dowdall solo flute sept25 - Naxos Music Library · PDF filewilliam dowdall works for solo...
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william dowdall works for solo flute j.s. bach takemitsu karg-elert p.m. hamel debussy varÈse MERCADANTE/Mozart honegger c.p.e. bach john buckley donnacha dennehy celestial harmonies
Transcript of dowdall solo flute sept25 - Naxos Music Library · PDF filewilliam dowdall works for solo...
william dowdallworks for solo flute
j.s. bachtakemitsu
karg-elertp.m. hamel
debussyvarÈse
MERCADANTE/Mozarthonegger
c.p.e. bachjohn buckley
donnacha dennehy
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JohannSebastianBach Partita in A minor, BWV 1013 D.P. 15’12” AbellWoodenFluteNo.65 1 Allemande 3’46”2 Courante 3’58”3 Sarabande 4’41”4 BourréeAnglaise 2’47” Recorded January 2007
5 ClaudeDebussy Syrinx 2’35” D.P. LouisLotSilverFluteNo.5316 (1891) Recorded August 2008
6 JohnBuckley Winter Echoes 3’14” E.R.P.Musikverlag BrannenPlatinumFluteNo.2345 Recorded August 2008
7 JohnBuckley Sea Echoes 3’18” E.R.P.Musikverlag BrannenPlatinumFluteNo.2345 withRobertDickGlissandoHead-Joint Recorded August 2008
8 ToruTakemitsu Itinerant 3’12” SchottMusic BrannenPlatinumFluteNo.2345 Recorded January 2008
9 SigfridKarg-Elert Sonata (Appassionata) in F m minor, Op. 140 D.P. 4’42” BrannenPlatinumFluteNo.2345 Recorded January 2008
10 DonnachaDennehy fAt 5’52” E.R.P.Musikverlag BrannenPlatinumFluteNo.2345 Yamahabassflute(backingtrack) Solo track recorded January 2008
11 EdgardVarèse Density 21.5 3’22” CasaRicordi BrannenPlatinumFluteNo.2345 Recorded January 2008
12 ArthurHonegger Danse de la Chèvre 3’25” ContemporaryMusicPubl.Corp. BrannenPlatinumFluteNo.2345 Recorded January 2008
PeterMichaelHamel Traumzeit (Dreamtime) 11’24”13 I:RagaPunnagavarali 3’07”14 II:VerbindungvonDiatonikund Dodekaphonie 1’54”15 III:RagaPunnagavarali 1’46”16 IV:Zwölftonordnungund Tonwiederholung 1’30”17 V:RagaPunnagavarali 3’08” E.R.P.Musikverlag EvaKingmaAltoFluteNo.13906 Recorded January 2008
18 SaverioMercadante Variations onLà ci darem la mano (fromDon Giovanni by WolfgangAmadeusMozart,KV527) D.P. 3’53” AbellWoodenFluteNo.65 Recorded January 2007
CarlPhilippEmanuelBach Sonata per il Flauto Traverso solo senza Basso in A minor, Wq. 132 / H. 562 12’59” D.P. 19 Pocoadagio 3’59”20 Allegro 4’42”21 Allegro 4’18” AbellWoodenFluteNo.65 Recorded January 2007
Totaltime:73’10”
AllofthesolotrackswererecordedattheGallagherConcertChamberWELEnergyTrustAcademyofPerformingArtsUniversityofWaikatoHamilton,NewZealandProducer:WayneLairdExecutiveproducer:EckartRahnRecordingEngineer:PaulMcGlashanBackingtracksoffAtrecordedatTrinityCollege,Dublin,2000-2007
Thisrecordingisdedicatedtothememoryoftwogreatmothers,MauraandJulia
ThankstoPeterMichaelHamelandJohnBuckley
Photography:MorganTreacy,EvedeCastro-Robinson(p.5&6)
Frontcoverillustrations:DetailsfromapaintingbyJonasBurgert
℗ 2009CelestialHarmoniesP.O.Box30122Tucson,[email protected]
WilliamDowdall,borninDublinin1951,oneofIreland’s
leadingmusicians,combinesabusycareerasasoloist,chambermusician,andteacher. HestudiedinCleveland,Ohio,wherehisteachersincludedMauriceSharpoftheClevelandOrchestra,andhisinterestinnewmusicwassparkedbyDonaldErb,composerinresidenceattheClevelandInstituteofMusic.OnreturningtoIrelandattheageof21hewasappointedprincipalfluteoftheRTÉConcertOrchestra.From1979to2004hewasprincipalfluteoftheRTÉNationalSymphonyOrchestra.HewasappointedprofessoroffluteattheRoyalIrishAcademyofMusicin2004. Hehasgivenover50soloperformanceswiththeRTÉNationalSymphonyOrchestra,RTÉConcertOrchestra,andIrishChamberOrchestra,andhasappearedatallthemajorfestivalsinIreland. HehasbeenamemberoftheDaedalusWindQuintet,UlyssesEnsemble,andtheUlysses
WindQuintetwhichwasaprize-winnerintheColmarInternationalChamberMusicCompetitionin1980.AsachambermusicianhehasalsoperformedwiththeRTÉVanbrughandParisiistringquartets. SoloperformanceshavetakenhimaroundEurope,andtotheUSA,China,AustraliaandNewZealandtoconsiderableacclaim.HisworkhasbeenbroadcastextensivelybytheIrishpublicnationalbroadcaster,RTÉ,andhehasalsobeenbroadcastonBBCradioandtelevision,AustralianTelevision,andShanghaiRadio,amongothers. Inadditiontoawide-rangingrepertoire,hisinterestincontemporarymusicledhimtodevelopaworkshopbasedoncontemporarysoloflutemusicbyIrishcomposers,whichhasbeenpresentedinEuropetoconsiderableacclaim.HehasintroducedIrishaudiencestonewworksfromtheinternationalrepertoire,andhasactivelypromotedthemusicofIrishcomposersabroad.ManyIrishcomposershavewrittenworksforhim,andhepremieredanewworkbyJohnBuckleyforfluteandorchestrawiththeRTÉNSO,touredwithitaroundIrelandin2006,andperformeditagainwiththeNationalSymphonyOrchestraofIrelandinJanuary2009. Withinthespaceoftwoyearsalonehehasgiveneightworldpremieresofworksby
IrishcomposersandhasespousedtheflutemusicofcomposerssuchasBernstein,Boulez,Takemitsu,Henze,Varèse,andMaxwellDaviesinIreland.In2006hegavetheIrishpremiereofTakemitsu’sI Can Hear the Water DreamingwiththeRTÉNSO. Asasoloartisthehasmadecritically-acclaimedrecordingsfortheGoasco,Naxos,MarcoPolo,BlackBox,andCelestialHarmonieslabels. HeplaysonaplatinumflutebyBrannen,awoodenflutebyAbell,analtoflutebyKingma,aYamahabassfluteandaLouisLotdated1891.
WilliamDowdallplayingwithGlissando(orSliding)Head-Joint
The flute and its repertoire
TheoriginsofthemodernconcertflutelieinthemistsoftimeastheplaincylindricalbambooinstrumentofIndiaandtheFarEast.Throughtravelandtrade,itmadeitsEuropeanappearanceroundaboutthetenthcenturyCEanditwasthisinstrumentthatbecametheRenaissanceflute,commonlymadefrommapleorboxwoodratherthantheoriginalbamboo.DuringtheBaroqueperiodthefluteunderwentanumberofchanges,assumingamoreconicalboreandtheadditionofasinglekey;theearliestoftheseinstrumentsbeingdatedtothe1670sinParis. ThemajortechnicaldevelopmentsofthefluteundertakenbyTheobaldBöhminthefirsthalfofthenineteenthcenturyledtothemoderninstrument.Böhmrevertedtothecylindricalbore,addinganelaboratemechanismofkeys,rods,springsandlevers,makingthefluteentirelychromaticandtransformingitintotheversatileinstrumentwerecognisetoday. Thefluteisregardedasoneofthemostadaptableofwindinstrumentsandfulfillsamajorroleintheorchestralrepertoire.Asachamberandsoloinstrumentitdrawsitsfinestrepertoirefromtwoeras,theBaroqueandthecontemporaryperiodbeginningwithDebussy.TheBaroquehasthegreatworksofJohann
SebastianBachandhissonsaswellasHändel,Telemann,QuantzandVivaldiamongstothers.Inthisperiod,theflutewasonaparwiththeviolin,andthisisreflectedbythequalityoftherepertoire. Flutemusicbynineteenthcenturycomposersoftenfocusedontechnicalvirtuosity,sometimestothedetrimentofthemusicalexpressionandforthisreasonhasnothelditsplaceinthegeneralrepertoire.However,aworksuchasMercadante’sVariationsonathemebyMozart,Là ci darem la mano,displaystheextraordinarymellifluousfluencyoftheinstrument. TheemergenceofthemetalfluteanditsadoptionbytheFrenchImpressionistsledtoitsrevivalasasoloinstrument.Debussy’sSyrinxledthewaytowardsaresurgenceofnewrepertoire,furtherenhancedbystrikinglyoriginalworksbycomposerssuchasVarèse,Honegger,andTakemitsu.ThisrecordingalsoincludesspeciallycomposedworksforWilliamDowdallbycontemporarycomposersHamel,DennehyandBuckley. WhilethemodernfluteisessentiallytheinstrumentasdevelopedbyBöhm,recentinnovationsincludetheGlissandoHead-joint®inventedbytheAmericanflautistRobertDick.Thisnewdevicerevolutionisesthemannerinwhichtheflutecanglidebetweenpitches.Itis
operatedbyplacingtwoprongsontheplayer’sjaw,allowingthehead-jointtoslidefreelyoverarangeofathird.ItsnewtechnicalresourcescanbeheardinSea EchoesbyJohnBuckley. ThemusiconthisrecordingisavoyageofdiscoveryacrosstherepertoireofthesoloflutefromthemasterpiecesoftheBaroquetotheexplorationsofourowntime.TheperformancesbyWilliamDowdall,Ireland’sleadingexponentoftheclassicalflute,captureeverynuanceofthemusic.Hisinterpretationsarecharacterizedbydazzlingtechnicalbrilliancealliedtoaprofoundmusicalunderstanding,resultinginalandmarkrecordingforthesoloflute.
John Buckley
Debussy, Claude (1862-1918)SYRINX
Duringthe19thcenturytheflutefellintodisfavourasasoloinstrument.Majorcomposersnolongerwroteforitanditwasgenerallyrelegatedtotheamateurplayerswhocontentedthemselveswithvariationsonpopularoperaticthemes.Theflutewas“saved”bytwomen,TheobaldBöhmandLouisLot.Böhmredevelopedthefluteintotheformithastodaymakingtheplayinginremotekeysfeasableandexpandingthedynamicrangeoftheinstrument.LouisLottookBöhm’sdesigns
andmadeexcellentflutesandexperimentedwithvariousmaterials,particularlysilver.ThuswasborntheinstrumentthatbecamethedarlingoftheImpressionistsandledtothecreationofsuchworksasDebussy’sPrèlude à l’après-midi d’un fauneandSyrinx. OriginallyentitledLa Flûte de Pan,SyrinxwaswrittenasincidentalmusicforaportionoftheplayPsychebyGabrielMoureyandwasdedicatedtoLouisFleury.Althoughtheplayremainedunfinished,FleuryperformedSyrinxinrecitalsfrombehindascreenasitwasoriginallyintendedtobeplayedoff-stage.Heguardedthemanuscriptcarefullyand,althoughSyrinxwaswrittenin1913,itwasnotuntilafterFleury’sdeathin1926thatitwaspublished.Apparentlyhedidteachitbyrotetoayoungplayer,GeorgesBarrère,whosubsequentlyemigratedtoNewYorktopursueadistinguishedcareerthere. WhenLouisFleurypassedawaythemanuscriptwasfoundandwasgiventothepublisherJobert.JobertchangedthetitlefromLa Flûte de PantoSyrinxaseveryminorcomposerintownseemedtobewritingpieceswiththeformertitle.InadditiontochangingthetitletoSyrinx(whichalsoreferstoPan’sflute)JobertgavethemanuscripttoMarcelMoysetoaddbarlinesandsomebreathmarksasapiecewithoutbarlineswasconsidered
tobeincomprehensibletotheordinaryplayer.Thiswasacontroversialmoveastheadditionofbarlinesandnumerousbreathschangedthecharacterofthepieceentirely.LegendhasitthatwhenGeorgesBarrère(whohadbythistimeenthronedhimselfinNewYork)firstsawtheprintedversionhebarelyrecognizedthepiece.BythisstagehehadtaughtittosomeofhisstudentsincludingmyteacherMauriceSharp. Syrinxitselfreferstoanymphwhoisbeingpursuedbytheflute-playinggodPan,whoisnotexactlyhandsomebutisusinghisfluteplayingtalentstoattracther.Syrinxistransformedintothereedsthatgrowontheriverbank.Panfashionsapipefromthereedsandweavesaspellbindingmelody. FrenchcomposerswereveryattractedtoGreekmythologyandparticularlyGreekmodesandDebussymakesextensiveuseofsuchmodesandwholetonescales.Syrinxdoesnotfitintothestandardmajor/minorscheme.Itisamajordepartureinflutewriting,makingdynamicsanintegralpartofthewhole.Inmanywaysitistheoriginofmuch20th-centuryflutewriting,pointingthewayforwardtowardssuchworksasVarese’sDensity 21.5initsintegrationofdynamicsandmotivicdevelopment.
TheversionIuseherehasnobarlinesandcontainssomebreathingsuggestionsthatmirrorGeorgesBarrère’sinterpretation.ItisplayedonanunalteredLouisLotflutedatingfrom1891.
Varèse, Edgard (1883-1965)DENSITY 21.5
Density 21.5isthespecificdensityofplatinumandwascommissionedbyGeorgesBarrèrefortheinaugurationofhisplatinumfluteattheWorldFairinNewYorkin1936.BarrèrehadakeeninterestinthemusicofhiscontemporariesandcommissionedworksfromcomposerssuchasCharlesGriffes,HowardHansonandotheryoungAmericancomposers.HealsocommissionedtheyoungFrenchcomposerEdgardVarèse,whohadsettledinNewYork.Varèsewasveryinterestedinthetimbresofvariousinstrumentsandhadevolvedaveryuncompromisingstyleofcomposing,spurningtheImpressionistpastandembracinganew,verydirectstyle. Varèsemusthavehadaverygoodideaofthepropertiesorpossibilitiesofaplatinumflute(hecouldn’thaveknownexactlyasthiswasthefirstsuchinstrument)asheexploresthedynamicrangefrompppptofffandpushesthehigherrangeuptoasustainedtopD. Density 21.5takestheelementsofmusic(rhythm,melodyormotif,dynamics)andtreats
theminanequalfashion.Theresultisamajorworkforfluteofthe20thcenturyand,likeSyrinxandPrèlude à l’après-midi d’un fauneheraldsthereturnoftheflutetomainstreamrepertoire.Unlikemostearlierunaccompaniedflutepieces,Density 21.5hasverydefinitemetronomemarkingswithaninstructionfromthecomposerthattheyshouldbestrictlyadheredto. OnthisrecordingitisplayedonaplatinumflutemadebyBrannenBrothers.
Takemitsu, Toru (1930-1996) ITINERANT
JapanesecomposerToruTakemitsuwaslargelyself-taughtalthoughhewasgreatlyinfluencedbytheFrenchImpressionists,mostnotablyDebussy.HeisalsowellknowninJapanforhisfilmmusic.WhilehewasinfluencedbyDebussy,hisstyleisveryindividualandusesmoderntechniquessuchasmulti-phonics,(playingmorethanonenoteatatime)harmonics,whistletonesandoverblownflutter-tongues.Oneofhisfirstworksfororchestraincludessoloshakuhachi(Japaneseflute)andbiwa(Japaneselute);whilstitwouldbeamistaketoassumethathisfluteworkscopytheshakuhachi,theyarecertainlyinfluencedbyit.HewascloselyassociatedwithSwissflautistAurèleNicoletandmanyofhis
contemporarytechniquesweretheresultofthisassociation. Itinerantreferstoawanderingspiritandwaswrittentomournthedeathofthecomposer’sfriendIsamuNoguchi,asculptor.ItwasfirstperformedbyPaulaRobisonattheIsamuNoguchiMuseuminNewYorkCityonFebruary7th,1989. Thepieceischaracterisedbyflexibilityofmelodicandrhythmicinvention,dramaticchangesindynamicsandawideexpressiverange.
Honegger, Arthur (1892-1955) DANSE DE LA CHÈVRE
BorninFrancetoaSwiss-Germanfamily,ArthurHoneggercouldbedescribedmoreasanillustratorthanapost-Impressionist.HewasamemberofLes Six,thegroupincludingMilhaud,PoulencandotherswhoturnedtheirbackonImpressionism.Honegger’sorchestralworkPacific 231isatextbookmusicalillustrationofalargetraininmotion.Similarly,hisminiaturepieceDanse de la Chèvrecouldbeeasilyre-titledasA Day in the Life of a Goat! Thepiecedepictsdawncreepingoverthemountainwithanoccasionalflurryofwind.Wehearthegoattwitchasifinadreamandthenalargegustofwindwakeshim.Hethen
takesoffinanenergeticdancethatdisplayshisnimblefootworkbrokenonlybyalittlebreakforlunchandashortnapduringwhichwehearhimtwitchagain.Nowfullyrefreshedhetakesonevenlargerleapsleadingtoawellearnedrestattheendoftheday.Alltheseeventsarevividlyrealisedinmusicaltermsbycascadingscalesalternatingwithmoreflowingmelodicpassages,expansiveintervalsencompassingtheentirerangeoftheinstrumentandlight-hearteddancingmotifs. Danse de la Chèvrewaswrittenin1921andisdedicatedtotheFrenchflautistRenéleRoy.
Karg-Elert, Sigfrid (1877-1933) SONATA APPASSIONATA
TwoyoungmendecidedtojointheArmyBandinsteadofhavingtofightatthefrontintheFirstWorldWar.OnewasSigfridKarg-Elert,acomposerandanorganist(heplayedcymbalintheband)andpupilofKarlReinecke,theotherwasHubertBarwasser,principalfluteoftheBerlinPhilharmonic.Thisexplainswhyanorganistwrotesomuchflutemusic.Whilingawaytheboringdaysinthebarracks,heandBarwasserexploredthecapabilitiesoftheflute.Anexcellentalternativetohavingtofight! Sonata Appassionataisexactlywhatitsaysitis.Itisalate-Romantic,overtly
expressiveworkthatstretchestheflutebothtechnicallyandmusically.Itutilisesrapidscalepassages,impulsivechangesofcharacterandmoodandcontrapuntalsoundingpassagessuggestiveoforganwriting.Theworkrepresentsatributetoauniqueandluckycollaboration!
Bach, Johann Sebastian (1685-1750) PARTITA IN A MINOR FOR SOLO FLUTE BWV 1013
Whileonlydiscoveredin1917,thisPartitacanbedefinitelyattributedtoJ.S.Bach.Inthe18thcenturytheflutewasregardedastheequaloftheviolinasasoloinstrument.Inthispartita,Bachdisplayshisabilitiestowriteinfourstyles:German,French,Italian,andEnglish.Thefirstmovement,anAllemande,isastatelyGermandancewithflowingandelegantsixteenthnotes.Thesecondmovement,aCourante,isaflowingandfleet-footedmovementwrittenintheFrenchstyle.Thethirdmovement,aSarabande,isanelegantandrefinedslowdanceandplayedasQuantzdescribedit“withanagreeableexecution”.ThefinalmovementisaBourrée Anglaise,afastandlivelydancereminiscentofareeloraMorrisdance.BachwrotethisPartitawithaprofessionalplayerofconsiderableabilitesinmind.Itisavirtuosicworkthatstretchesthe
playerbothtechnicallyandmusically.ItalsoextendstherangeoftheBaroqueflutewiththefinalnoteofthefirstmovementendingonatopA.
Bach, Carl Philipp Emanuel (1714-1788) SONATA PER IL FLAUTO TREVERSO SOLO SENZA BASSO
Carryingoninhisfather’straditionandalsothatofhisgodfatherTelemann,whowrote12Fantasiasforflutewithoutfiguredbass,thechoiceofkeyinC.P.E.Bach’ssolosonataisnoaccident.ItisthesamekeythathisreveredfatherusedinhisPartitaforSoloFlute. CarlPhilippEmanuelwasquiteaforward-thinkingcomposerandwasoneoftheproponentsofthenewgalantestyle.However,hewasalsoagreatrespecteroftraditionaswecanseeinhisTreatise on the True Art of Playing the Keyboardinwhichheoftenreferstohisfatheras“thatgreatman”. C.P.E.Bach’smusicwasquiterevolutionaryanddidnotalwaysmeetwiththeapprovalofhispatronFredericktheGreatinwhoseorchestraheplayed.TheorchestraalsoincludedothernotablessuchasQuantzandtheBraunbrothers,allofwhomwereveryrespectedcomposersintheirownright. TheSoloSonatainAMinorwaswrittenin1747.ThestatelyfirstmovementAdagiobegins
withsuddenandstaccatobassnotesoverwhichagentlemelodyfloats.Thisgivestheimpressionofatwo-partlineandsoundsverycontemporary,somuchsothatthismovementisoftenmistakenforamuchmoremoderncomposition.Thefollowingtwomovementsareinafasttempowithmanyopportunitesforelaborationintherepeatedsections. LikethePartitainAminorbyJ.S.Bach,itisaworkofvirtuosityandwasdefinitelywrittenforasoloistoftheveryfirstorder.ItseemsunlikelyhoweverthatitwasperformedbyQuantzasheandC.P.E.Bachdidnotseeeye-to-eyeonmusicalmatters.
Mercadante, Saverio Rafaele (1795-1870) LÀ CI DAREM LA MANO VARIATIONS ON A THEME BY MOZART
Atthebeginningofthe19thcenturytheflutewasbecomingaverypopularinstrumentamongstamateurs.Gentlemen’sclubswereformedaroundtheflute,creatingamarketforarrangementsofpopularpiecesfortheinstrument. ItaliancomposerSaverioMercadantecomposedmanyoperasintheItalianbel canto styleand—whilehismusicisexperiencingaresurgence—ithasnotreachedthepopularityofhiscontemporariesBelliniandDonizetti.InthisworkMercadantefollowsawell-trodden
pathintakingapopularariabyMozart(fromDon Giovanni)andwritingaseriesofvariationsdisplayingthevirtuosicpossibilitiesoftheinstrument,whilealsobearinginmindthathismajormarketwouldconsistofamateurplayers.Ofthefivevariations,allarefastand—withoneexception—inaminorkey,givingtheimpressionthattherearetwoplayers.Mercadanteisingoodcompany;BeethovenandChopinalsowrotevariationsonthesametheme.
William Dowdall
Buckley, John (*1951) WINTER ECHOES / SEA ECHOES
Winter Echoesforsoloflute,completedin2008,isaversionofthecadenzatakenfromanearlierworkFlute Concerto - In Winter Light(2006).TheConcertowasitselfbasedonanearlierworkIn Winter Lightforaltofluteandguitar,whichwasreleasedonCelestialHarmonies(13244-2)in2004whereitwasalsoperformedbyWilliamDowdall.Thisnewpieceforsolofluteechoesboththeearlierworksandthewinterseason. Winter EchoesisamusicalreflectionontheextraordinarymagicalqualitiesoflightduringanIrishwinter.Thiscanvarybetweenthestartlingluminousbrillianceofthelowsun
atmiddayandthemutedtwilight,asshadowssoftlymergeintoalateNovemberevening.Thisshortpieceattemptstocaptureandinterpretthesemoodsthroughacombinationofvirtuosobrillianceandlyricalreflection.ItisdedicatedtoWilliamDowdall,forwhomitwaswritten. Sea Echoesforsoloflutewithslidinghead-jointwascomposedinJuly2008atthesuggestionofWilliamDowdall,towhomitisdedicated.Theslidinghead-jointisarelativelyrecentinnovation,addingarangeofpossibilitiesunavailableontheconventionalflute,themostobviousbeingatrueglissando.Iwasdeterminedfromthebeginninghowever,nottocreateaseriesofspecialeffects,buttocomposeapiece,wherethenewpossibilitiesarosenaturallyasanextensionofthemusicalargument.Asthetitlesuggests,theworkisinspiredbytheundulatingshapeofthewaves,thesibilantwhispersastheyarriveandretreatfromtheshoreandthedistantsuggestionofbirdandwhalesong.Overall,Ihavetriedtocreateasenseofevocationandmysteryratherthandirectreference.
John Buckley
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Sea Echoesfor solo flute with sliding head-joint John Buckley
(2008)
© 2009 E.R.P. Musikverlag Eckart Rahn (GEMA), Berlin
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3 BorninTempleglantine,Co.Limerick,Irelandin1951,JohnBuckleystudiedflutewithDorisKeoghandcompositionwithJamesWilsonattheRoyalIrishAcademyofMusicinDublin.HissubsequentcompositionstudieswereinCardiffwiththeWelshcomposerAlunHoddinottandwithJohnCage. Hehaswrittenadiverserangeofwork,fromsoloinstrumentstofullorchestra.HehasfulfillednumerouscommissionsincludingCon-certoforOrganfortheNationalConcertHall,RiversofParadisefortheofficialopeningoftheUniversityofLimerickConcertHall. JohnBuckley’smusichasbeenperformedandbroadcastinmorethanfiftycountriesworldwide.HiscompositionshaverepresentedIrelandonfiveoccasionsattheInternationalRostrumofComposersandatfiveISCMfesti-vals.AmongsthisawardsaretheVarmingPrize(1977),theMacaulayFellowship(1978),theArtsCouncil’sComposers’Bursary(1982),andtheToonderAward(1991).In1984hewaselectedamemberofAosdána,Ireland’sstatesponsoredacademyofcreativeartists.HismusichasbeenrecordedontheCelestialHarmonies,Altarus,BlackBox,andMarcoPololabels.Heisalsoactiveasalectureroncomposition,musicappreciationandmusicineducationandisonthestaffofSt.Patrick’sCollege,Drumcon-dra,acollegeofDublinCityUniversity.
Peter Michael Hamel’s (*1947) Traumzeit/Dreamtime - Five short pieces for alto flute was written in 2006 and dedicated to William Dowdall who premiered it in May of 2006 at the National Concert Hall in Dublin. The composer writes:
Iattemptedtounite(orcombine)compositionaltechniques—whichhadhithertobeenthoughttobedifferentordivergentifnotopposedtooneanother—intoanintegralnewwhole:
•twelve-tonedodecaphonicstructure;•modal/harmonicelementswithmicro intervals;•newplayingtechniques/noise-likesounds•Pythagoreansonicenvironmentsbasedon overtoneharmonics(flageoletnotes);•assonanceofthesouthIndianrag Punnagavarali—theso-called snake rag—in Pythagoreanintonation;•combinationofdiatonicanddodecaphonic scales,micro-intervalintonation;•assonanceofalap gesture(introductionofa ragaofIndianclassicalmusic,allusionof thetanpurasoundintodrone/overtone harmonics);•contrastoftwelve-toneseriesandrepetitive techniques.
Sincetheearly1970s,IhadbeenstudyingIndianclassicalmusicwiththevocalistPanditPatekaratHinduBenaresUniversity.LateronIpracticedwiththegreatSouth-IndianvocalistSrimatiM.S.SubbulakshmiinMadras.InherhouseinMadras,hermasterSemmangudiSrinivasaIyertaughtmethemodeofrag PunnagavaraliusingascaleverysimilartotheWesterntwelve-toneseries,basedonthefundamentalD. Thesame“tune”Iencounteredin1988atahugeceremonyinMysoreinhonoroftheIndianswamiji SatchidanandawherePunnagavaraliwassungassnake rag. Ofcourse,thepieceisnotmeantfortheperformertoimitateIndianclassicalmusic;itismoreakindofallusionoutofwhichonlyIndianartistswouldrediscovertheancientmodeused.
Summer 2009 Aschau, BavariaPeter Michael Hamel
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5 kleine Stücke für (Alt-) Flöte
für Kathrin Beddig, William Dowdall und Moshe A. Epstein
Gesamtdauer: ca. 12 min.
Peter Michael Hamel
© 2006 E.R.P. Musikverlag Eckart Rahn (GEMA), Berlin für USA & Kanada: Celestial Harmonies (BMI), Tucson
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Bornin1970,DonnachaDennehyisacom-poserlivinginDublin.Hehasreceivedcommis-sionsfromtheBBC,WNYC(PublicRadioNewYorkCity),RTÉ,AmsterdamFunds Voor der Kunst,theArtsCouncilsofbothBritainandIreland,andfrommanyindividualensembles.HestudiedmusiccompositionatTrinityCollegeDublinandattheUniversityofIllinois,USA,wherehismainteacherswereSalvatoreMartiranoandWilliamBrooks.HepursuedfurtherstudiesinelectronicmusicatTheHague,andatIRCAM,Paris.ReturningtoIreland,hefoundedtheCrashEnsemblein1997toconcentrateonthenewestmusicexploitingmultimedia.Asof2009,helecturesinmusictechnologyandcompositionatTrinityCollege,Dublin. PremieresincludeStamp, to avoid erotic thoughts(2008)fortheSmithQuartet,Stain-less Staining(2006-7)fortheNewYork-basedpianistLisaMoore,andGrá Agus Bás(2006-7)fortheCrashEnsembleandthesean nóssingerIarlaO’Lionáird,describedbyTheNewYorkTimesasa“magnificentlyenergetic”vocalwork.
The composer writes:
fAtwascommissionedbytheflautistWilliamDowdallwithfundsprovidedbytheArtsCoun-cilofIreland.Originallywrittenin2000,theendingwasrevisedin2005.Theflautistplaysnotonlyagainstelectronicsbutalsoagainstmulti-trackedrecordingsofhimselfplayingcontrapuntallines(someofwhicharedoneonbassflute).Thepiecebubblesoverwithakindofroadrunner,comic-strip,technocolourenergy.Itisnomeanfeatofvirtuosityforthesoloisttodoitatspeed.
AsectionofDennehy’sscoreisreproducedonthefollowingsixpages.
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13253-2printed in germany on recycled paper
1-4 Johann Sebastian Bach Partita in A minor, BWV 1013 15’12” 5 Claude Debussy Syrinx 2’35” 6 John Buckley Winter Echoes 3’14” 7 John Buckley Sea Echoes 3’18” 8 Toru Takemitsu Itinerant 3’12” 9 Sigfrid Karg-Elert Sonata in F m minor, Op. 140 4’42”10 Donnacha Dennehy fAt 5’52”11 Edgard Varèse Density 21.5 3’22”12 Arthur Honegger Danse de la Chèvre 3’25”13-17 Peter Michael Hamel Traumzeit (Dreamtime) 11’24”18 Saverio Mercadante Variations on Là ci darem la mano 3’53” (from Don Giovanni by W. A. Mozart, KV 527) 19-21 Carl Philipp Emanuel Bach Sonata per il Flauto Traverso solo senza Basso in A minor, Wq. 132 / H. 562 12’59”
Total time: 73’10”
Recorded at the Gallagher Concert ChamberUniversity of Waikato, Hamilton, New ZealandProducer: Wayne LairdExecutive producer: Eckart RahnRecording Engineer: Paul McGlashanThanks to Peter Michael Hamel and John BuckleyPhotography: Morgan Treacy, Eve de Castro-Robinson (p. 5 & 6)Front cover illustrations: Details from a painting by Jonas Burgert
2009 Celestial HarmoniesP.O. Box 30122 Tucson, Arizona [email protected]
13253-2
Manufactured and printed on recycled Paper in Germany ♼
0 413711 32532
William
Dow
dall Works for Solo Flute C
elestial Harm
onies 13253-2
℗
William
Dow
dall Works for Solo Flute C
elestial Harm
onies 13253-2
William
Dow
dall Works for Solo Flute C
elestial Harm
onies 13253-2
william dowdall works for solo flute
07869
13253-2_Inlay.indd 113253-2_Inlay.indd 1 29.10.2009 10:28:35 Uhr29.10.2009 10:28:35 Uhr
