Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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 5 Bo Linde (1933-1970) Photograph: Lars Rosenblom 6 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 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 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 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 5 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 5 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 8.557855 8.557855 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.