Afiş /Poster
Afişul festivalului

Duminică, 24 Mai / Sunday, 24 May

12.00 / 12.00 pm – Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Nanae Yoshimura,
20 strings koto, Japonia / Japan
Recital şi conferinţă / recital and lecture

Program / Programme:

Michio Kitazume – In Resonance for 20 string koto (p.a.r.) /(Romanian Premiere)
Traditional piece – Midare by Kengyo Yatsuhashi (p.a.r.) /(Romanian Premiere)
– pauză / intermission –
Joji Yuasa – Koto Uta Buson’s Five Haiku for 20 string koto and voice (p.a.r.) / (Romanian Premiere)
Akira Nishimura – Rurikin for 20 string koto (p.a.r.) / (Romanian Premiere)

Concert realizat cu sprijinul / Recital and lecture supported by: The Agency for Cultural Affairs – Government of Japan, Rohm Music Foundation, The Kao Foundation for Arts and Sciences, The Nomura Cultural Foundation, The Asahi Shimbun Foundation.

Nanae YoshimuraNanae Yoshimura is born in Tokyo. From the age of three her mother began to teach her the Koto and at the age of 16 she took the teacher’s license herself. In 1972 at the age of 22 she made her debut and won the incentive prize of the ”Competition for Newcomers in Japanese Instruments”. In 1979 she won the 1st prize of the Contemporary Japanese Music Competition organized by Panmusik-Festival, and in the same year she gave the first recital with a 20-string Koto in Tokyo, which became the beginning of her recital series, Yoshimura has been continuing once in every one and a half year so far. Nanae Yoshimura’s activities are spanning the traditional 13-string Koto as well as the 20-string Koto, which she substantially established as an instrument for Japanese contemporary music. She is representing Japan as a unique player of the 20-string Koto and is going on an overseas tour almost every year, introducing the instrument to foreign countries. From 1988, she started to collaborate with Japanese composers of her time, such as Akira Nishimura, Takashi Yoshimatsu, Tokuhide Niimi, Somei Sato, Shin’ichiro Ikebe, Joji Yuasa, Minao Shibata, Maki Ishii, Satoshi Minami, Toshiro Saruya and Kiyoshi Furukawa. By establishing joint production recitals with some of today’s most important Japanese artists, she opened up a new path for the 20-string Koto in Japanese contemporary music. Due to her merits on this field she was awarded the National Arts Festival Award (1993), Japan Arts Foundation Encouragement Award (1994) and the Nakajima Kenzo Award (1999). Starting from an invitation to the Asia Pacific Festival in Wellington, New Zealand, Nanae Yoshimura has performed at numerous major festivals and concert halls all over the world, where she appeared in solo recitals as well as joint recitals with Kifu Mitsuhashi, shakuhachi player. Her trips led her to Asia, the U.S, Central Asia, and all European countries. In 1989 she went to Pakistan; in 1994 toured the Scandinavian countries, Estonia and Germany, organized by Japan Foundation. In 1986 she took part in the St. Louis Opera’s world premiere of ”JORURII” (composed by Minoru Miki) as 20-string Koto soloist, moreover in 1991 she performed as a soloist with Tokyo Metropolitan Symphony Orchestra on the occasion of Carnegie Hall’s 100th anniversary, and at the JAPAN FESTIVAL in London. In 1994 she participated in an Avignon Festival production of the Noh Opera ”SUSANOU” (director: Hiroshi Teshigahara, composer: Maki Ishii). In 1995 she was invited by Rome Contemporary Music Association as a part of ”Japan in Italy”, and gave recitals in several cities of Italy. In 1997 she participated in a China-Japan Friendship Contemporary Music Festival, which was held in Beijing on the occasion of the 25th anniversary of the recovery of Sino-Japanese diplomatic relations. In 2000 she went on a recital tour to Northern Europe. In March of 2003 she was sent to Croatia, Slowenia and Serbia by the Foreign Ministry of Japan. In November of the same year she performed the German premiere as well as a CD recording of ”A Sea of Trees” by Akira Nishimura and ”Within Dreams Without Dreams” by Takashi Yoshimatsu, both concerti for 20-string Koto and Orchestra and in the same year appeared in a solo recital at Kunsthistorisches Museum Vienna. In addition, from 1972 she kept organizing numerous concerts in collaboration with Promusica Nipponia and from 1997 began the series ”Japanese Music”, which is focusing on the younger generations of Japanese musicians and composers.

Composers and Programme Notes

Michio Kitazume was born in 1948. In 1966 he entered Tokyo National University of Fine Arts and Music and studied composition with Tomojiro Ikenouchi, Akio Yashiro, Teizo Matsumura, piano with Shozo Tsubota, conducting with Hideo Saito and Masamitsu Takahashi. His works include "Water Reincarnation" (commissioned by NHK Electronic Music Studio), "Shadows IV for clarinet solo", "Ren-Ga for clarinet solo", "Side by Side for percussion solo", "Color of the Layers II for piano" and many others for various instruments. His music have been performed at "Festival d'automne de Paris", "Kuhmo Festival"(Finland), "Music from Japan"(New York), and many other modern music festivals, concerts, and broadcasts. In 1977, joined "Ensemble Vent d'Orient", the collaboration group of players and composers as a composer, conductor and producer and introduced domestic and foreign modern music after Schoenberg. This group won the 1st Nakajima Kenzo Contemporary Music Prize in 1983. From 1979, he studied in Paris for one year under the overseas study program of the Agency for Cultural Affairs. Recent orchestral works are "Ei-Sho"(1994,Otaka Prize, Grand-Prix of IRC-Unesco), "Color of the Layers"(1995), "Ceremony of the Sky and Trees"(1997), "From the Beginning of the Sea"(1999), "Scenes of the Earth"(2001,Otaka Prize), "Clarinet Concerto"(2002), "Concerto for Orchestra" (2003). These orchestral works have been performed by NHK Symphony Orchestra and many other outstanding orchestras both in Japan and abroad. In 2004, he won the 22nd Nakajima Kenzo
Music Prize for his distinguished achievement in music composition. He is a director of Japan Society for Contemporary Music, and professor of Kunitachi college of Music, and part-time professor of Aichi Prefectural University of Fine Arts and Music.

In Resonance
for 20 string Koto
(1988)
In the sound of twenty string koto, there are sometimes moments to reveal the roots of ”plucking instrument” breaking through ”Japanese traditional music”. It is very attractive. That fact and the setting of resonance by ”twisted tuning”, I happened to lay myself in them naturally. I do not have much to mention since I wrote this piece quite candidly by following the breath of resonance and indifferently to such words as ”contemporary music”, ”the tradition of Japanese music”, ”thirteen string koto versas twenty string koto”, and so on. In my very private recollection though, this work saved me out of extreme sadness I was in then. I could deliver her the final draft just before the concert. Nanae made a finishing touch beautifully with very high concentration joking ”You are a good teacher!” (I never be). I guess she does not want to remember it. It was in the spring of 1988. I must thank that this work, away from my poor writing, because a part of her. I am quite happy. She is surely cultivating the new aspect of music.

Michio Kitazume

Kengyo Yatsuhashi (1614-1685)
Traditional pieces: Midare
Also known as Midare Rinzetsu, this piece is said to be one of the three danmono (instrumental pieces built up in sections) composed by Kengyo Yatsuhashi (1614-1685). A shorter piece called Rinzetsu, popular in the 17th century, is one of the earliest printed examples of music notation for koto, shamisen and hitoyogiri (a vertical flute similar to the shakuhachi). Midare is an expanded version of this piece. The tuning used on the koto is standard hira-joshi (tuning).

Nanae Yoshimura

Joji Yuasa born in 1929, is a self-taught composer. He first became interested in music while a premedical student at Keio University, and in 1952 turned to music full-time when he joined in Jikken-Kobo' (Experimental Workshop). Since then, Yuasa has been actively engaged in a wide range of musical composition, including orchestral, choral and chamber music, film music, music for theatre, and intermedia, electronic and computer music. He has won numerous commissions from such institutions as the Koussevitzky Music Foundation, Saarland Radio Symphony Orchestra, Helsinki Phil harmony Orchestra, Japan Philharmonic Orchestra, NHK Symphony Orchestra, Canada Council, IRCAM, National Endowment for the Arts of the U.S.A., Suntory Music Foundation and Suntory Hall, etc. Since 1981 through 1994 Yuasa had been a professor of the UCLA, San Diego. Also he had been a composer in residence of the Orchestra Ensemble Kanazawa from 1993 to 1995. His music has been widely performed throughout the world such festivals as the ISCM World Music Days, Warsaw Autumn, ULTIMA Oslo Contemporary Music Festival.
Awards & Prizes:
– The 21st Otaka Award and the Grand Prize of the Japan Arts Festival for his Chronoplastic for orchestra (1973)
– The Grand Prize of the Japan Arts Festival for A Perspective for Orchestra (1983)
– The 36th Otaka Award for Revealed Time for viola and orchestra (1988)
– Hida Furukawa Music Award Grand Prix and Kyoto Music Award Grand Prix for Piano Concertino and Symphonic Suite The Narrow Road into the Deep North: Basho (1995)
– The 45th Otaka Award for Violin Concerto in memory of Toru Takemitsu (1996)
– The Suntory Music Award and Art Encouragement Prize of Japan for his musical achievement in 1996 including Violin Concerto in memorial of Toru Takemitsu, Jo-Ha-Kyu for 5 players and Projection No.2 for string quartet (1996)
– Medal with purple ribbon from the Japanese government (1997)
– The Imperial Prize and the Japan Art Academy Prize (1999)
– The 51st Otaka Award for Haptic Cosmos V for orchestra (2003)

Koto Uta Buson’s Five Haiku for 20-string Koto and Voice (2007)
This composition was originally commissioned by Pro Musica Nipponia as a piece for a traditional Japanese hogaku ensemble. And recomposed for a western chamber ensemble for Music from Japan Festival in New York in 2007. However I had always conceived of the piece as a Koto-Uta (Song with Koto accompaniment) for Nanae Yoshimura, eventually I recomposed it as a traditional Koto-Uta for voice and 20 stringed Koto. Many of my previous works are connected with the haiku poet Basho, including ”Koto-Uta Basho’s Five Haiku”, the choral work ”Projections on Basho’s Haiku” and three orchestral works. However, on this occasion I decided to use Buson’s haiku. While Basho’s haiku are often rooted in a Zen-like attitude of stoicism, I see in Buson the presence of more modern poetic sensibility. Although Buson is regarded as the most orthodox of the Basho school of haiku poets, I feel Buson creates his own unique world. The followings are my own translation of these Haiku, not withstanding the difficulty of the translation of Haiku, although they are actually sung in original Japanese.

1. To mandarin ducks ”Oshidori”
Adding extreme beauty…..
Winter groves (Winter)

2. Over the rape blossoms ”Nanohana”…..
The moon appears in the east,
Yet the sun.…. in the west. (Spring)

3. Inside the thin wear ”Kariginu”,
Creeping around…..
A firefly. (Summer)

4. A will-o’-the-wisp appears
About to be burning
Japanese pampas grasses. (Autumn)

5. White plum blossoms…..
It dooms –
Only a daybreak (Swan Song)

Joji Yuasa

Akira Nishimura was born in Osaka 1953. He studied composition and musical theory to post graduate level at Tokyo National University of Fine Arts and Music. In 1977 he won the first of his numerous later prize winnings at the Queen Elizabeth International Music Composition Competition with HETEROPHONY for string quartet (1975) and the Luigi Dallapiccola Composition Award with MUTAZIONI (1977). In 1980 KECAK (1979) was selected as the best work at the International Rostrum of Composers, and he won awards at the ISCM World Music Days with ODE for EKSTASIS (1981) in 1982, then in 1984, 1988 and 1990. The Otaka Prizes were awarded to him in 1988 for HETEROPHONY for two pianos and orchestra (1987), in 1992 for A RING OF LIGHTS, double concerto for violin, piano and orchestra, and in 1993 for INTO THE LIGHTS OF THE ETERNAL CHAOS. In 2001, he was awarded the ExxonMobil Music Prize and in 2004, the Suntory Music Award. In 2007, he was the featured composer of the contemporary music festival ”Composium 2007”, held by the Tokyo Opera City Cultural Foundation and judge of the Toru Takemitsu Composition Award. He has been commissioned from many overseas music festivals and ensembles such as ULTIMA Contemporary Music Festival Oslo, Octobre en Normandie, Arditti Quartet, Kronos Quartet, ELISION Ensemble, Hannover Society of Contemporary Music and so on. He is currently a Professor at the Tokyo College of Music and the Musical Director of the Izumi Sinfonietta Osaka. He won: the First Composition Prize at the Japan Music Competition, 1974, Grand Prix for composition at the Queen Elizabeth International Music Competition, Brussel, 1977, The Luigi Dallapiccola Composition Award, Milan, 1977, The Otaka Prizes, 1988, 1992 and 1993, The Kenzo Nakajima Award (1990), The Kyoto Music Award for Performance and Composition (1991), The Japan Contemporary Arts Promotion Prize (1994), Suntory Music Award (2004), Mainichi Art Prize (2005).

Rurikin [Emerald koto] for 20-string Koto (1999)
Rurikin is my first piece for solo 20-stringed koto since Nanae, composed 10 years earlier. The emerald koto of the title is held by one of the 1,000 Buddhist statues at Kyoto’s Sanjusangen-do (a temple in Kyoto) which I visited at the beginning of this year. Something about the word immediately struck a chord with me, and decided to use it as the title for a new piece. In
Buddhist mythology, the sound of the emerald koto alleviates the suffering of all human beings. In my mind, this is not a gentle, healing sound filled with consolation. On the contrary, I imagine it as an uncomfortable sound – a sound which reproduces the sufferings of human life and provides salvation through the sympathetic resonance of shared suffering, Buddhist karuna or compassion. In keeping with the character of the title instrument, this new composition has a mood more anguished than calming. The piece is also more technically demanding than the earlier Nanae. It is with great respect and gratitude that I dedicate this work to Nanae Yoshimura.

Akira Nishimura

18.00 / 6.00 pm – Ateneul Român / The Romanian Athenaeum
Recital de flaut / Flute recital: Mario Caroli
Italia / Italy
Invitat / Guest musician: Verona Maier, pian / piano, România / Romania

Program / Programme:
K. Saariaho – Laconisme de l'aile (p.a.r.) /(Romanian Premiere)
B. Ferneyhough – Cassandra's dream song (p.a.r.) /(Romanian Premiere)
I. Fedele – Dedica et Apostrofe (Bravo!) (p.a.r.) /(Romanian Premiere)
Doina Rotaru – Mithya (p.a.r.) / (Romanian Premiere)
– pauză / intermission –
S. Sciarrino – Morte tamburo (p.a.r.) /(Romanian Premiere)
S. Sciarrino – Canzona di ringraziamento (p.a.r.) /(Romanian Premiere)
J. Harvey – Nataraja (flaut şi pian) / (flute and piano)

Concert realizat cu sprijinul oferit de Marea Lojă Naţională din România – Lojele din Orientul Baia Mare / Recital supported by The Grand National Lodge of Romania – The Lodges from East Baia Mare.

Mario CaroliMario Caroli studied flute with Annamaria Morini and he has been deeply influenced by Manuela Wiesler. At the age of 22 he won the very coveted "Kranichstein" Prize, in Darmstadt, and he has since enjoyed a very highly successful career as a solo flutist. Mario gives recitals as well as flute and orchestra concertos in the biggest concert halls of the world, included Berlin Philharmonie and Amsterdam Royal Concertgebouw, Tokyo Suntory SIMN Hall and New York Lincoln Centre. He has toured worldwide with the major orchestra of all Europe, Japan and US, under the baton of Boulez, Cambreling, Eötvös, Holliger, Rophé... A very higly acclaimed interpreter, Mario has inspired the main composers of today to dedicate to him an important part of the solo flute repertoire of today. Composers such as Eötvös, Fedele, Kurtag, Rotaru, Sciarrino, Stroppa, Yuasa have written pieces for him. His CDs (around twenty until today) have been awarded the highest critical prizes thought the world, from Diapason d'or to Coup de Coeur de l'Académie Charles Cros to Amadeus Prize. "This young Paganini of the flute is an example for many famous musicians. Possessing a technique without limits, he doesn’t content himself with the usual repertoire. When Mario Caroli plays, it is nothing less then love which transforms the self and the surroundings of the self through the music" (S.Sciarrino). A distinguished teacher, Mario Caroli gives masterclasses in the most prestigious Institutions and Universities, such as University of Harvard, Toho College in Tokyo, Conservatoire Supérieur in Paris, Sibelius Academy in Helsinki and he teaches flute in the postgraduated cycle of the Conservatoire National in Strasbourg, where he lives. Mario Caroli obtained also a PhD University degree with a thesis on Nietzsche's "Der Antichrist".

Composers and Programme Notes

Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. Born in Helsinki in 1952, she studied at the Sibelius Academy there with the pioneering modernist Paavo Heininen and, with Magnus Lindberg and others, she founded the progressive ‘Ears Open’ group. She continued her studies in Freiburg with Brian Ferneyhough and Klaus Huber, at the Darmstadt summer courses, and, from 1982, at the IRCAM research institute in Paris – the city which has been her home ever since. Saariaho became allied with the French ‘spectralist’ composers, whose techniques are based on computer analysis of the sound-spectrum of individual notes on different instruments. This analytical approach led her to the regular use of harmonies resting on long-held bass notes, microtonal intervals, and a precisely detailed continuum of sound extending from pure tone to unpitched noise. In recent years Saariaho has turned to opera, with outstanding success. L’Amour de loin, with a libretto by Amin Maalouf based on an early biography of the twelfth-century troubadour Jaufré Rudel, received widespread acclaim in its premiere production directed by Peter Sellars at the 2000 Salzburg Festival, and won the composer a prestigious Grawemeyer Award. Adriana Mater, on an original libretto by Maalouf, mixing gritty present-day reality and dreams, followed, again directed by Sellars, at the Opéra Bastille in Paris in March 2006.

Anthony Burton, 2006

Laconisme de l'aile (1982)
'Ignorant of their shadow, knowing of death only that immortal part which is consumed in the distant clamour of great waters, they pass and leave us and we are no longer the same. They are space traversed by a single thought." (Saint-John Perse, Oiseaux, XIII) 1982 marks a true point of departure for Kaija Saariaho's style, after several years spent studying composition in Helsinki and then in Freiburg. It was then that she discovered, in Paris, the tools for analysing and synthesising sound created by the studios at Ircam, where she composed her electronic piece Vers le blanc. Kaija Saariaho found in computer-assisted music a tool that she was gradually to make her own, adapting it to the needs of her own language in order to develop, most notably, processes of transformation of timbre which she had already explored in her first works. Laconisme de I'aile, a purely acoustic piece, was written in this watershed year of 1982. Laconisme de I'aile leaves the meaning of Saint-John Perse's complex language open, and concentrates on following its colours, made out of chiaroscuro vowels and sibilant consonants.

Booklet of the CD Montaigne MO 782152 Naive

Brian Ferneyhough was born in Coventry, England in 1943. He received formal musical training at the Birmingham School of Music and the Royal Academy of Music, London. In 1968 he was awarded the Mendelssohn Scholarship, which enabled him to continue his studies in Amsterdam with Ton de Leeuw, and the following year obtained a scholarship to study with Klaus Huber at the Basel Conservatoire. Following Ferneyhough’s move to mainland Europe, his music began to receive much wider recognition. The Gaudeamus Composers’ Competition in Holland awarded Ferneyhough prizes in three successive years (1968-70). The Italian section of the ISCM at its 1972 competition gave Ferneyhough an honorable mention (second place) for Firecycle Beta and two years later a special prize for Time and Motion Study III which was considered the best work submitted in all categories. Ferneyhough has taught composition at the Musikhochschule in Freiburg, the Civica Scuola di Musica, Milan, the Royal Conservatoire of The Hague and the University of California, San Diego. In January 2000 Ferneyhough joined the faculty at Stanford University and was named William H. Bonsall Professor in Music there shortly afterwards. Students from all over the world have benefited from his classes at, among others, the biennial Ferienkurse für Neue Musik in Darmstadt and at the Fondation Royaumont near Paris. Ferneyhough’s music has been performed throughout the world and has been featured at all the major European festivals of contemporary music.

Cassandra's dream song
(1970)
When composing this short work (...) one of my main preoccupations was a personal clarification of the extremely ambiguous relationship then existing between notation and interpretation in contemporary musical practice. I set out to compose a work whose realisation might, so to speak, be seen as a commentary on the act of interpretation itself, achieved without any resort to extra-musical (quasi-theatrical) elements. In the pursuit of this aim, I defined two completely autonomous processes: (1) a series of highly structured, slowly evolving and expanding commentaries on and around a single pitch (A natural); (2) a group of six fragments, highly contrasted and non-linear in character, to be interpolated between the seven elements of the first category but, in contrast to the latter, in an order selected by the performer. The resultant intersection and sometimes forceful collision of two distinct types of material and formal principle can only be reconciled by the mediatory influence of the individual performer.
(…) the audible difficulty of execution emerges as an integral structural component of the work’s identity; the reaction between the instrument, thrust to the limits of its own inherent nature, and the performer has been conceived so as to give rise to a new synthesis in which the traditional concept of ”interpretation” has simultaneously been negated and transcended.The first performance: March 1974, Royan Festival, with Pierre-Yves Artaud

Brian Ferneyhough

Ivan Fedele was born in Lecce in 1953. He studied piano with B. Canino, V. Vitale and I. Deckers, and composition under the guidance of R. Dionisi, A. Corghi and F. Donatoni. At the same time, he studied philosophy at the University of Milan, with E. Paci, L. Geymonat, G. Giorello, R. Mangione and R. Cantoni. He owns to his father, a mathematician, the passion for mathematics, as it becomes evident in his compositional researches, including the examination and use of the concept of ”spatialisation”, the formulation of a ”library” of creative processes and the definition of a prototype of ”granular synthesizer”. Ivan Fedele’s catalogue, edited by Suvini Zerboni, consists of about eighty titles. In addition to a large body of chamber music, his catalogue includes various works for orchestra with and without soloists. His music has been performed by various orchestras and ensembles, like for instance: BBC, Berlin Radio, Chicago Symphony Orchestra, Stuttgart SWR, National de France, National de Lyon, etc. Ivan Fedele carries also an intense academic activity, which has seen him participating to the activities of important international institutions. In 2000 he has been awarded the honour of ”Chevalier de l’Ordre des Lettres et des Arts” by the French Ministry of Culture. In 2005 Fedele has been appointed Member of the Accademia Nazionale di Santa Cecilia in Rome.

Dedica et Apostrofe (Bravo!)
(2000)*
Ivan Fedele wrote these two tiny pieces in 2000. They are both dedicated to Mario Caroli, and the first one was a present for his birthday.The pieces are both conceived as being an hommage to the "intelligent virtuosity". "Dedica" shows two elements, one, right at the begin of the piece, very fast and tumultuous, that other one more slow and cantabile. The piece finishes like flying away. "Apostrofe" covers the wide flute range. The piece is very compact and it is like one only gesture, with no development. The astonishing timbrical manipulation of the same element as well as the huge rage of pitches obtained through special techinques are the main and spectacular structure of the piece.

Doina Rotaru
Doina Rotaru has a B.A. and a M.A in composition at the National University of Music in Bucharest. She studied here between 1970 and 1975 with – among others – Tiberiu Olah. Since 1996 she has been a professor of composition and, since 2008, the head of the composition department at the same University. She has written so far over 100 works that cover almost every musical genre: from solo, chamber, choral to orchestral works, from works that mix instrumental with electronic music to theater music. Her music has been performed in many concerts and festivals all over the world: Europe, Far-East, Australia, Canada and South-America – some of these being "author concerts". Some of Doina Rotaru's works have been commissioned by Radio France, Radio Graz, Suntory Hall Tokyo, French Ministry of Culture, Stockholm Saxophone Quartet, ensembles and soloists from France, Germany, United Kingdom, The Netherlands, Switzerland. Doina Rotaru was awarded prizes by the Romanian Academy (Bucharest,1996) and the Romanian Composers' Association (UCRM, Bucharest, 1981, 1986, 1990, 1994, 1997, 2001, 2004 and 2007). For her 2nd Symphony, she won in 1994 the first prize at the Gedok – Mannheim International Competition (Germany).

Mithya
for solo flute (flute in C doubling Bass flute) (2007)
Written for Mario Caroli, who also gave its world first performance during the Acanthes festival in July 2008, Mithya is a cycle of 3 solo works. In the Indian philosophy, ”mithya” means ”not real, not unreal, illusory”. My intention was to write a strange music at the crossroad between dream, desire and illusion, for the most strange and beautiful instrument: the flute. Each of the three works has a subtitle that suggests its spirit, its expression. The first one, ”like a prayer” expresses my idea about flute, an instrument of meditation and prayer: painful or hopeful, caressing or imploring. The second one, ”like a colinda” (the ”colinde” are the traditional Romanian Christmas carols) is more diatonic, full of light. During the 3 works, the musical substance becomes more and more economic, and the third one is the most austere as pitch material; ”like a doina” unses only 5 notes. ”Doina” is the name of a very old and sad Romanian song, rubato, with many ornaments. I tried to recreate its spirit. The work is growing gradually, like a tree or flower.

Doina Rotaru

Salvatore Sciarrino – (Palermo, 1947) likes to boast that he was born free and not in a school of music. Self-taught, he began to compose when he was twelve. His first public concert was given in 1962. But Sciarrino considers what he wrote before 1966 as immature works of apprenticeship, for it is then that his personal style came to the fore. There is something truly special about this music: it induces a different way of listening, projecting a thrilling awareness of reality and of the self. And after forty years his huge catalogue of compositions is still in a phase of astonishing creative development. After completing his schooling and a few years of university in his home town, he moved first to Rome in 1969 and then to Milan in 1977. Since 1983 he was been living in Umbria. He published for Ricordi from 1969 to 2004. From the very next year exclusive rights passed to Rai Trade. His discography is particularly large: around 80 CDs, issued by the major international labels, have been acclaimed and often awarded prizes. As well as the librettos of his own works of music theatre, Sciarrino has written many articles, essays and texts of various kinds; some have been chosen and collected in Carte da suono (Cidim– Novecento, 2001). Also important is his interdisciplinary book on musical form: Le figure della musica, da Beethoven a oggi (Ricordi, 1998). He has taught at the conservatories of Milan (1974-83), Perugia (1983-87) and Florence (1987-96). He has also held courses of specialization and master classes: particularly worth mentioning are those of Città di Castello from 1979 to 2000. Between 1978 and 1980 he was artistic director of the Teatro Comunale of Bologna. An Academician of Santa Cecilia (Rome), Academician of the Fine Arts of Bavaria and Academician of the Arts (Berlin), he has won numerous prizes, the most recent ones being the Prince Pierre de Monaco (2003) and the prestigious Premio Internazionale Feltrinelli (2003). He is also the first winner of the new Musikpreis Salzburg (2006).

Morte tamburo * for solo flute (1999)
"My music calls for performers who are out of the ordinary. Not only virtuosi but with the power to transfigure. In order to rediscover the essence of our daily actions, one needs to cut through to the wonder: the wonder of a utopia which reveals itself."..."We don't want to appear perfect, inhuman: we want the music to speak with the poetic enchantment of Orpheus, moving even the stones. Otherwise, what is music for?" The work was written for Mario Caroli.

Salvatore Sciarrino (English translation Jane Fraser)

Canzona di ringraziamento (1984)
This piece, consisting of two juxtaposed sonic layers (i.e. trembling of up-and-down tremolos and bisbigliando trills in the high register), neither develops nor evolves. The constantly rapid and elastic movements of these materials contribute to make the music more lifelike. As for the microtonal usage, a half-step is subdivided into six, seven, eight, nine, or ten smaller intervals (this means that intervals as narrow as twentieth-tones are used in the piece). While sonic results of these microtones often sound like glissandi, each note is produced with a particular fingering and has its own timbre. Premiere of the version for recorder: Tosiya Suzuki, the Takefu International Music Festival, June 2003.

Jonathan Harvey

Born in Warwickshire in 1939, Jonathan Harvey was a chorister at St Michael’s College, Tenbury and later a major music scholar at St John’s College, Cambridge. He gained doctorates from the universities of Glasgow and Cambridge and (on the advice of Benjamin Britten) also studied privately with Erwin Stein and Hans Keller. He was a Harkness Fellow at Princeton (1969–70). An invitation from Boulez to work at IRCAM in the early 1980s has so far resulted in eight realisations at the Institute, and two for the Ensemble Intercontemporain, including the celebrated tape piece Mortuos Plango, Vivos Voco, Bhakti for ensemble and electronics, Advaya for cello, live electronics and pre-recorded sounds and String Quartet No.4, with live electronics. Harvey has also composed for most other genres: orchestra (Tranquil Abiding, White as Jasmine and Madonna of Winter and Spring – the latter performed by the Berliner Philharmoniker and Simon Rattle in 2006), chamber (four string quartets, Soleil Noir/Chitra, and Death of Light, Light of Death, for instance) as well as works for solo instruments. He has written many widely-performed unaccompanied works for choir – as well as the large-scale cantata for the BBC Proms Millennium, Mothers shall not Cry (2000). His church opera Passion and Resurrection (l981) was the subject of a BBC television film, and has received twelve subsequent performances. His opera Inquest of Love, commissioned by ENO, was premiered under the baton of Mark Elder in 1993 and repeated at Theatre de la Monnaie, Brussels in 1994. His third opera, Wagner Dream, commissioned by Nederlandse Oper in association with the Grand Théâtre de Luxembourg, the Holland Festival and IRCAM, was premiered to great acclaim in 2007. 2008 saw the premiere of Messages (for the Rundfunkchor Berlin and the Berlin Philharmoniker) and Speakings (co-commission with BBC Scottish Symphony Orchestra, IRCAM and Radio France); Speakings was the culmination of his residency (2005-8) with the BBC Scottish Symphony Orchestra from which Body Mandala and… Towards a pure land have also emerged. All three works featured on the Gramophone Award-winning NMC disc released in the same year. In October the ISCM in Vilnius featured Harvey with a new Cello Octet and several other works. Harvey is now in constant demand from a host of international organisations, attracting commissions far into the future, and his music is extensively played and toured by the major ensembles of our time (Musikfabrik, Ensemble Modern, Ensemble Intercontemporain, ASKO, Nieuw Ensemble of Amsterdam and Ictus Ensemble of Brussels to name but a few). His music has been showcased at Strasbourg Musica, Ars Musica Brussels, Musica Nova Helsinki, the Acanthes and Agora festivals, and at many centres for contemporary music. Some 150-200 performances are given or broadcast each year and about 80 recordings of his music are available on CD. He has honorary doctorates from the universities of Southampton, Sussex, Bristol and Huddersfield, is a Member of Academia Europaea, and in 1993 was awarded the prestigious Britten Award for composition. In 2007 he was awarded the Giga-Hertz Prize for a lifetime’s work in electronic music. He published two books in 1999, on inspiration and spirituality respectively. Arnold Whittall’s study of his music appeared in 1999, published by Faber & Faber (and in French by IRCAM) in the same year. Two years later John Palmer published a substantial study: ”Jonathan Harvey’s Bhakti” Edwin Mellen Press. Harvey was Professor of Music at Sussex University between 1977 and 1993 where he is currently an Honorary Professor. He was Professor of Music at Stanford University (US) between 1995 and 2000, Visiting Professor of Music at Imperial College, London and is an Honorary Fellow of St. John’s College, Cambridge. Harvey was Composer-in-Association with the BBC Scottish Symphony Orchestra from 2005-2008.

© Faber Music Ltd 2008

Nataraja for flute (doubling piccolo) and piano
Nataraja is the name given to Shiva in his aspect as the four-armed dancer whose movements create and destroy matter throughout eter¬nity. He beats the drum of creation, stamps on the demon of ignorance and holds and is surrounded by flames, whose flickerings, like the Indian dance beats, are suggested in the music. The acoustic structure of the flute – its higher notes are the overtones of the lower notes' fingerings – suggested harmonic series parallelism between the flute and piano; the piano, for instance, playing the fundamental of the flute's overtone. The flute's ability to play complex inharmonic sounds (multiphonics) is also exploited and reflected on the piano in an at¬tempt to unify pipe and hammer. The work was commissioned by The Nicholas Yonge Society with funds provided by the South East Arts Association (U.K.), and researched with Phillippa Davies who gave the first performance in 1983.

Booklet of the CD Bridge BCD 9031

20.00 / 8.00 pm – Ateneul Român / The Romanian Athenaeum
Ansamblul LINEA / LINEA Ensemble
Franţa / France
Dirijor / Conductor: Jean-Philippe Wurtz
Mario Caroli, flaut / flute, Coralie Ordulu, clarinet / clarinet, Maiko Matsuoka, vioară / violin, Johannes Burghoff, violoncel / cello, Reto Staub, pian / piano

Program / Programme:
Peter EötvösCadences from « Shadows (p.a.r.) / (Romanian Premiere)
Jonathan Harvey – Clarinet trio (p.a.r) / (Romanian Premiere)
Sorin LerescuÉchantillons(p.a.a.) / (World Premiere)
George CrumbVox Balaenae
– pauză / intermission –
Pierre Boulez – Anthèmes (p.a.r.) / (Romanian Premiere)
Gerard Grisey Talea (p.a.r.) / (Romanian Premiere)

Concert realizat cu sprijinul / Concert supported by: SPEDIDAM, SACEM, Strasbourg – Ville de Culture, Ministère Francaise de la Culture et Communication, Aramis Invest Baia Mare, Medartis Dent.

LINEA Ensemble
Founded by pianist and conductor Jean-Philippe Wurtz in 1998, the LINEA Ensemble has been involved since its beginnings in a democratization of contemporary music, by giving precedence to the encounter with the audience, an openness towards other artistic disciplines, and an active policy of concert. With a variable geometry ranging from a large orchestra down to a duo, the group brings together young musicians from different cultures who have been trained at the most prestigious institutions around the world. Away from schools and trends, the artistic project of Linea covers quite diverse aesthetic perspectives — from musical theater to electronic music, from Western music to the rich Asiatic repertoires. Linea advocates an engaged music which is anchored in modernity; it favors works which question the mutations and complexity in our modern and globalized societies. Based in Alsace (eastern France, near german and swiss borders), at the crossroads of several cultures, Linea naturally approaches the repertoires in their multicultural dimension and presents to the ear the musical heritages of insufficiently explored regions such as the Middle East, Asia, Eastern Europe, Latin America etc.

Jean-Philippe Wurtz Born in 1968, Jean-Philippe Wurtz studied at the National Conservatoire of the Region of Strasbourg where he obtained first prizes in piano, chamber music, analysis. He continued his studies at the Karlsruhe Musikhochschule and received instructions from Ernest Bourwhom he met in Strasbourg. At the same time, he was admitted as a student to the International Eötvös Institutewhere he studied under Peter Eötvös. There he conducted the Askoand Contrechamps ensembles. In 1997, he founded the LINEA ensemble devoted to contemporary music. In 1994, he was assistant to Kent Naganoat the Lyon Opera, then to Friedemann Layer at the Montpellier Langeudoc-Roussillon Orchestra, which he regularly conducts. From 1997-99, he works as Director of the musical studies at the Operas of Montpellier. He conducted following orchestras/ensembles : l’Orchestre National de Montpellier Languedoc-Roussillon, l’Orchestre National de Bordeaux-Aquitaine, l’Orchestre National des Pays des Loire, l’ensemble oh ton, l’ensemble Alternance, le Kammerensemble Neue Musik Berlin, and worked at the Opéra National de Lyon, Opéras de Montpellier, Vlaamse Opera (Anvers), Opéra National de Paris-Bastille, with stage managers like Robert Carsen, Alfredo Arias, Daniel Mesguich, John Dew and conductors like Armin Jordan, Stuart Bedford… He performed many premieres, among them pieces by Klaus Huber, Rihm, Pagh-Paan, Lenot, Asmus, Yeznikian, Dufour, Heyn, Koch, Lang, Sprintz...

Peter Eötvös was born in Székelyudvarhely (Transsylvania) on 2 January 1944. At the age of 14 he was admitted to the Budapest Academy of Music by Zoltán Kodály. In 1966 a scholarship enabled him to study conducting at the Hochschule für Musik in Cologne. Between 1968 and 1976 he played regularly with the Stockhausen Ensemble and collaborated with the electronic music studio of the Westdeutscher Rundfunk in Cologne (1971-1979). Upon invitation of Pierre Boulez he conducted the inaugural concert of IRCAM in Paris in 1978 and was subsequently named musical director of the Ensemble Intercontemporain, a post he held until 1991. In 1980 Eötvös made his debut at the London PROMS. He became the Principal Guest Conductor of the SWR Radio Symphony Orchestra Stuttgart, BBC Symphony Orchestra and others. In 1991 he founded the International Peter Eötvös Institute for Young Conductors and Composers. From 1992 to 1998 he taught at the Musikhochschule in Karlsruhe, from 1998 to 2001 he was professor at the Cologne Musikhochschule. Since 2002 he has been teaching at the Karlsruhe Musikhochschule again.

http://www.schott-music.com/shop/persons/featured/41144/

Cadences from « Shadows » for solo flute (2008)
Cadence is a passage from Shadows (written by the composer in 1996) and adapted for flute in 2008. Though it has a thoroughly notated partition, this piece seems to be improvised. This way, the composer oposes written and improvised music.

Jonathan Harvey
(see ”Flute recital: Mario Caroli“)

This short Clarinet Trio uses only delicate sounds on the piano, in an attempt to balance the combination of instruments. It is a 'dancing' piece, with strictly serialised tempo changes which correspond to the pitch lines that are used. These are inflected, however, by entirely pentatonic note-groups, non-serial and out-of-time. We hear an interplay of two worlds. It was commissioned by the Verdehr Trio and the University of Michigan (J. Harvey).

Sorin Lerescu was born in Craiova, Romania, on 14 November 1953. He studied composition at the National University of Music in Bucharest with Tiberiu Olah and Anatol Vieru. In 1982, he founded the TRAIECT New Music Group (The Romanian Musical Critics Award, in 1983). He is the founder and director of the MEETINGS OF NEW MUSIC International Festival of Brăila. He has been President of the Romanian Section of ISCM since 2003. Artistic Director of the 14th and 19th INTERNATIONAL NEW MUSIC WEEK Festival Bucharest (together with Doina Rotaru) and, together with his colleagues from the Executive Committee, the Festival of ISCM-Romanian Section: MERIDIAN - Zilele SNR-SIMC - 2005, 2006, 2007, 2008 (Days of the Romanian Section of ISCM). The Prize of the Union of Romanian Composers and Musicologists (2003), The Romanian Academy's "George Enescu" Award for Musical Creation (2003), The Cultural Merit, Bucharest (2004). His creation includes: 4 symphonies, 2 concertos, 2 cantatas, instrumental and vocal-instrumental music, opera URMUZICA. Doctor of Musicology of the "Gh. Dima" Music Academy in Cluj-Napoca (since 1999). He has been teaching counterpoint and composition at the Faculty of Music, "Spiru Haret" University in Bucharest since 2000.

Échantillons
for instrumental quintet
Can different modes of sound construction co-exist in a coherent discourse, marked by certain logic of dynamic increases and decreases? May fragments of melody be, in various hypostases, models for the entire sonorous construction? Sound "samples" ("échantillons") seemed to be, in this context, a possible way of structuring a sound material – prismatic, as expressive potential –
in which networking and recomposing of different melodical structures, or different instrumental effects, represent the substratum of a (dis)continuous music, as image and significance. This music is dedicated to the LINEA Ensemble in France.

Sorin Lerescu

George Henry CRUMB was born in Charleston, West Virginia on 24 October 1929. He studied at the Mason College of Music in Charleston and received the Bachelor’s degree in 1950. Thereafter he studied for the Master's degree at the University of Illinois, Champaign-Urbana under Eugene Weigel. He continued his studies under Boris Blacher at the Hochschule für Musik, Berlin from 1954-1955. He received the D.M.A. in 1959 from the University of Michigan, Ann Arbor after studying with Ross Lee Finney. Crumb's music often juxtaposes contrasting musical styles. The references range from music of the western art-music tradition, to hymns and folk music, to non-Western musics. Many of Crumb's works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores. Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service. Awarded honorary doctorates by numerous universities and the recipient of dozens of awards and prizes, Crumb makes his home in Pennsylvania. George Crumb's music is published by C.F. Peters and the ongoing series of "Complete Crumb" recordings, supervised by the composer, is being issued on Bridge Records.

http://www.georgecrumb.net/life.html

Vox Balaenae (Voice of the Whale) is a kind of oceanic equivalent of Olivier Messiaen's birdcalls, based on the songs of the humpback whale. Crumb first heard the eerie submarine singing of the huge mammals on tape in 1969; the twenty-minute Vox Balaenae for electric flute, electric cello, crotales and electric piano was finished two years later. Vox Balaenae can be performed under deep-blue stage lighting, if desired, in which case the theatrical effect would be further enhanced. Typically, Crumb calls on the pianist to play upon the instrument's strings pizzicato and also to produce harmonics; the cello is tuned scordatura (B-F#-D#-A); the flutist is called upon to sing and play simultaneously. The work itself is a three-movement fantasy, beginning with a Vocalise (... for the beginning of time) for the flute that is suddenly interrupted by leaping, incantatory chords on the piano. There follows a set of five variations on Sea-Time (each with the name of a different geologic period) whose sea-theme, played in harmonics, is stated by the cello and piano. The last movement is a radiant Sea-Nocturne (... for the end of time) - the Messiaen reference is unmistakable here -- with a performance direction of "serene, pure, transfigured".

Michael Walsh

Pierre Boulez studied with Messiaen at the Paris Conservatoire (1942-5) and privately with Andrée Vaurabourg and René Leibowitz, inheriting Messiaen's concern with rhythm, non-developing forms and extra-European music along with the Schönberg tradition of Leibowitz. He came to know Stockhausen, with whom he became a leader of the European avant garde, teaching at Darmstadt (1955-67) and elsewhere, and creating one of the key postwar works in his Le marteau sans maître (1954). In the mid-1950s Boulez extended his activities to conducting. He had been Barrault's musical director since 1946 and in 1954 under Barrault's aegis he set up a concert series, the Domaine Musical, to provide a platform for new music. By the mid-1960s he was appearing widely as a conductor, becoming chief conductor of the BBC Symphony Orchestra (1971-4) and the New York Philharmonic Orchestra (1971-8). Since the mid-1970s Boulez has concentrated on his work as director of the Institut de Recherche et Coordination Acoustique/Musique, a computer studio in Paris where his main work has been Répons for orchestra and digital equipment.

Anthèmes 1 for violin solo
The title refers to an "anthem", or strophic psalm setting, in liturgical music. The strophic aspect is made clear by "refrains" of harmonic and glissandos in the violin part.

Jean-Etienne Moldo

Gérard Grisey (1946-1998) studied at the Trossingen Conservatory in Germany from 1963 to 1965 before entering the Conservatoire National Supérieur de Musique in Paris. Here he won prizes for piano accompaniment, harmony, counterpoint, fugue and composition (Olivier Messiaen's class from 1968 to 1972). During this period, he also attended Henri Dutilleux's classes at the Ecole Normale de Musique (1968), as well as summer schools at the Accademia Chigiana in Siena (1969), and in Darmstadt with Ligeti, Stockhausen and Xenakis in 1972. He was granted a scholarship by the Villa Medici in Rome from 1972 to 1974, and in 1973 founded a group called L'Itinéraire with Tristan Murail, Roger Tessier and Michael Levinas, later to be joined by Hugues Dufourt. Dérives, Périodes and Partiels were among the first pieces of spectral music. In 1974-75, he studied acoustics with Emile Leipp at the Paris VI University, and in 1980 became a trainee at the IRCAM. In the same year he went to Berlin as a guest of the D.A.A.D., and afterwards left for Berkeley, where he was appointed professor of theory and composi-tion at the University of California (1982-1986). After returning to Europe, he taught composition at the Conservatoire National Supérieur de Musique in Paris since 1987, and holds numerous composition seminars in France and abroad.

From Ricordi

Talea pour flûte, clarinette, violon, violoncelle, piano
Talea is composed in two parts played without interruption enouncing two aspects of a single phenomenon. This way, a unique gesture (fast, fortissimo, slightly ascendant, pianissimo, descendent) is presented in the first part in medium durations and step by step, it is eroded, until the contrasts are flatted. In the second part, it generates the general architecture and the succession of the sequences. It has a polyphonic structure at the beginning, while in the end the gesture becomes homophonic. The first part does not appear like an implacable processus, a veritable machine that determines the liberty of the second part. This one is characterized by a more or less irrational development, with reminiscences from the first part that gradually blendes in the new context, becoming non-recognizable. These savage flowers grown in the articulations of the machine flourishes, they are more and more important, and finally give a special color to all of the sections they infested from the interior.

Gérard Grisey