‘vertically’. But the concerto is also divided up ‘horizontally’, in other words into movements in the more traditional sense of the word. Thus there is a ‘slow movement’. But these too follow a fundamental order, based on the mathematics of the polyrhythm: all the tempi in the concerto relate to one common basic tempo. In a sense, all parameters of the music swing in a kind of planetary dance around one common centre of gravity. The listener never experiences it all at one time, what we hear is the composer’s selection of the unity.
|
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