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ID: NMCD042S
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Oboe
The renowned oboist is heard in this sequence: from the dignified simplicity of her own Elegy, to the rhythmic economy of Birtwistle's Pulse Sampler and the eerie keening of Holt's Banshee. |
| 22.00 eur Buy |
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ID: NMCD124
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: String instruments
A tribute to this radical and influential composer in the centenary of her birth, this CD presents a selection of Lutyens' varied and inspirational choral works - including the Motet setting of excerpts of Wittgenstein's Tractatus Logico-Philosophicus, and the Chaucer setting The Country of the Stars - with a series of instrumental pieces includng the fearsomely difficult String Trio and the lyrical Presages for solo oboe.
1-9 - Melinda Maxwell, oboe
10, 20, 21, 31 - EXAUDI - James Weeks, director
11-19, 29, 30 - Endymion: Helen Keen, flute/ Mark van de Wiel, clarinet/ Robin O'Neill, bassoon |
| 22.00 eur Buy |
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ID: NMCD160
CDs: 2
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
Endymion celebrates its 30th anniversary with a survey of new commissions from composers who have worked with the ensemble, from senior figures in British music - such as Anthony Payne, Simon Bainbridge and Simon Holt, and younger but established talents like Morgan Hayes and Dai Fujikura - to those at an early stage of their career, such as Joanna Bailie, James Weeks and Naomi Pinnock.
Endymion was formed in 1979 from a group of outstanding National Youth Orchestra students and retains most of its original players.
Endymion has been described as one of the few chamber groups as at home with Mozart as with Birtwistle.
Endymion’s Sound Census project has reached beyond the new pieces on this disc, to include primary and secondary school students in the London Boroughs of Westminster, Camden and Tower Hamlets. Seven Alevel and GCSE students created new pieces in close collaboration with Endymion players. |
| 28.00 eur Buy |
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ID: CC2020
CDs: 1
Type: CD
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Subcollection: Voices
Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times
The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.
Introduction by Melinda Maxwell:
The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.
The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.
In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.
Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".
Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".
The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.
Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow. |
| 21.00 eur Buy |
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ID: CC2020
CDs: 1
Type: CD
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Subcollection: Voices
Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times
The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.
Introduction by Melinda Maxwell:
The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.
The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.
In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.
Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".
Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".
The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.
Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow. |
| 21.00 eur Buy |
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ID: NMCD179
CDs: 1
Type: CD
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Subcollection: Saxophone
Rob Keeley was born in Bridgend in 1960. He studied with Oliver Knussen at the Royal College of Music, Magdalen College Oxford under Bernard Rose, and later with Robert Saxton.
As a pianist Keeley has premiered works by, among others, Harrison Birtwistle, Michael Finnissy, Jonathan Cole, Richard Emsley and Nicola Moro.
He is currently Senior Lecturer in Composition at King's College, London.
Keeley's music is jazz tinged with elements of Satie and Poulenc.
Bayan Northcott writes ... Rob Keeley is both a ‘natural’ as a composer, and a bit of an enigma. While his music always unfolds lucidly, often engagingly, it resists easy categorization - at least accordingly to current critical notions. Apparently untouched by avantgarderie, minimalism or post-modern poly-stylistics, it might seem to fall into a traditionalist slot or even be mistaken as academic. Yet his music sounds singularly undriven by theory or the fi ndings of analysis; nor will one so easily discover textbook sonata or fugal procedures in his works. More frequently he generates his forms by flexible refrain-and-chorus procedures, and sometimes, the illusion of traditional thematicism from variable ostinato or change-ringing permutations - suggesting his omnivorous ear has absorbed more ‘advanced’ techniques, from Ligeti, perhaps, or Birtwistle, but in his own way. |
| 22.00 eur Buy |
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