Download +54 - Dubrovačke ljetne igre

54. dubrovačke ljetne igre
54th Dubrovnik Summer Festival
2003
Hrvatska Croatia
DIETER FLURY
flauta flute
MOJCA ZLOBKO-VAJGL
harfa harp
Atrij Kneževa dvora
Rector's Palace Atrium
5. kolovoza 5th Agust
21.30 9.30 p.m.
Wolfgang Amadeus Mozart: 4. sonata za flautu i harfu u F-duru, K. 13
Sonata No. 4 for flute and harp in F major, K 13
Allegro
Andante
Minuetto primo
Minuetto secondo
Johann Sebastian Bach:
Sonata za flautu i harfu u g-molu, BWV 1020
Sonata fro flute nad harp in G minor, BWV 1220
Allegro (?)
Adagio
Allegro
Wolfgang Amadeus Mozart: 5. sonata za flautu i harfu u C-duru, K. 14
Sonata No. 5 for flute and harp in C major, K 14
Allegro
Allegro
Minuetto primo
Minuetto secondo en carillon
*****
Primož Ramovš:
Tri misli za harfu solo
Three Thoughts for harp solo
Jean-Michel Damase:
1. sonata za flautu i harfu
Sonata No. 1 for flute nad harp
Allegro - Moderato
Andante con moto
Allegro vivace
Adagio - Presto
Herbert Willi:
Skladba za flautu solo
Piece for flute solo
Gabriel Fauré:
Fantazija za flautu i harfu, op. 79
Fantasy for flute and harp, op. 79
Flutist Dieter Flury was born in Zürich, where he received his elementary and
secondary school education. From 1972 to 1976 he studied mathematics at the
Technical College. He studied the flute (from 1962 to 1971) first with Hans Mayer,
the soloist of the famous Tonhalle Orchestra, than with André Jaunet at the Zürich
Music College and later with the renowned Aurèl Nicolet. Since 1977 he was the
flutist in the Vienna State Opera and since 1981 the principal flutist of the Vienna
Philharmonic Orchestra. He is one of the founders and members of the Vienna Wind
Ensemble the Vienna Virtuosi and the Klangforum Wien ensemble. He performed as
soloist with the Zürich Chamber Orchestra, the Festival Strings Luzern, the Vienna
Symphony Orchestra, the New Japanese Philharmonic Orchestra, etc. He played at the
major Swiss and Austrian music festivals and worked with prestigious contemporary
composers such as György Ligeti, Klaus Huber, Hans Zender, Beat Furrer, Salvatore
Schiarrino, Herbert Willi and others. He has released numerous recordings among
which particularly successful were those with the pieces by Bach, Telemann, Haydn,
Mozart, Varèse, Scelsi, Beri and Halffter. Particularly well received was his CD with
the pieces by the French Les Six released by the Camerata from Tokyo. Since 1996 he
has been a professor at the Arts University in Graz, the lecturer at the International
Summer Academy in Lenk and held numerous master courses (Madrid, Sapporo, etc.)
Harp player Mojca Zlobko Vajgl was born in Ljubljana and graduated from the
Ljubljana Academy of Music in 1991. For three years she was engaged as solo harpist
in the Slovenian National Theatre Opera in Ljubljana. She completed her postgraduate
studies at the Music and Theatre College in Hamburg (with Maria Graf) in 1995 and
decided to continue her career as soloist and chamber musician. She attended master
courses with Irena Grafenauer and Maria Graf. She has performed as soloist with
Slovenian orchestras (the Slovenian Radio and Television Symphony Orchestra, the
Slovene Philharmonic Orchestra, the Slovenicum Chamber Ensemble) and foreign
orchestras (the Croatian Chamber Orchestra the Chamber Orchestra of the Vienna
Symphony Orchestra, the Hamburg Philharmonic Orchestra, the Stockholm Chamber
orchestra and the Ars Amata chamber orchestra from Zürich). Since 2000 she has
worked with the chamber orchestra Wiener Concert-Verein under the baton of Ulf
Schirmer, Leopold Hager and Marcel Viotti. With this orchestra conducted by Karen
Kamensek she appeared on a tour as soloist in the Concerto for harp and strings by
Lucijan Marija Škerjanc in August 2002. She performed in Croatia, Sweden,
Macedonia and Canada. She has recorded two CDs; the first with the pieces for harp
solo and the second one with pieces for two harps (with German harp player Uta
Jungwirth). Presently she lives and works as a freelance artist both in Berlin and
Ljubljana.
The very early, still boyish Sonatas for flute and piano by Wolfgang Amadeus
Mozart (1756-1791) belong to his cycle of the six namesake pieces, Köchel 10 to 15,
from 1764. These early but already inspired composing drills, made under the strict
father’s supervision, have almost identical form. The only difference is that in Sonata
No. 5 in C major, K. 14 the second, slow movement is replaced by a bit differently
composed fast movement, while the finale of the same Sonata (unlike the one in
Sonata No. 4 in F major, K. 13) is a bit more distinctive second Minuet inspired (also
often met with the more mature Mozart) by the bell like sounds of Carillon he was so
fond of.
There is a division of the experts’ opinions both about the composing year and the
origin of the Sonata for flute and harpsichord in G minor, BWV 1020. Y.
Kobayashi considers it to be a piece by Carl Philipp Emanuel Bach (1714-1788).
Some (for instance, Schmieder) believe it to be an authentic adolescent piece by
Johann Sebastian Bach (1685-1750). The others (such as Spitta) place the piece in
the Köthen period (1717-1723), the period when Bach composed the great chamber
pieces. The fact that the flute can perform the piece gives more evidence about the
baroque period than about Bach himself. The tempo of the first movement is missing
in the original score. Some experts were of the opinion that it should be performed in
a moderate-march time metre. The unusually long introduction by the harpsichord
(the harp tonight) is followed by the sound of the second instrument, whose part is
enlivened by the syncopated moves. The pastoral mood of the second movement
(Adagio) is felt both in the tonality and rhythmic as well as in the nature of its
melodiousness. The movements in a way resemble the Prelude in E flat major from
the Volume II of Bach’s The Well-Tempered Klavier. The third and closing
movement (Allegro) is opposed to the customary types of the chamber sonatas’ finales
by its unusual form. It is not even a typical concertante finale, but an apparently
modest but in terms of expression valuable invention.
Slovene composer and organist Primož Ramovš (1921-1999) graduated in
composition from the Ljubljana Academy of Music under Slavko Osterc (1941) and
continued his studies in Siena (Vito Frazzi) and Rome (Alfredo Casello). Due to his
huge and versatile output he is considered one of the most prolific and talented
Slovene composers. Following the tradition of the neoclassicism and neo-baroque, he
successfully and impressively joined the movement of the most recent music research
in his short period of experimenting with the dodecaphonic and tonal serial
organization of the tonal matter during the 60s of the previous century. The piece
Three Thoughts for harp solo from 1981 was inspired by the composers encounter
with the famous Swiss harp player Ursula Holliger, the wife of the famous oboist and
composer Heinz Holliger (1939), who introduced him to the new technique of
performing the harp. Ramovš dedicated his newly composed piece to Mojca Zlobko
Vajgl. During this markedly effective piece, the harp is revealed as a source of
abundant sound possibilities, employing many innovations such as playing with the
key and play with the pedals as well as knocks by the fingers, ankles or palms against
the resonant board and a rich pallet of the glissandos and flageolets. The piece of the
sparkling inspiration and elaborated contrasts offers the performer plenty of space for
sound freedom and independent modelling.
French composer and pianist Jean-Michel Damase (199928) was born in Bordeaux
into a family of musicians: his mother was a famous harp player Micheline Kahn. He
began to study the piano with Samuel Rousseau, and continued with Alfred Corot at
the École Normale de Musique in Paris and with Armand Ferté at the Paris
Conservatory. He graduated in 1943 and started a noted piano career. Two years, later
however, he continued to study composition at the same institution with Henry Busser
and harmony and counterpoint with the famous organ player and composer Marcel
Dupré. At the age of 19 he graduated with the anthological Quintet, and won the Prix
de Rome with the cantata Et la Belle se réveilla. In the meantime his piano successes
become more and more noted (particularly those with the most prestigious orchestras
in Paris). In his mature and technically masterly works he follows the example of his
great French predecessors from Fauré and Ravel to Messiaen. Particularly prominent
are his operas ((La Tendre Éleonore, Colombē, Le Matin de Faust, Eurydice,
L'Héritière) and ballets (Lady in the Ice, Le Prince du dessert, Balance à trois, La
Boucle, Othello, La Noce foraine, Silk Rhapsodie) as well as his concerts and chamber
pieces. The Sonata No. 1 for flute and harp in three movements reveals a
distinguished skill and perceptiveness of the Damase's eclecticism. Intimately close to
the listener, the charming melody of the first movement seems to be taken out from
some of the Poulenc's autograph albums, while the slow movement is noted for its
elegant Satiean melancholy. The Scherzo and the finale stand for the composer's more
strict individuality which bowed neither to the glittering flow of the Ibert's jokes, not
to the astringent power of the Roussel's and even Honegger's discoveries.
Austrian composer Herbert Willi (1956) was born in Vorarlberg. He studied music
and theology at the Innsbruck University and the fagot and composition at the
Innsbruck Conservatory. Since 1983 he studied composition with the famous
composer Helmut Eder at the Salzburg Mozarteum, where he continued to study with
the renowned Polish composer and theoretician Boguslav Schaeffer. The holder of
numerous awards he presently lives in St. Anton, near his hometown. His pieces have
been performed throughout Europe and the USA, at major music festivals, interpreted
by the prestigious soloists, chamber ensembles or orchestras under the baton of the
famous conductors such as Claudio Abbado, or Christoph von Dohnányi. In 1995 he
composed the opera Schlafes Bruder (libretto by Robert Schneider) that was first
performed the following year at the Zürich Opera (which had commissioned it) on the
occasion of the 1000th anniversary of Austria. The Vienna Philharmonic Orchestra
commissioned from him the orchestral composition Begegnung (1997-1998) on the
occasion of its 150th anniversary. He also composed other noted orchestral,
concertante, chamber and solo pieces. The Schott editing house publishes his works.
Willi composed his Piece for flute solo on the initiative of the Swiss flutist Peter
Lukas Graf within the period from 1985 to 1986. Since he lives in solitude, where he
cannot hear any flute-like sounds, the composer hesitated for a long time to compose
the piece. In his own words, he was having a holiday on a Greek island and had many
opportunities to listen to such (both dull and bright) tones. This is how the first part of
the piece was composed; in order to complete it, he had to return to the same place the
following summer. The piece is composed in a strict way, even regarding the agogic
and dynamic finesses. Dieter Flury successfully first performed it on 10th February
1989.
Like Cherubini, the French composer and organ player Gabriel Fauré (1845-1925)
remained in the shadow of his more aggressive contemporaries for a long time due to
the restraint of his expression and a general strictness of the style. Fauré is one of the
few composers of our century who gave up the loudness of his excesses, the
unpresumptuous virtuosity of the matter, the outer dramatics and effect; simple and
natural, his word remains suggestive and without reaching out for a special sonority or
accentuated sentimentality. He enlivens the oldest forms of the great tradition in a
markedly personal way, filling them calmly but deeply, in an introvert but abundant
way. His polished and balanced, elegant but restrained music seems not to originate
from the period of mature romanticism. The Fantasy for flute and harp, op. 79 was
composed in 1897. This mature and multi-layered piece of the masterfully composed
structure and convincingly powerful contents is a right example – so often present in
the Fauré’s composing – that the lyricism can attain the dramatic accents, in the same
manner as the silence sometimes becomes stronger than the noise.