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ICH DENKE DEIN… Rolf Martinsson Lisa Larsson Swedish soprano Lisa Larsson started her career as a flautist and later studied singing in Basel. Her first engagements followed at the Zürich Opera House, where she performed with conductors such as Nikolaus Harnoncourt and Franz Welser-Möst. Following her debut at La Scala di Milano in “Die Zauberflöte” under Riccardo Muti, she swiftly developed an international opera career, in particular as a Mozart singer with guest appearances at renowned opera houses and festivals such as the Bavarian State Opera, Royal Opera House Covent Garden, Teatro La Fenice, Grand Théâtre de Genève, Opéra de Monte Carlo as well as at the Salzburg Festival, Lucerne Festival, Glyndebourne Festival and Festival d’Aix-en-Provence. Lisa Larsson is also known as a remarkably versatile concert singer. In recent years she has constantly expanded her broad repertoire with works by Mahler, Richard Strauss, Brahms, Berlioz, Britten and Stravinsky. Conductors she has performed with include Claudio Abbado, Sir Colin Davis, David Zinman, Vassily Sinaisky, Edo de Waart, Louis Langrée, Sir Roger Norrington, Vasily Petrenko, John Storgårds. This with orchestras such as the Berlin PO, Frankfurt Radio SO, Munich PO, Zürich Tonhalle Orchestra, Vienna SO, Orchestre Philharmonique de Radio France, Netherlands PO, Bergen PO, Hong Kong PO, NHK SO (Tokyo). Most recent additions to her substantial discography: a Haydn album with the Combattimento Consort Amsterdam, followed by a Berlioz recording respectively a Mahler programme with the Arnhem PO. Previous major recordings include Strauss’ “Vier letzte Lieder” under Douglas Boyd, Mahler’s Symphony No. 8 under David Zinman, the Mozart operas “Don Giovanni” under Daniel Harding, “Mitridate” under Adam Fischer and “Il sogno di Scipione” under Gottfried von der Goltz, Händel‘s “Jephta” under David Stern, numerous Cantatas, Magnificat as well as the Christmas and Easter Oratories by Bach under Ton Koopman respectively Sir John Eliot Gardiner. Lisa Larsson maintains close collaboration with the Swedish composer Rolf Martinsson, who has dedicated several compositions to her. Her next CD release will be Martinsson’s “Orchestral Songs on Poems by Emily Dickinson” in collaboration with the Royal Stockholm PO together with Andrew Manze for BIS. www.lisalarsson.info Rolf Martinsson is one of Sweden’s leading composers. His trumpet concerto “Bridge”, written for Håkan Hardenberger, led to an international breakthrough and has to date been performed more than 60 times worldwide. Martinsson collaborates with top soloists such as Lisa Larsson, Anne Sofie von Otter, Martin Fröst and Christian Lindberg, with conductors such as Alan Gilbert, Andris Nelsons, Manfred Honeck, Vassily Sinaisky and John Storgårds and with the major Nordic orchestras as well as the BBC SO, CBSO, Vienna RO, Bamberger Symphoniker, NDR Hamburg, Cleveland O, Detroit SO in venues such as Musikverein/Konzerthaus Vienna, Philharmonie/ Konzerthaus Berlin, Concertgebouw, Salzburger Festspielhaus, Royal Festival Hall and Carnegie Hall. As of today, Martinsson has composed some 130 works, including orchestral pieces, solo concertos, chamber music and choir music. His work list also includes pieces for solo voice with various ensembles, most of which dedicated to soprano Lisa Larsson. Martinsson has been featured composer at the Stockholm International Composer Festival, Composer in Residence (CiR) at Concertgebouw with the Netherlands PO/CO 14-15 and CiR with the Helsingborg SO 14-17. His highly acclaimed trumpet concerto has been performed at the Tanglewood Music Festival by Hardenberger/Boston SO/Nelsons. The soloist and conductor also performed the piece at the Nobel Prize concert with the Royal Stockholm PO. Future highlights include three CD recordings with Lisa Larsson and a world premiere by Larsson/ Malmö SO, following the two successful co-commissions with Larsson – “Ich denke Dein...”, cocommissioned by the Tonhalle Orchestra Zürich, Philharmonia O, Netherlands PO, Helsinki PO and Gothenburg SO, and “Garden of Devotion”, co-commissioned by the Netherlands, Scottish, Stuttgart and Swedish chamber orchestras and Staatsorchester Weimar along with some major Swedish orchestras. Ms. Larsson/ Malmö SO gave the world premiere of “Into Eternity” at the inauguration of Malmö Live 2015. In 2020 Martinsson’s opera, commissioned by the Royal Swedish Opera, will be premiered in Stockholm. Martinsson serves as professor of composition at the Malmö Academy of Music. He is a Fellow of the Royal Swedish Academy of Music from which he recently received the prestigious Christ Johnson Prize for his “Orchestral Songs on Poems by Emily Dickinson” – dedicated to and internationally performed by Lisa Larsson. www.rolfmartinsson.com Reviews “ (...) Like the famous tune of your favourite operetta, this melody (1st movement) remained with the listener long after the concert (...) Larsson gave life to this magnificent natural scene (4th movement) with quiet, very pure voice. Without the use of vibrato and exaggerated dynamics, she effortlessly filled the hall with her brilliant soprano. The resplendent colour of her voice carried easily, yet was never obtrusive – a musical reflection of the vivid, admiring image in Eichendorff’s words: even the most quiet of pianos were full of suspense, her lines always focussed. The sheen of the blossoms, the wide fields and quiet woods made audible in this song may have caused the souls of many in the hall to spread their wings (...) As Lisa Larsson sang “her” new Martinsson songs, it wasn’t mere performance, but a precisely fitting nestling of the work to her voice. Her considerable contribution to the creation of the songs was obvious in every note, be it breathed, spoken or in brilliantly bright heights. Her perfect, accent-free German allowed a deep insight into the development of music with text (...) The reaction of the audience and the warm embrace of Larsson and Martinsson had me hope for future collaborations of this Swedish duo (...) ” Katharina Hogrefe / Bachtrack (English translation by Hedy Muehleck) “ (...) unusually expressive and full music (...) Martinsson accurately captured the exciting relationship between soprano soloist and orchestra, and the duo with solo cellist Tomas Nuñez-Garcés was most certainly one of the highlights. Martinsson’s songs stand and fall with the Swedish soloist Lisa Larsson, who in this case has a hauntingly beautiful voice. She sang melodically and focused, her language was beautiful and her voice carried above the orchestra throughout the entire performance. These songs (...) are already booked for performances in the Concertgebouw in Amsterdam, Gothenburg, Milan and London, just to name a few (...) An unusually successful commission of the Tonhalle Orchestra Zurich (...) ” Wilhelm Kvist / Hufvudstadsbladet “ (...) The varied concert offered two big surprises: that someone dares to write so unashamedly enjoyable, sinfully sexy music as the Swedish composer Rolf Martinsson (b. 1956)! And luckily he does not only dare to but he also can do it (...) Martinsson is so skilful in his orchestration (...) melodicism and silken harmonies, that you need to prick your ears for the second time: can this even be true? When the shockingly good soprano Lisa Larsson performed Martinsson’s brand new song cycle “Ich denke Dein...” and John Storgårds created an “überschön” orchestral background, the listener felt as if he was being led into an enchanted garden, where an angel had fallen from heaven. Larsson’s soprano radiated and floated, and was sublime in the pianissimos. It soared effortlessly and entwined playfully with Pekka Kauppinen’s intoxicating violin and Tomas Nuñez-Garcés’s alert cello in the highest spheres/registers (...) ” Veijo Murtomäki / Helsingin Sanomat Work Note (...) In Lisa Larsson the composer found his muse (...) “Ich denke Dein...” contains a choice out of the German poetry: Goethe, Eichendorff and Rilke. Their joint theme is love (...) Liebeslied (Rilke) is written in the first person singular. That person wonders how he can lift his soul over his sweetheart ‘zu andern Dingen’ (towards other things). He realizes that it will not be successful. He and the beloved lady are caught in the stroke of a bow, which out of two strings, jointly stricken, let sound of one voice. The poem ends with a sigh: ‘On what instrument have we been bend? And which player holds us in his hand? O sweet song’. Can a composer wish a more musical text? (...) In the throat of Larsson the sweet song merges to one sound by the two trifling voice muscles (...) “Ich denke Dein...” grew in close cooperation with Lisa Larsson, to whom the piece is dedicated. For each poem Martinsson searched a suiting musical form of the song line and in combination therewith he developed the orchestration. During 2017 Lisa Larsson will record the piece with the Malmö Symphony Orchestra/Paul Mägi at the BIS label in the beautiful acoustics at Malmö Live (...) Extract from a work note by Heinz Köhnen. Performances – by Lisa Larsson – Ich denke Dein… 2015-01-14/15/16 World premiere Tonhalle-Orchester Zürich / John Storgårds Tonhalle Zürich, Switzerland 2015-01-28/29 Finnish premiere Helsinki PO / John Storgårds Musiikkitalo, Helsinki, Finland 2015-03-07/10 Dutch premiere Netherlands PO / Marc Albrecht Concertgebouw, Amsterdam, Netherlands 2015-09-09/10 Swedish premiere Gothenburg SO / Antonello Manacorda Concert Hall, Gothenburg, Sweden 2015-10-01/02/04 Italian premiere Orchestra Sinfonica di Milano Giuseppe Verdi / Gustavo Gimeno Auditorium, Milano, Italy 2016-06-09 Icelandic premiere Iceland SO / Eivind Aadland Harpa, Reykjavik, Iceland 2016-10-06 Helsingborg SO / Stefan Solyom Konserthuset, Helsingborg, Sweden 2017-05-04 Malmö SO / Stanislav Kochanovsky Malmö Live, Sweden 2017-11-26/27 Australian premiere Melbourne SO / John Storgårds Hamer Hall, Melbourne, Australia 2018-05-23/24 Stockholm premiere Royal Stockholm PO / Gustavo Gimeno Concert Hall, Stockholm, Sweden 2017-05-29/30/31 Premiere recording Malmö SO / Paul Mägi Malmö Live, Sweden CD recording, BIS label 2018-02-15 Spanish premiere Balearic SO / Pablo Mielgo Auditorium, Palma de Mallorca, Spain Poems by Rilke, Goethe, Eichendorff 4. Mondnacht - Eichendorff 5. Nähe des Geliebten - Goethe Es war, als hätt der Himmel die Erde still geküßt, daß sie im Blütenschimmer von ihm nun träumen müßt. Ich denke dein, wenn mir der Sonne Schimmer vom Meere strahlt; ich denke dein, wenn sich des Mondes Flimmer in Quellen malt. Die Luft ging durch die Felder, die Ähren wogten sacht, es rauschten leis die Wälder, so sternklar war die Nacht. Ich sehe dich, wenn auf dem fernen Wege der Staub sich hebt; in tiefer Nacht, wenn auf dem schmalen Stege der Wandrer bebt. Und meine Seele spannte weit ihre Flügel aus, flog durch die stillen Lande, als flöge sie nach Haus. Ich höre dich, wenn dort mit dumpfem Rauschen die Welle steigt! I’m stillen Haine geh’ ich oft zu lauschen, wenn alles schweigt. 2. Blaue Hortensie - Rilke 1. Liebes-Lied - Rilke Wie soll ich meine Seele halten, daß sie nicht an deine rührt? Wie soll ich sie hinheben über dich zu andern Dingen? Ach gerne möcht ich sie bei irgendwas Verlorenem im Dunkel unterbringen an einer fremden stillen Stelle, die nicht weiterschwingt, wenn deine Tiefen schwingen. Doch alles, was uns anrührt, dich und mich, nimmt uns zusammen wie ein Bogenstrich, der aus zwei Saiten eine Stimme zieht. Auf welches Instrument sind wir gespannt? Und welcher Spieler hat uns in der Hand? O süßes Lied. So wie das letzte Grün in Farbentiegeln sind diese Blätter, trocken, stumpf und rauh, hinter den Blütendolden, die ein Blau nicht auf sich tragen, nur von ferne spiegeln. Sie spiegeln es verweint und ungenau, als wollten sie es wiederum verlieren, und wie in alten blauen Briefpapieren ist Gelb in ihnen, Violett und Grau; verwaschenes wie an einer Kinderschürze, Nichtmehrgetragenes, dem nichts mehr geschieht: wie fühlt man eines kleinen Lebens Kürze. Doch plötzlich scheint das Blau sich zu verneuen in einer von den Dolden, und man sieht ein rührend Blaues sich vor Grünem freuen. 3. Die Liebende schreibt - Goethe Ein Blick von deinen Augen in die meinen, ein Kuß von deinem Mund auf meinem Munde – Wer davon hat, wie ich, gewisse Kunde, mag dem was anders wohl erfreulich scheinen? Entfernt von dir, entfremdet von den Meinen, führ ich stets die Gedanken in die Runde, und immer treffen sie auf jene Stunde, die einzige; da fang ich an zu weinen. Die Träne trocknet wieder unversehens: Er liebt ja, denk ich, her in diese Stille – und solltest du nicht in die Ferne reichen? Vernimm das Lispeln dieses Liebewehens; mein einzig Glück auf Erden ist dein Wille, dein freundlicher zu mir – gib mir ein Zeichen! Ich bin bei dir, du seist auch noch so ferne, du bist mir nah! Die Sonne sinkt, bald leuchten mir die Sterne. O, wärst Du da! Instrumentation 2 Flutes (2nd doubling Piccolo) 2 Oboes (2nd doubling English Horn) 2 Clarinets in Bb (2nd doubling Bass Clarinet in Bb) 2 Bassoons (2nd doubling Contrabassoon) Harp (the two lowest strings should be tuned in C and D) 4 Horns in F 2 Trumpets in C (mutes: harmon) Trombone (mute: straight) Bass Trombone (mute: straight) Tuba Solo Soprano Piano (doubling Celesta) String Orchestra (Double Basses: with extension to low C) Timpani Percussion (2 players) I Glockenspiel, Metal Wind Chimes, Suspended Cymbal, Tam-Tam II Vibraphone (motor) Duration 26 minutes YouTube clip Lisa Larsson sings Martinsson at Concertgebouw, Amsterdam https://www.youtube.com/watch?v=2KglXjQbQFg CD recording BIS label Lisa Larsson / Malmö SO / Paul Mägi Malmö Live, Sweden Soprano Composer Lisa Larsson [email protected] www.lisalarsson.info Rolf Martinsson [email protected] www.rolfmartinsson.com Agency Publisher Impulse Art Management Martijn Jacobus +31 20 626 69 44 [email protected] Gehrmans Musikförlag Kristina Fryklöf, promotion manager +46 8 6100 617 [email protected] www.gehrmans.se Photo Merlijn Doomernik Larsson Photo Mats Bäcker Martinsson Design & Layout www.louisemartinsson.se 2017-01-01