Schott Recital 18 11 English

Schott Recital Room, London, England Saturday, 18 November 2017 at 7:00 PM !!! David Braid !1970 Prelude and Fugue op. 55 (2017) * World premiere Kuno...

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Schott Recital Room, London, England Saturday, 18 November 2017 at 7:00 PM

New moves 10 strings from the North

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Mikkel Andersen guitar Kuno Kjærbye violin


! ! David Braid 1970

! Kuno Kjærbye !

Prelude and Fugue op. 55 Guitar/Violin-Duo


(2017) * World premiere

(2017) * First performance in Britain

from ‘Circle of animals’ - Adagio

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- Piu Mosso - Fluente - Tempo 1

Niels Chr. Rasmussen 1950

3 small pieces for violin and guitar (2017) * First performance in Britain


! Claudio Passilongo ! ! !! David Braid !


A Natural Cycle of Death and Rebirth (2016) * First performance in Britain

- Death

- Rebirth ***


Seven-note Invention (2017) for solo guitar * World premiere

Hanne Tofte Jespersen 1956

There is a Stream (2017) * World premiere

Eva Noer Kondrup 1964

Spring Rain (2017) * First performance in Britain

Bo Andersen 1963

Two Thoughts and a Second Thought on a Stanza by Keats (2017) * First performance


in Britain

- The first thought


- Second thoughts on the first thought


- The second thought

David Braid 1970

Invocation & Continuum op. 38a

David Braid 1970

Perpertual Pavan op. 17b


(2017) * World premiere

(2017) * World premiere


David Braid, born in North Wales in 1970, studied in London, Oxford and Kraków, and his music shows something of that

double inheritance, bringing together the lyricism of such English composers as Dowland and the dynamism of the Polish school of Lutosławski. This debut CD of his music presents chamber and instrumental works written between 2006 and 2011. Steve Reich described the raga-like Morning for soprano and string quartet — the Pablo Neruda setting which opens this disc — as 'beautifully done — very honest stuff’; the other works here encompass a divergent range of moods, from the melancholy of Infinite Reminiscence to the energetic drive of Music for Dancers.

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Kuno Kjærbye: Guitar/Violin-Duo from ‘Circle of animals’ (2017) ‘This duet composition is based on a song for soprano, countertenor and chamber ensemble called ‘Slangen er tavs’ (‘The Silence of the Snake’) set to a poem by Stine Rejnholdt. I composed this work in the early summer of 2017.’ Both compositions are based on a 12-tone row, which in this duet is approached from many angles in a kaleidoscopic form of variation.’ Naked body on sandy path, yellow like the harvest, flakes of skin and every cell scraping against the gravel It lets it be, this as well, silent is the snake It feels its belly, senses dimensions and the slight sandpaper friction

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Worm in honey, this as well, silent is the snake Silent like long-lost velociraptors throatless fossil, vocal chords petrified, mute in spite of inner pain, emitting zero sound It opens its mouth towards you snapping for air, silently sharing no pain at all, yet all my pain S(ilent) is (the) S(nake)

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Stine Rejnholdt

Niels Chr. Rasmussen: 3 Small Pieces for Violin and Guitar (2017)

Commissioned piece for the Mikkel Andersen & Kuno Kjærbye Duo. Composer’s fee granted by the Danish Arts Foundation. ’This new work has 3 movements and develops a number of melodic lines, each shrouded in a different harmonic accompaniment. Each movement builds up its own melody that unfolds into 4-5 varied ‘verses’ which require a meticulous phrasing, where the numerous accents indicate the metric accentuations – also often intertwined between the 2 instruments or within the guitar’s own voice. The melodies are transposed up and down in a particular way. For instance, a melody may begin with the ‘third’ of its underlying harmony, but begin with the ‘seventh’ in a new version and thus assume a new form and reveal new, inherent expressions.


Claudio Passilongo A Natural cycle of Death and Rebirth should give the idea of a cycle, of a re-genereting pattern. The first part, probably more demanding form a musical point of view, is the ”song of sorrow”, whereas the second part is the vital one. Its rhythmic ”ostinato” underlying almost the whole section: it is the ”aggressive” (quotation form the tempo-marking) return of the almost Nietzschean ”Wille zur Macht”.


Hanne Tofte Jespersen, There is a stream (2017) This piece transforms a theme which emerged from the bank of Værebro Å /the stream of Værebro - an 'Å' in Danish means a stream, smaller than a river, bigger than a brook. It was a happy day by the stream and so is this music, in remembrance of what Værebro Å used to be before extreme weather made it the unhappy cause of several floods.


Eva Noer Kondrup: Spring Rain (2017)

Composed for the open music workshop ’Åbne-Musik-Værk-Steder‘ at the Museum of Contemporary Art in Roskilde, Denmark in May 2017 for Mikkel Andersen (guitar) and Kuno Kjærbye (violin). ‘Spring Rain is a piece meant to entertain, to tickle and to recall the sound and the feeling of rain in spring time; featuring weather sensations right about the time I began writing the music on paper one day in May.’

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Bo Andersen: Two Thoughts and a Second Thought on a Stanza by Keats – for guitar and violin (2017) Commissioned piece for the Mikkel Andersen & Kuno Kjærbye Duo

’I didn’t set the poem to music per se; it’s more like abstract reflections inspired by my frame of mind when reading and listening to the sounds of the words’. When I have fears that I may cease to be before my pen has gleaned my teeming brain, before high-piled books, in charactery, hold like rich garners the full ripened grain; when I behold, upon the night's starred face, huge cloudy symbols of a high romance, and think that I may never live to trace


their shadows with the magic hand of chance; and when I feel, fair creature of an hour, that I shall never look upon thee more, never have relish in the faery power of unreflecting love - then on the shore of the wide world I stand alone, and think till love and fame to nothingeness do sink


John Keats

!! !! Niels Christian Rasmussen bases his music on structual ideas, that include special scales and

corresponding harmonical constructions and an overall wish of combining (often very) different musical elements in simultaneously hierarcically counterpoints.

!! !! Claudio Passilongo began to compose as autodidact at the age of 9. His musical language is very

heterogeneous, and spans from the intimate solo-works to the large ensembles. His music has been played by many European ensembles and broadcasts by Radio Swiss Jazz, Radio Vaticana, RadioRai, Dansk Radio P8, DR P2, and others.

!! !! Hanne Tofte Jespersen is a Danish composer with roots in classical as well as world music. She has

composed commissioned works for a number of ensembles, instrumental and vocal, incl. works with integrated storytale. Her music has been performed in Denmark, Sweden, England, Wales, Faroe Islands, Iceland, Germany and is releaed on cd as well as online. Since 2014 she has created a series of collaborate works in which she has set urban- and rural landscapes to music together with children. She graduated from University of Copenhagen as M.A. in music and as an organist from Zealand's school of church music.

!! !! Eva Noer Kondrup writes music for orchestras, soloists and ensembles. She explores music with an

openminded approach, throwing dice and digging into crafts by women. Currently, autumn 2017, she has finished the score for Den Rejsende, The Traveller, an opera on the refugee politics in Europe, to be premiered at The Royal Opera, Copenhagen.

!! !! Bo Andersen was trained as a composer at The Royal Danish Academy of Music in Copenhagen from 1988 – 1995. Among his teachers were Danish composers Ib Nørholm and Erik Norby. He later studied film music composition with American film composer Hummie Mann from 2005 – 2008. Bo Andersen’s works include mostly chamber music; his music for films counts a.o. the debut short of renowned Danish director Christoffer Boe (“Hr. Boe & Co.’s Anxiety” 2001), and most recently the debut short of upcoming Danish director Anders Helde, “You Can Play” (2015).

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Mikkel Andersen and Kuno Kjærbye have each premiered many works by Danish and international composers, and several of these works were dedicated to them. They teamed up as a duo in 2016 at the open music workshop ’Åbne Musik-Værk-Steder’ at the Museum of Contemporary Art in Roskilde, Denmark. The workshop demonstrates the creative processes of the composers/musicians when working on unfinished music, which is then performed to the audience. In 2016, the workshop featured the Italian composer Claudio Passilongo, who lives in Denmark, and the latest workshop in May 2017 featured the composer Eva Noer Kondrup. These musical processes gave Andersen and Kjærbye the desire to found a guitar and violin duo that would specialise in brand new music.

!! As a composer, Kuno’s music often incorporates a narrative element, e.g. in the multimedia work

’Havhingsten - en billedkoncert om vikingeskibet Havhingsten fra Glendaloughs rejser 2007-08 RoskildeDublin’ (‘The Sea Stallion – a picture concerto based on the Viking ship The Sea Stallion from Glendalough’s 2007-8 voyages between Roskilde and Dublin), which was released on DVD/CD in 2010). Kuno has composed commissioned works for many ensembles, including choral music, sinfoniettas and chamber music.