Under the baton of the Norwegian violinist and artistic leader Terje Tønnesen, the Norwegian Chamber Orchestra with the Norwegian Geir Draugsvoll – one of the most important musicians on his instrument, the bayan – and the award-winning Norwegian percussionist and cimbalist Hans-Kristian Kjos Sørensen perform Sofia Gubaidulina's Fachwerk for bayan, percussion and string orchestra. Recorded at University Aula, Oslo, on November 12, 2013.
The bayan is a Russian accordion with a distinctively Eastern European timbre that Gubaidulina has featured in several of her works. Her idiomatic writing for the instrument exploits its coloristic and expressive range as both a melodic and harmonic instrument. In Fachwerk for bayan, percussion, and strings, she uses the percussion with great subtlety as a member of the accompanying forces to provide color and a rhythmic and dynamic foundation for the strings, rather than falling into the temptation of exploiting its potential for taking center stage. The piece doesn't feel quite like a concerto because the bayan is so thoroughly integrated into the orchestral textures. Gubaidulina has a gift for creating memorable colors that serve as structural element and that gives her music much of it character. Fachwerk has a largely contemplative tone, but toward the end it begins to build to a trmendous climax.
Source: Stephen Eddins (allmusic.com)
Sofia Gubaidulina (b. 1931)
♪ Fachwerk for bayan, percussion and string orchestra (2009)
Geir Draugsvoll, bayan
Hans-Kristian Kjos Sørensen, percussion
Norwegian Chamber Orchestra
Conductor: Terje Tønnesen
University Aula, Oslo, November 12, 2013
|Photo © Japan Art Association, The Sankei Shimbun|
Gubaidulina's compositional interests have been stimulated by the tactile exploration and improvisation with rare Russian, Caucasian, and Asian folk and ritual instruments collected by the "Astreia" ensemble, of which she was a co-founder, by the rapid absorption and personalization of contemporary Western musical techniques (a characteristic, too, of other Soviet composers of the post-Stalin generation including Edison Denisov and Alfred Schnittke), and by a deep-rooted belief in the mystical properties of music.
Her uncompromising dedication to a singular vision did not endear her to the Soviet musical establishment, but her music was championed in Russia by a number of devoted performers including Vladimir Tonkha, Friedrich Lips, Mark Pekarsky, and Valery Popov. The determined advocacy of Gidon Kremer, dedicatee of Gubaidulina's masterly violin concerto, Offertorium, helped bring the composer to international attention in the early 1980s. Gubaidulina is the author of symphonic and choral works, two cello concerti, a viola concerto, four string quartets, a string trio, works for percussion ensemble, and many works for nonstandard instruments and distinctive combinations of instruments. Her scores frequently explore unconventional techniques of sound production.
Since 1985, when she was first allowed to travel to the West, Gubaidulina's stature in the world of contemporary music has skyrocketed. She has been the recipient of prestigious commissions from the Berlin, Helsinki, and Holland Festivals, the Library of Congress, the Chicago Symphony Orchestra, the New York Philharmonic, and many other organizations and ensembles. A major triumph was the premiere in 2002 of the monumental two-part cycle, Passion and Resurrection of Jesus Christ according to St John, commissioned respectively by the International Bachakademie Stuttgart and the Norddeutschen Rundfunk, Hamburg.
Gubaidulina made her first visit to North America in 1987 as a guest of Louisville's "Sound Celebration." She has returned many times since as a featured composer of festivals – Boston's "Making Music Together" (1988), Vancouver's "New Music" (1991), Tanglewood (1997), Marlboro (2016) – and for other performance milestones. In May 2011, she was feted on the occasion of her 80th birthday in concerts presented by the California Institute of the Arts and the Los Angeles Philharmonic. From the retrospective concert by Continuum (New York, 1989) to the world premieres of commissioned works – Pro et Contra by the Louisville Orchestra (1989), String Quartet No.4 by the Kronos Quartet (New York, 1994), Dancer on a Tightrope by Robert Mann and Ursula Oppens (Washington, DC, 1994), the Viola Concerto by Yuri Bashmet with the Chicago Symphony conducted by Kent Nagano (1997), Two Paths ("A Dedication to Mary and Martha") for two solo violas and orchestra, by the New York Philharmonic conducted by Kurt Masur (1999), Light of the End by the Boston Symphony Orchestra under Masur (2003), and Pilgrims for violin, double bass, piano and two percussionists (2015) by Chicago's Contempo Ensemble – the accolades of American critics have been ecstatic.
In January 2007, Gubaidulina was the first woman composer to be spotlighted by the BBC during its annual "composer weekend" in London. Among her most recent compositions are Feast During a Plague (2005), jointly commissioned by the Philadelphia Orchestra and the Pittsburgh Symphony Orchestra – and conducted in Philadelphia by Sir Simon Rattle and in Pittsburgh and New York by Sir Andrew Davis – In Tempus Praesens, a violin concerto unveiled at the 2007 Lucerne Festival by Anne-Sophie Mutter with the Berlin Philharmonic under the baton of Rattle, and Glorious Percussion, a concerto for five solo percussionists and orchestra premiered in 2008 by Gustavo Dudamel and the Gothenburg Symphony Orchestra.
Gubaidulina is a member of the Akademie der Künste in Berlin, the Royal Music Academy in Stockholm and of the Accademia Nazionale di Santa Cecila in Rome. She has been the recipient of the Prix de Monaco (1987), the Premio Franco Abbiato (1991), the Heidelberger Künstlerinnenpreis (1991), the Russian State Prize (1992), and the SpohrPreis (1995). Recent awards include the prestigious Praemium Imperiale in Japan (1998), the Sonning Prize in Denmark (1999), the Polar Music Prize in Sweden (2002), the Living Composer Prize of the Cannes Classical Awards (2003), the Great Distinguished Service Cross of the Order of Merit with Star of the Federal Republic of Germany (2009), the "Golden Lion" for Lifetime Achievement of the Venice Bieniale (2013), and the Prix de l'Académie Royale de Belgique (2014). In 2005, she was elected as a foreign honorary member of the American Academy of Arts and Letters. She is the recipient of honorary doctorates from Yale University (2009) and the University of Chicago (2011).
Her music is now generously represented on compact disc, and Gubaidulina has been honored twice with the coveted Koussevitzky International Recording Award. Major releases have appeared on the DG, Chandos, Philips, Sony Classical, BIS, Berlin Classics and Naxos labels.
Since its formation in 1977 the Norwegian Chamber Orchestra has established itself as one of the foremost chamber orchestras on the international classical music scene today. Renowned for its innovative programming and creativity, the NCO is a project orchestra comprised of Norway's finest instrumentalists. Through integrating experienced musicians with talented young instrumentalists, the Orchestra continuously develops its unique style and innovative culture, thereby greatly contributing to the position Norwegian musicians and ensembles hold internationally.
The artistic directors and guest leaders throughout its history have been Iona Brown, Leif Ove Andsnes, Isabelle van Keulen, Martin Fröst, François Leleux and Steven Isserlis together with our current artistic director Terje Tønnesen who has held this role since the orchestra's formation.
The Orchestra's international tours to Europe, Asia and North America have received outstanding reviews at many of the world's prestigious concert halls and festivals. With nearly 40 recordings to date, the NCO has recorded comprehensive chamber orchestra repertoire with distinguished soloists, including Leif Ove Andsnes, Terje Tønnesen, Iona Brown, Truls Mørk, Lars Anders Tomter and Tine Thing Helseth. Highlights include the Norwegian award "Spellemannpris" winning recordings of Grieg and Nielsen works and Haydn piano concertos with Leif Ove Andsnes.
The Orchestra draws on an enviable roster of Norwegian and international soloists and has always been dedicated to presenting contemporary music as part of its concert repertoire.
The NCO currently presents its own concert series at the University Aula in Oslo and performs in major concert venues in Norway.
Between 2011 and 2016, the NCO served as the resident chamber orchestra at the Risør Chamber Music Festival.
Terje Tønnesen is one of Norway's most revered musicians, with a career spanning over forty years of music-making as violinist and artistic leader. Praised by public and press alike for his virtuosity and artistic individualism, Terje Tønnensen has established a firm place in the Nordic classical music scene through his position as Artistic Director of the Norwegian Chamber Orchestra and concertmaster of the Oslo Philharmonic Orchestra. He held the same position with the Camerata Nordica in Sweden for two decades until 2016.
After his critically acclaimed debut in 1972 which Norway's major newspaper called "a dazzling debut without any parallel", he furthered his studies with Max Rostal in Switzerland. In 1977, he was appointed Artistic Director to the Norwegian Chamber Orchestra, a position he shared with Iona Brown in 1981-2002. Tønnesen has also maintained a distinguished career as a soloist by making regular appearances with major orchestras in Scandinavian countries as well as making extensive tours to various parts of Europe, USA, China and Russia.
His recordings as the orchestra's leader have received considerable critical acclaim and have received awards including the Spellemann Prize. Tønnesen has also done a number of recordings as soloist and chamber musician, and recorded several works commissioned for him.
In recent years Tønnesen has composed music for several theatre productions and devoted his time to arranging various chamber and orchestral works. A passionate advocate for finding new ways of presenting classical music, Tønnesen has collaborated with colleagues from across various art forms, including American stage director Bud Beyer and choreographer Ingun Bjørnsgaard.
Terje Tønnesen has won several international awards and recognition such as the Grieg Prize and Lindeman Prize. In September 2015, Terje Tønnesen was appointed Knight First Class of the Royal Norwegian Order of St Olav. He performs on a 1756 Guadagnini lent to him by Dextra Musica, Sparebankstiftelsen.
Sofia Gubaidulina – All the posts
Sofia Gubaidulina: Offertorium – Vadim Repin, State Academic Symphony Orchestra "Evgeny Svetlanov", Vladimir Jurowski
Sofia Gubaidulina: Sonata for double bass and piano – Daniele Roccato, Fabrizio Ottaviucci (HD 1080p)
Sofia Gubaidulina: Et Exspecto – José Valente (HD 1080p)
Sofia Gubaidulina: De Profundis – José Valente (HD 1080p)
Sofia Gubaidulina: The Canticle of the Sun – Gal Faganel, Slovenian Chamber Choir, Kaspars Putninš (HD 1080p)
Sofia Gubaidulina: Sieben Worte for cello, bayan and strings – Jean-Guihen Queyras, Geir Draugsvoll, Norwegian Chamber Orchestra, Per Kristian Skalstad (HD 1080p)
Pēteris Vasks: Violin Concerto "Distant Light" – Anthony Marwood, Norwegian Chamber Orchestra (HD 1080p)
Thomas Larcher: Ouroboros for violoncello and orchestra – Jean-Guihen Queyras, Norwegian Chamber Orchestra, Per Kristian Skalstad (HD 1080p)
Arnold Schoenberg: Verklärte Nacht, for string orchestra – Norwegian Chamber Orchestra, Terje Tønnesen
Richard Strauss: Metamorphosen for 23 solo strings – Norwegian Chamber Orchestra, Terje Tønnesen (HD 1080p)