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557855 bk Linde US
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Page 5
Bo
Gävle Symphony Orchestra
LINDE
The Gävle Symphony Orchestra is one of the oldest in Sweden, dating
back to 1912. The first artistic director of this 25-man orchestra was the
composer Ruben Liljefors. It has grown to 52 full-time members during
the past 92 years. The orchestra is based in the provincial capital of
Gävle, but it tours regularly both in its home province and elsewhere in
Sweden. The Gävle Symphony Orchestra has also toured in the
Netherlands, Finland, Norway and the former Yugoslavia. There was a
unique collaboration with the symphony orchestra in Dubrovnik during
the 1990s when the two orchestras performed Benjamin Britten’s War
Requiem in support of the suffering people in war-torn Croatia.
Since its inception the Gävle Symphony Orchestra has had a
succession of distinguished conductors as artistic directors, including Stig Westerberg, Rainer Miedel, Göran W
Nilson, Hannu Koivula and Petri Sakari. On 1st January 2004, Petter Sundkvist assumed the post of artistic adviser
to the orchestra. Sundkvist has worked closely with the orchestra since 1990 and has in recent years served as first
guest conductor.
In 1998 the orchestra was at last able to move into the custom-built concert house which had first been
discussed during the 1930s. It has since been possible to increase the number of in-house CD productions. Besides
music by Gävle native, Bo Linde, the Gävle Symphony Orchestra has recorded works by Wilhelm Stenhammar,
Hugo Alfvén, Edvard Grieg, Dmitry Shostakovich, Carl Nielsen and Sven-David Sandström.
Violin Concerto • Cello Concerto
Karen Gomyo, Violin • Maria Kliegel, Cello
Gävle Symphony Orchestra • Petter Sundkvist
Petter Sundkvist
Born in Boliden in 1964, Petter Sundkvist has rapidly achieved a leading position on the
Swedish musical scene and is to-day among the most sought after of young Swedish
conductors. Having completed his training as a teacher of cello and trumpet at the Piteå
College of Music, he then studied conducting at the Royal University College of Music in
Stockholm under Kjell Ingebretsen and Jorma Panula. After graduating in 1991 he also studied
contemporary music with the Hungarian composer and conductor Peter Eötvös. He has created
for himself a broad and eclectic range of repertoire and styles. He has conducted more than
twenty productions at Swedish opera houses, and has also devoted himself to contemporary
music and given over forty first performances of Nordic composers. He has conducted all the
Swedish orchestras as well as orchestras in Norway, Denmark, Finland, Iceland, Germany,
Great Britain, Italy, Russia and Slovakia, and from 1996 to 1998 was Associate Conductor of
the Swedish Radio Symphony Orchestra. Petter Sundkvist is currently artistic director of the Norrbotten Chamber
Orchestra and principal guest-conductor of the Gävle Symphony Orchestra. Until 2003 he was chief conductor of
the Östgöta Wind Symphony and principal guest-conductor of the Swedish Chamber Orchestra. In 2004 he was
appointed chief conductor of the Musica Vitae chamber orchestra. His Naxos recordings of works by Stenhammar
with the Royal Scottish National Orchestra, and of Kraus with the Swedish Chamber Orchestra have been much
acclaimed in the international press, with the first Kraus release receiving the Cannes Classical Award in 1999. He
has served, since 2003, as a professor at the College of Music in Piteå.
8.557855
5
Bo Linde (1933-1970)
Photograph: Lars Rosenblom
6
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Bo Linde (1933-1970)
Violin Concerto, Op. 18 • Cello Concerto, Op. 29
“I write in very beautiful triads,” Bo Linde explained
during an interview for the Swedish Broadcasting
Corporation after he had been accepted as a student in
Lars Erik Larsson’s composition class at the Academy
of Music in Stockholm at the tender age of fifteen. He
was not only a precocious talent but, from an early age,
he had a clear idea of what he wanted to do in music.
For example he submitted his first piano concerto as
part of his application for admission to the Academy.
Although he was a technically very gifted pianist he
rapidly abandoned the idea of a solo career. That would
merely interfere with his work as a composer. Most of
all he wanted to write organ music and music for the
theatre. In point of fact he was only to write a couple of
small-scale organ pieces and a children’s opera in these
genres. Instead, he devoted his powers to writing
orchestral music, chamber music and, not least, songs.
Just like Benjamin Britten, whom he greatly admired,
Bo Linde had an unfailing sense of how poetry and
music could be united. The piano accompaniments in
the songs are often very lively and exciting.
The earliest of Bo Linde’s compositions to have
survived were written when he was between ten and
twelve years old and in his early teens, for example, he
composed sonatinas for piano and oboe, piano and
trumpet and piano and cello. He was always a keen
reader of poetry and even before he entered the
Academy he composed his first song settings. Among
his earliest collections of songs there is one with
Chinese poetry and one that he called a “Swedish
Anthology”. Over the years he produced a considerable
number of collections, two of which have become firm
favourites with Swedish singers: Fyra allvarliga sånger
(Four Serious Songs) and Tio naiva sånger (Ten Naïve
Songs). Bo Linde’s first major orchestral work was his
Sinfonia fantasia, Op. 1, which dates from the autumn
of 1951, before the composer was nineteen.
The Violin Concerto, Op. 18, is dedicated to the
violinist Josef Grünfarb. Forty years after its première
8.557855
Josef Grünfarb explained that this violin concerto
differed from other concertos which various composers
had offered him in that “Everything was complete. It
was just a matter of playing the elegant passagework
and cantilenas. The concerto is remarkably violinistic.
His feeling for the instrument was unique for someone
who did not play it himself.” Grünfarb’s pupil Karl-Ove
Mannberg has claimed that Linde’s violin concerto
ought to be part of the standard repertoire alongside
those of the great masters.
The violin concerto is the most regularly performed
of Bo Linde’s orchestral works and beyond the borders
of Sweden it has been heard in the United States,
Germany and Norway. The soft opening on the oboe in
the introductory Andante grows out of the silence to
which the concerto returns via the lyrical mood of the
introduction, which recurs in the slow, concluding
Lento. After the soloist’s cadenza, a lively scherzo takes
over with a melodious second subject. The conclusion is
reminiscent of that of Bo Linde’s only published string
quartet (Op. 9) in which the shimmeringly lovely
lyricism also disappears into the emptiness of space
where music can rise again out of the silence. The violin
concerto was first performed by Josef Grünfarb in Umeå
early in 1958.
Bo Linde was even fonder of his Cello Concerto,
Op. 29, than of the violin concerto, counting it among
his very finest works. In a newspaper interview prior to
the première he explained that “I am hopelessly in love
with this noble and beautiful instrument”. He wrote the
concerto for Guido Vecchi who was the principal cellist
of the Gothenburg Symphony Orchestra and who also
gave the first performance of the work in Sandviken in
1965. The concerto has a rather special history in that it
was largely written over the telephone between Gävle
and Gothenburg. For hour after hour during the autumn
of 1964 composer and prospective soloist discussed
details in the composition, especially details in the solo
part. At times the telephone bills in the young Linde
2
household became almost prohibitively large.
The soloist opens the concerto with a musical
subject that contains most of the melodic and sonic
material in the work as well as a major-minor third
tension in a sonata form that, in the second movement,
transforms itself into lively, almost stormy rhythms
before the beautiful concluding movement with the
tempo indication Lento, ma tempo flessibile gives us an
opportunity to hear many of the cello’s beautiful
aspects. Maria Kliegel, the soloist in this recording,
explains from the cellist’s point of view that the
concerto is conceived on a grand scale, requiring
instrumental virtuosity to meet the technical demands
but that it is exciting enough to represent an alternative
to standard repertoire such as the concertos of Elgar and
Dvofiák. The romantic warmth of Bo Linde’s musical
imagination splendidly captures the essence of the
cello’s character and if the cello concerto has yet to be
granted the same interest as the violin concerto, this is
probably the result of continued ignorance of Bo
Linde’s music rather than of the actual quality of this
composition. “It may seem somewhat banal”, Bo Linde
wrote of the last movement in the programme note to
the première, “but I have consciously tried to bring out
the fundamental quality of the cello (its warm
melodiousness)”.
3
Among the works that Bo Linde wrote after
completing the cello concerto were his Serenata
nostalgica, Op. 30, the diverting and humorous Suite
boulogne, Op. 32, and Pensieri sopra un cantico
vecchio, Op. 35, a set of highly romantic orchestral
variations on the famous hymn Es ist ein Ros
entsprungen. At this period he also wrote some ten
collections of songs based on Swedish poets including
Elsa Beskow, Erik Axel Karlfeldt, Edith Södergran,
Gunnar Björling and Verner von Heidenstam. Some of
his finest chamber music also belongs to his final active
years, for example his String Trio in B major, Op. 37,
and his Sonata a tre, Op. 38.
Bo Linde’s final orchestral work, Pezzo
concertante, Op. 41, is also a solo concerto, this time for
bass clarinet and orchestra. It was dedicated to the
clarinettist Lennart Stove who gave the first
performance a couple of weeks before the composer’s
death at home in Gävle where he had been born only 37
years previously.
Besides his work as a composer, Bo Linde taught
piano and composition in Stockholm as well as in Gävle.
He also wrote more than three thousand articles and
reviews on musical topics in the local Gefle Dagblad.
Ulf Jönsson
8.557855
Karen Gomyo
Born in Tokyo in 1982, Karen Gomyo moved to Montreal in 1984. She began to play in
public at the age of five, and after playing for the noted teacher Dorothy DeLay, she was
invited to study on a full scholarship at The Juilliard School. She continued her studies at the
University of Indiana/Bloomington and today is studying at the New England Conservatory
of Music. Karen Gomyo won the 1997 Young Concert Artists International Auditions just
one week after her fifteenth birthday, and in 1998 became the youngest artist ever to be
presented in the Young Concert Artists Series in New York. Her performances in past
seasons have included concerts with orchestras such as the Los Angeles Philharmonic, the
Houston Symphony, the Baltimore Symphony Orchestra and the Tokyo Symphony
Orchestra. She plays the rare “Ex Foulis” Stradivarius of 1714 that is on permanent loan to
her from a private sponsor.
Maria Kliegel
Maria Kliegel is among the leading cellists of our time. Her international career began when
she won the Grand Prix in the 1981 Concours Rostropovich in Paris. Since then she has
appeared regularly as a soloist with leading orchestras in major concert-halls and festivals and
has given the first performances of a number of new compositions, among which Wilhelm
Kaiser-Lindemann’s 1996 Hommage à Nelson, dedicated to Nelson Mandela, is of particular
interest. Her acclaimed recordings include a release of Schnittke’s first concerto for the cello, a
performance regarded by the composer as the standard recording of his work. For Naxos she
has also recorded concertos and chamber music by a number of composers, ranging from the
core cello concerto and chamber-music repertoire of Beethoven, Brahms, Bruch, Dvofiák,
Elgar, Lalo, Saint-Saëns, Schumann, Schubert, Mendelssohn and Tchaikovsky, to the major
cello compositions of Kodály, Shostakovich, Tavener and Gubaidulina. Since 1986 Maria
Kliegel has taught a master-class at the Cologne Music Academy. She plays a 1693 Stradivarius cello previously the
property of Maurice Gendron and put at her disposal by the North Rhine-Westphalia Foundation for Arts and
Culture.
4
8.557855
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Page 2
Bo Linde (1933-1970)
Violin Concerto, Op. 18 • Cello Concerto, Op. 29
“I write in very beautiful triads,” Bo Linde explained
during an interview for the Swedish Broadcasting
Corporation after he had been accepted as a student in
Lars Erik Larsson’s composition class at the Academy
of Music in Stockholm at the tender age of fifteen. He
was not only a precocious talent but, from an early age,
he had a clear idea of what he wanted to do in music.
For example he submitted his first piano concerto as
part of his application for admission to the Academy.
Although he was a technically very gifted pianist he
rapidly abandoned the idea of a solo career. That would
merely interfere with his work as a composer. Most of
all he wanted to write organ music and music for the
theatre. In point of fact he was only to write a couple of
small-scale organ pieces and a children’s opera in these
genres. Instead, he devoted his powers to writing
orchestral music, chamber music and, not least, songs.
Just like Benjamin Britten, whom he greatly admired,
Bo Linde had an unfailing sense of how poetry and
music could be united. The piano accompaniments in
the songs are often very lively and exciting.
The earliest of Bo Linde’s compositions to have
survived were written when he was between ten and
twelve years old and in his early teens, for example, he
composed sonatinas for piano and oboe, piano and
trumpet and piano and cello. He was always a keen
reader of poetry and even before he entered the
Academy he composed his first song settings. Among
his earliest collections of songs there is one with
Chinese poetry and one that he called a “Swedish
Anthology”. Over the years he produced a considerable
number of collections, two of which have become firm
favourites with Swedish singers: Fyra allvarliga sånger
(Four Serious Songs) and Tio naiva sånger (Ten Naïve
Songs). Bo Linde’s first major orchestral work was his
Sinfonia fantasia, Op. 1, which dates from the autumn
of 1951, before the composer was nineteen.
The Violin Concerto, Op. 18, is dedicated to the
violinist Josef Grünfarb. Forty years after its première
8.557855
Josef Grünfarb explained that this violin concerto
differed from other concertos which various composers
had offered him in that “Everything was complete. It
was just a matter of playing the elegant passagework
and cantilenas. The concerto is remarkably violinistic.
His feeling for the instrument was unique for someone
who did not play it himself.” Grünfarb’s pupil Karl-Ove
Mannberg has claimed that Linde’s violin concerto
ought to be part of the standard repertoire alongside
those of the great masters.
The violin concerto is the most regularly performed
of Bo Linde’s orchestral works and beyond the borders
of Sweden it has been heard in the United States,
Germany and Norway. The soft opening on the oboe in
the introductory Andante grows out of the silence to
which the concerto returns via the lyrical mood of the
introduction, which recurs in the slow, concluding
Lento. After the soloist’s cadenza, a lively scherzo takes
over with a melodious second subject. The conclusion is
reminiscent of that of Bo Linde’s only published string
quartet (Op. 9) in which the shimmeringly lovely
lyricism also disappears into the emptiness of space
where music can rise again out of the silence. The violin
concerto was first performed by Josef Grünfarb in Umeå
early in 1958.
Bo Linde was even fonder of his Cello Concerto,
Op. 29, than of the violin concerto, counting it among
his very finest works. In a newspaper interview prior to
the première he explained that “I am hopelessly in love
with this noble and beautiful instrument”. He wrote the
concerto for Guido Vecchi who was the principal cellist
of the Gothenburg Symphony Orchestra and who also
gave the first performance of the work in Sandviken in
1965. The concerto has a rather special history in that it
was largely written over the telephone between Gävle
and Gothenburg. For hour after hour during the autumn
of 1964 composer and prospective soloist discussed
details in the composition, especially details in the solo
part. At times the telephone bills in the young Linde
2
household became almost prohibitively large.
The soloist opens the concerto with a musical
subject that contains most of the melodic and sonic
material in the work as well as a major-minor third
tension in a sonata form that, in the second movement,
transforms itself into lively, almost stormy rhythms
before the beautiful concluding movement with the
tempo indication Lento, ma tempo flessibile gives us an
opportunity to hear many of the cello’s beautiful
aspects. Maria Kliegel, the soloist in this recording,
explains from the cellist’s point of view that the
concerto is conceived on a grand scale, requiring
instrumental virtuosity to meet the technical demands
but that it is exciting enough to represent an alternative
to standard repertoire such as the concertos of Elgar and
Dvofiák. The romantic warmth of Bo Linde’s musical
imagination splendidly captures the essence of the
cello’s character and if the cello concerto has yet to be
granted the same interest as the violin concerto, this is
probably the result of continued ignorance of Bo
Linde’s music rather than of the actual quality of this
composition. “It may seem somewhat banal”, Bo Linde
wrote of the last movement in the programme note to
the première, “but I have consciously tried to bring out
the fundamental quality of the cello (its warm
melodiousness)”.
3
Among the works that Bo Linde wrote after
completing the cello concerto were his Serenata
nostalgica, Op. 30, the diverting and humorous Suite
boulogne, Op. 32, and Pensieri sopra un cantico
vecchio, Op. 35, a set of highly romantic orchestral
variations on the famous hymn Es ist ein Ros
entsprungen. At this period he also wrote some ten
collections of songs based on Swedish poets including
Elsa Beskow, Erik Axel Karlfeldt, Edith Södergran,
Gunnar Björling and Verner von Heidenstam. Some of
his finest chamber music also belongs to his final active
years, for example his String Trio in B major, Op. 37,
and his Sonata a tre, Op. 38.
Bo Linde’s final orchestral work, Pezzo
concertante, Op. 41, is also a solo concerto, this time for
bass clarinet and orchestra. It was dedicated to the
clarinettist Lennart Stove who gave the first
performance a couple of weeks before the composer’s
death at home in Gävle where he had been born only 37
years previously.
Besides his work as a composer, Bo Linde taught
piano and composition in Stockholm as well as in Gävle.
He also wrote more than three thousand articles and
reviews on musical topics in the local Gefle Dagblad.
Ulf Jönsson
8.557855
Karen Gomyo
Born in Tokyo in 1982, Karen Gomyo moved to Montreal in 1984. She began to play in
public at the age of five, and after playing for the noted teacher Dorothy DeLay, she was
invited to study on a full scholarship at The Juilliard School. She continued her studies at the
University of Indiana/Bloomington and today is studying at the New England Conservatory
of Music. Karen Gomyo won the 1997 Young Concert Artists International Auditions just
one week after her fifteenth birthday, and in 1998 became the youngest artist ever to be
presented in the Young Concert Artists Series in New York. Her performances in past
seasons have included concerts with orchestras such as the Los Angeles Philharmonic, the
Houston Symphony, the Baltimore Symphony Orchestra and the Tokyo Symphony
Orchestra. She plays the rare “Ex Foulis” Stradivarius of 1714 that is on permanent loan to
her from a private sponsor.
Maria Kliegel
Maria Kliegel is among the leading cellists of our time. Her international career began when
she won the Grand Prix in the 1981 Concours Rostropovich in Paris. Since then she has
appeared regularly as a soloist with leading orchestras in major concert-halls and festivals and
has given the first performances of a number of new compositions, among which Wilhelm
Kaiser-Lindemann’s 1996 Hommage à Nelson, dedicated to Nelson Mandela, is of particular
interest. Her acclaimed recordings include a release of Schnittke’s first concerto for the cello, a
performance regarded by the composer as the standard recording of his work. For Naxos she
has also recorded concertos and chamber music by a number of composers, ranging from the
core cello concerto and chamber-music repertoire of Beethoven, Brahms, Bruch, Dvofiák,
Elgar, Lalo, Saint-Saëns, Schumann, Schubert, Mendelssohn and Tchaikovsky, to the major
cello compositions of Kodály, Shostakovich, Tavener and Gubaidulina. Since 1986 Maria
Kliegel has taught a master-class at the Cologne Music Academy. She plays a 1693 Stradivarius cello previously the
property of Maurice Gendron and put at her disposal by the North Rhine-Westphalia Foundation for Arts and
Culture.
4
8.557855
557855 bk Linde US
12/1/05
12:51 PM
Page 2
Bo Linde (1933-1970)
Violin Concerto, Op. 18 • Cello Concerto, Op. 29
“I write in very beautiful triads,” Bo Linde explained
during an interview for the Swedish Broadcasting
Corporation after he had been accepted as a student in
Lars Erik Larsson’s composition class at the Academy
of Music in Stockholm at the tender age of fifteen. He
was not only a precocious talent but, from an early age,
he had a clear idea of what he wanted to do in music.
For example he submitted his first piano concerto as
part of his application for admission to the Academy.
Although he was a technically very gifted pianist he
rapidly abandoned the idea of a solo career. That would
merely interfere with his work as a composer. Most of
all he wanted to write organ music and music for the
theatre. In point of fact he was only to write a couple of
small-scale organ pieces and a children’s opera in these
genres. Instead, he devoted his powers to writing
orchestral music, chamber music and, not least, songs.
Just like Benjamin Britten, whom he greatly admired,
Bo Linde had an unfailing sense of how poetry and
music could be united. The piano accompaniments in
the songs are often very lively and exciting.
The earliest of Bo Linde’s compositions to have
survived were written when he was between ten and
twelve years old and in his early teens, for example, he
composed sonatinas for piano and oboe, piano and
trumpet and piano and cello. He was always a keen
reader of poetry and even before he entered the
Academy he composed his first song settings. Among
his earliest collections of songs there is one with
Chinese poetry and one that he called a “Swedish
Anthology”. Over the years he produced a considerable
number of collections, two of which have become firm
favourites with Swedish singers: Fyra allvarliga sånger
(Four Serious Songs) and Tio naiva sånger (Ten Naïve
Songs). Bo Linde’s first major orchestral work was his
Sinfonia fantasia, Op. 1, which dates from the autumn
of 1951, before the composer was nineteen.
The Violin Concerto, Op. 18, is dedicated to the
violinist Josef Grünfarb. Forty years after its première
8.557855
Josef Grünfarb explained that this violin concerto
differed from other concertos which various composers
had offered him in that “Everything was complete. It
was just a matter of playing the elegant passagework
and cantilenas. The concerto is remarkably violinistic.
His feeling for the instrument was unique for someone
who did not play it himself.” Grünfarb’s pupil Karl-Ove
Mannberg has claimed that Linde’s violin concerto
ought to be part of the standard repertoire alongside
those of the great masters.
The violin concerto is the most regularly performed
of Bo Linde’s orchestral works and beyond the borders
of Sweden it has been heard in the United States,
Germany and Norway. The soft opening on the oboe in
the introductory Andante grows out of the silence to
which the concerto returns via the lyrical mood of the
introduction, which recurs in the slow, concluding
Lento. After the soloist’s cadenza, a lively scherzo takes
over with a melodious second subject. The conclusion is
reminiscent of that of Bo Linde’s only published string
quartet (Op. 9) in which the shimmeringly lovely
lyricism also disappears into the emptiness of space
where music can rise again out of the silence. The violin
concerto was first performed by Josef Grünfarb in Umeå
early in 1958.
Bo Linde was even fonder of his Cello Concerto,
Op. 29, than of the violin concerto, counting it among
his very finest works. In a newspaper interview prior to
the première he explained that “I am hopelessly in love
with this noble and beautiful instrument”. He wrote the
concerto for Guido Vecchi who was the principal cellist
of the Gothenburg Symphony Orchestra and who also
gave the first performance of the work in Sandviken in
1965. The concerto has a rather special history in that it
was largely written over the telephone between Gävle
and Gothenburg. For hour after hour during the autumn
of 1964 composer and prospective soloist discussed
details in the composition, especially details in the solo
part. At times the telephone bills in the young Linde
2
household became almost prohibitively large.
The soloist opens the concerto with a musical
subject that contains most of the melodic and sonic
material in the work as well as a major-minor third
tension in a sonata form that, in the second movement,
transforms itself into lively, almost stormy rhythms
before the beautiful concluding movement with the
tempo indication Lento, ma tempo flessibile gives us an
opportunity to hear many of the cello’s beautiful
aspects. Maria Kliegel, the soloist in this recording,
explains from the cellist’s point of view that the
concerto is conceived on a grand scale, requiring
instrumental virtuosity to meet the technical demands
but that it is exciting enough to represent an alternative
to standard repertoire such as the concertos of Elgar and
Dvofiák. The romantic warmth of Bo Linde’s musical
imagination splendidly captures the essence of the
cello’s character and if the cello concerto has yet to be
granted the same interest as the violin concerto, this is
probably the result of continued ignorance of Bo
Linde’s music rather than of the actual quality of this
composition. “It may seem somewhat banal”, Bo Linde
wrote of the last movement in the programme note to
the première, “but I have consciously tried to bring out
the fundamental quality of the cello (its warm
melodiousness)”.
3
Among the works that Bo Linde wrote after
completing the cello concerto were his Serenata
nostalgica, Op. 30, the diverting and humorous Suite
boulogne, Op. 32, and Pensieri sopra un cantico
vecchio, Op. 35, a set of highly romantic orchestral
variations on the famous hymn Es ist ein Ros
entsprungen. At this period he also wrote some ten
collections of songs based on Swedish poets including
Elsa Beskow, Erik Axel Karlfeldt, Edith Södergran,
Gunnar Björling and Verner von Heidenstam. Some of
his finest chamber music also belongs to his final active
years, for example his String Trio in B major, Op. 37,
and his Sonata a tre, Op. 38.
Bo Linde’s final orchestral work, Pezzo
concertante, Op. 41, is also a solo concerto, this time for
bass clarinet and orchestra. It was dedicated to the
clarinettist Lennart Stove who gave the first
performance a couple of weeks before the composer’s
death at home in Gävle where he had been born only 37
years previously.
Besides his work as a composer, Bo Linde taught
piano and composition in Stockholm as well as in Gävle.
He also wrote more than three thousand articles and
reviews on musical topics in the local Gefle Dagblad.
Ulf Jönsson
8.557855
Karen Gomyo
Born in Tokyo in 1982, Karen Gomyo moved to Montreal in 1984. She began to play in
public at the age of five, and after playing for the noted teacher Dorothy DeLay, she was
invited to study on a full scholarship at The Juilliard School. She continued her studies at the
University of Indiana/Bloomington and today is studying at the New England Conservatory
of Music. Karen Gomyo won the 1997 Young Concert Artists International Auditions just
one week after her fifteenth birthday, and in 1998 became the youngest artist ever to be
presented in the Young Concert Artists Series in New York. Her performances in past
seasons have included concerts with orchestras such as the Los Angeles Philharmonic, the
Houston Symphony, the Baltimore Symphony Orchestra and the Tokyo Symphony
Orchestra. She plays the rare “Ex Foulis” Stradivarius of 1714 that is on permanent loan to
her from a private sponsor.
Maria Kliegel
Maria Kliegel is among the leading cellists of our time. Her international career began when
she won the Grand Prix in the 1981 Concours Rostropovich in Paris. Since then she has
appeared regularly as a soloist with leading orchestras in major concert-halls and festivals and
has given the first performances of a number of new compositions, among which Wilhelm
Kaiser-Lindemann’s 1996 Hommage à Nelson, dedicated to Nelson Mandela, is of particular
interest. Her acclaimed recordings include a release of Schnittke’s first concerto for the cello, a
performance regarded by the composer as the standard recording of his work. For Naxos she
has also recorded concertos and chamber music by a number of composers, ranging from the
core cello concerto and chamber-music repertoire of Beethoven, Brahms, Bruch, Dvofiák,
Elgar, Lalo, Saint-Saëns, Schumann, Schubert, Mendelssohn and Tchaikovsky, to the major
cello compositions of Kodály, Shostakovich, Tavener and Gubaidulina. Since 1986 Maria
Kliegel has taught a master-class at the Cologne Music Academy. She plays a 1693 Stradivarius cello previously the
property of Maurice Gendron and put at her disposal by the North Rhine-Westphalia Foundation for Arts and
Culture.
4
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Bo
Gävle Symphony Orchestra
LINDE
The Gävle Symphony Orchestra is one of the oldest in Sweden, dating
back to 1912. The first artistic director of this 25-man orchestra was the
composer Ruben Liljefors. It has grown to 52 full-time members during
the past 92 years. The orchestra is based in the provincial capital of
Gävle, but it tours regularly both in its home province and elsewhere in
Sweden. The Gävle Symphony Orchestra has also toured in the
Netherlands, Finland, Norway and the former Yugoslavia. There was a
unique collaboration with the symphony orchestra in Dubrovnik during
the 1990s when the two orchestras performed Benjamin Britten’s War
Requiem in support of the suffering people in war-torn Croatia.
Since its inception the Gävle Symphony Orchestra has had a
succession of distinguished conductors as artistic directors, including Stig Westerberg, Rainer Miedel, Göran W
Nilson, Hannu Koivula and Petri Sakari. On 1st January 2004, Petter Sundkvist assumed the post of artistic adviser
to the orchestra. Sundkvist has worked closely with the orchestra since 1990 and has in recent years served as first
guest conductor.
In 1998 the orchestra was at last able to move into the custom-built concert house which had first been
discussed during the 1930s. It has since been possible to increase the number of in-house CD productions. Besides
music by Gävle native, Bo Linde, the Gävle Symphony Orchestra has recorded works by Wilhelm Stenhammar,
Hugo Alfvén, Edvard Grieg, Dmitry Shostakovich, Carl Nielsen and Sven-David Sandström.
Violin Concerto • Cello Concerto
Karen Gomyo, Violin • Maria Kliegel, Cello
Gävle Symphony Orchestra • Petter Sundkvist
Petter Sundkvist
Born in Boliden in 1964, Petter Sundkvist has rapidly achieved a leading position on the
Swedish musical scene and is to-day among the most sought after of young Swedish
conductors. Having completed his training as a teacher of cello and trumpet at the Piteå
College of Music, he then studied conducting at the Royal University College of Music in
Stockholm under Kjell Ingebretsen and Jorma Panula. After graduating in 1991 he also studied
contemporary music with the Hungarian composer and conductor Peter Eötvös. He has created
for himself a broad and eclectic range of repertoire and styles. He has conducted more than
twenty productions at Swedish opera houses, and has also devoted himself to contemporary
music and given over forty first performances of Nordic composers. He has conducted all the
Swedish orchestras as well as orchestras in Norway, Denmark, Finland, Iceland, Germany,
Great Britain, Italy, Russia and Slovakia, and from 1996 to 1998 was Associate Conductor of
the Swedish Radio Symphony Orchestra. Petter Sundkvist is currently artistic director of the Norrbotten Chamber
Orchestra and principal guest-conductor of the Gävle Symphony Orchestra. Until 2003 he was chief conductor of
the Östgöta Wind Symphony and principal guest-conductor of the Swedish Chamber Orchestra. In 2004 he was
appointed chief conductor of the Musica Vitae chamber orchestra. His Naxos recordings of works by Stenhammar
with the Royal Scottish National Orchestra, and of Kraus with the Swedish Chamber Orchestra have been much
acclaimed in the international press, with the first Kraus release receiving the Cannes Classical Award in 1999. He
has served, since 2003, as a professor at the College of Music in Piteå.
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Bo Linde (1933-1970)
Photograph: Lars Rosenblom
6
8.557855
557855 bk Linde US
12/1/05
12:52 PM
Page 5
Bo
Gävle Symphony Orchestra
LINDE
The Gävle Symphony Orchestra is one of the oldest in Sweden, dating
back to 1912. The first artistic director of this 25-man orchestra was the
composer Ruben Liljefors. It has grown to 52 full-time members during
the past 92 years. The orchestra is based in the provincial capital of
Gävle, but it tours regularly both in its home province and elsewhere in
Sweden. The Gävle Symphony Orchestra has also toured in the
Netherlands, Finland, Norway and the former Yugoslavia. There was a
unique collaboration with the symphony orchestra in Dubrovnik during
the 1990s when the two orchestras performed Benjamin Britten’s War
Requiem in support of the suffering people in war-torn Croatia.
Since its inception the Gävle Symphony Orchestra has had a
succession of distinguished conductors as artistic directors, including Stig Westerberg, Rainer Miedel, Göran W
Nilson, Hannu Koivula and Petri Sakari. On 1st January 2004, Petter Sundkvist assumed the post of artistic adviser
to the orchestra. Sundkvist has worked closely with the orchestra since 1990 and has in recent years served as first
guest conductor.
In 1998 the orchestra was at last able to move into the custom-built concert house which had first been
discussed during the 1930s. It has since been possible to increase the number of in-house CD productions. Besides
music by Gävle native, Bo Linde, the Gävle Symphony Orchestra has recorded works by Wilhelm Stenhammar,
Hugo Alfvén, Edvard Grieg, Dmitry Shostakovich, Carl Nielsen and Sven-David Sandström.
Violin Concerto • Cello Concerto
Karen Gomyo, Violin • Maria Kliegel, Cello
Gävle Symphony Orchestra • Petter Sundkvist
Petter Sundkvist
Born in Boliden in 1964, Petter Sundkvist has rapidly achieved a leading position on the
Swedish musical scene and is to-day among the most sought after of young Swedish
conductors. Having completed his training as a teacher of cello and trumpet at the Piteå
College of Music, he then studied conducting at the Royal University College of Music in
Stockholm under Kjell Ingebretsen and Jorma Panula. After graduating in 1991 he also studied
contemporary music with the Hungarian composer and conductor Peter Eötvös. He has created
for himself a broad and eclectic range of repertoire and styles. He has conducted more than
twenty productions at Swedish opera houses, and has also devoted himself to contemporary
music and given over forty first performances of Nordic composers. He has conducted all the
Swedish orchestras as well as orchestras in Norway, Denmark, Finland, Iceland, Germany,
Great Britain, Italy, Russia and Slovakia, and from 1996 to 1998 was Associate Conductor of
the Swedish Radio Symphony Orchestra. Petter Sundkvist is currently artistic director of the Norrbotten Chamber
Orchestra and principal guest-conductor of the Gävle Symphony Orchestra. Until 2003 he was chief conductor of
the Östgöta Wind Symphony and principal guest-conductor of the Swedish Chamber Orchestra. In 2004 he was
appointed chief conductor of the Musica Vitae chamber orchestra. His Naxos recordings of works by Stenhammar
with the Royal Scottish National Orchestra, and of Kraus with the Swedish Chamber Orchestra have been much
acclaimed in the international press, with the first Kraus release receiving the Cannes Classical Award in 1999. He
has served, since 2003, as a professor at the College of Music in Piteå.
8.557855
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Bo Linde (1933-1970)
Photograph: Lars Rosenblom
6
8.557855
CMYK
NAXOS
NAXOS
Bo
Playing Time
DDD
56:18
LINDE
(1933-1970)
Concerto for Violin and Orchestra, Op. 18
1 Andante – Poco animato – (Cadenza) – Scherzando vivo
2 Allegro deciso – Tempo del comincio – Lento
Concerto for Cello and Orchestra, Op. 29
14:21
11:54
30:03
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First issued on Swedish Society Discofil in 2005
Recorded from March 5th-7th, 2003 (Violin Concerto) and from April 26th-28th, 2004
(Cello Concerto) in Gevaliasalen, Gävle, Sweden • Engineer: Torbjörn Samuelsson
Editors: Torbjörn Samuelsson (Violin Concerto), Emma Stocker, K&A Productions (Cello Concerto)
Producers: Patrik Håkansson (Violin Concerto), Michael Ponder (Cello Concerto)
Publishers: Gehrmans (Violin Concerto) • Stim (Cello Concerto)
Booklet Notes: Ulf Jönsson
Cover Picture: Garden in Rosendal II, 1905 by August Strindberg (1849-1912)
(Göteborgs Konstmuseum / akg-images)
2005 & 2006
Naxos Rights International Ltd.
Karen Gomyo, Violin • Maria Kliegel, Cello
Gävle Symphony Orchestra • Petter Sundkvist
Booklet notes in English
12:45
5:40
11:38
Made in USA
3 Moderato – Lento – Ben ritmico – Sostenuto – Lento
4 Allegro molto ed agitato – Presto – Prestissimo
5 Lento, ma tempo flessibile
26:15
BO LINDE: Violin Concerto • Cello Concerto
8.557855
www.naxos.com
BO LINDE: Violin Concerto • Cello Concerto
The Swedish composer Bo Linde was a precocious talent and a gifted pianist. A pupil of
Lars Erik Larsson, he was greatly influenced by his teacher’s neo-classical style. Linde’s
Violin Concerto is the most regularly performed of his orchestral works, and its assured
lyricism prompted its dedicatee, Josef Grünfarb, to comment, “Everything was complete
... His feeling for the instrument was unique for someone who did not play it himself”. It
is coupled on this recording with Linde’s Cello Concerto, a warm and virtuosic piece
conceived on a grand scale, which the composer himself considered one of his finest works.