The Swiss Touch

Transcription

The Swiss Touch

The Swiss Touch!
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La culture suisse s’exporte!
Carole Reuge, flute - director La Côte Flûte Festival, Switzerland
Eva Amsler, flute - prof. at FSU, Thallahassee
Aydin Arslan, piano
Swiss musicians - Swiss repertoire
The Swiss touch! - Carole Reuge - info@carolereuge.ch - +41 78 888 7170 - http://carolereuge.ch
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The Swiss Touch!
Summary
Summary
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Recital description
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Program
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Websites, social media and contact
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Biographies
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Eva Amsler, flute
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Aydin Arslan, piano
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Carole Reuge, flute
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Composers
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Daniel Schnyder (USA/CH)
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Marguerite Roesgen-Champion (CH)
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Willy Burkhard (CH)
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Yuko Uebayashi (J)
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The Swiss Touch!
Recital description
The Swiss Touch! is a swiss chamber music project presenting a repertoire from Swiss composers. Switzerland
being at the crossroads of the international scene, the chamber music project also presents repertoire from
other composers, played by swiss musicians.
The swiss pieces include Daniel Schnyder’s and Marguerite Champion’s sonatas for flute and piano and an
extract of Ulrich Gasser’s solo pieces for flute, Papierblüten.
Daniel Schnyder’s Sonata, influenced by the Swiss American composer’s close ties with his adopted city, NewYork, is a wonderful mix of european classical music, Jazz, Rhythm and Blues and Latin. The piece, in three
movements, is a rhythmical challenge and a fun piece to listen to.
Marguerite Roesgen-Champion lived during the first half of the 20th century. Her music is impregnated by the
style of her time, neo-romantic and impressionistic.
Papierblüten (paper blossoms) is a charming suite of 24 pieces for solo flute with unexpected rhythms and
sounds. The evocative title is an invitation for a visual imagination of the music, and a fusion of Art and Music.
Plastic Art, Photo, Painting… all form of Art are represented in this musical interpretation, and lead the listener
to an unexpected artistic encounter.
The trio for two flutes and piano by Yuko Uebayashi, Au Delà du Temps, is an impressionist description of days
spent in Paris. Yuko Uebayashi is currently living in Paris, and her music is impregnated by the french style.
The last piece, Maya by Ian Clarke, is a beautifully dreamy and accessible piece. The title ‘Maya’ is in reference
to the meaning ‘illusion’ as opposed to the South American civilisation. Based on an early work ‘Passage’ 1986
(Clarke/Hicks/Painter) it was rewritten & arranged by Ian Clarke in its current form in 2000 with first publication in
2001.
Program
Marguerite Roesgen-Champion
(1894-1976)
12:09
Sonate en Sib mineur
Large - sans lenteur, moderato
Adagio
Finale - Rondo
Yuko Uebayashi
(1975)
23:00
Au Delà du Temps
(Transcending Time)
For two flutes and piano
1. La lumière lointaine de nuit (Night, distant light)
2. La lumière dansante
(Dancing light)
3. La lumière blanche (White light)
4. La lumière tournante dans le rêve
(In a dream, revolving light)
Daniel Schnyder (1961)
19:20
Sonata for flute and piano 1. “The Manahattanite“
(1998/99)
2. À travers les ondes élastiques de l’atmosphère
3. A bralisera
Willy Burkhard (1900-1955)
4:00
Canzone op 76a
for 2 flutes and piano
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The Swiss Touch!
Websites, social media and contact
Websites: www.evaamsler.com - http://carolereuge.ch
LindedIn: Carole Reuge
Facebook: Eva Amsler - Aydin Arslan - Carole Reuge Twitter: @carolereuge
Video The Swiss Touch, Canada 2015: YouTube
Contact:
Carole Reuge
info@carolereuge.ch - +41 78 888 7170
Atelier À Travers
Grand’ Rue 41A
1196 Gland
Switzerland
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The Swiss Touch!
Biographies
Eva Amsler, flute
Eva Amsler, Professor of Flute, previously served on the faculty of
the State Conservatory of Music in Feldkirch (Austria) since 1982,
teaching flute, pedagogy, and chamber music. She also conducts
master classes in Europe, the United States, and Asia. In addition,
Ms. Amsler was a member of the St. Gallen Symphony Orchestra
(Switzerland) for twenty years. A pioneer on the wooden flute, she organized a worldwide series
of concerts with The Dorian Consort, and she has played various
flutes in specially created concerts of new music with the
ensemble ENIF - aktuelle Music. Her concert activity as soloist and chamber musician has brought
her together with performers such as Aurele Nicolet, Barbara
Schlick, and the Carmina Quartet. Ms. Amsler's CD recordings
have been released on the Ambitus and Cavalli labels, and her
performances have been broadcast in Switzerland, Austria,
Germany, Scandinavia and the United States
Aydin Arslan, piano
Born in 1978 in Lausanne, Switzerland, Aydin Arslan starts
studying piano at age 7. In 1992, he enters Edith Fischer’s studio
and successively completes a Bachelor’s degree in Music, the
“Performance Diploma” delivered by the London Guildhall
School of Music with “merit” and in 1999, a chamber music
degree at the Conservatory of La Chaux-de-Fonds. Later, he
pursues his studies at the Royal Conservatory of Music of
Toronto in the studios of André Laplante and Marc Durand.
Aydin Arslan has attended Master classes given by Jorge Pepi,
Michael Davidson, James Avery, Sebastian Benda, Josep
Colom, Adrian Cox and György Sebök among others. He now
dedicates himself to chamber music, teaching and vocal
coaching.
short: Aydin Arslan has successively completed a Bachelor’s
degree in Music, the “Performance Diploma” at the London
Guildhall School of Music with “merit” and in 1999, a chamber
!
music degree at the Conservatory of La Chaux-de-Fonds. He
now dedicates himself to chamber music, teaching and vocal coaching.
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The Swiss Touch!
Carole Reuge, flute
Carole Reuge is an independent flutist, pedagog and event
producer.
She is the initiator and director of “la Côte Flûte Festival”,
Switzerland’s leading flute festival and convention. With around
1300 visitors, 32 exhibitors, around 180 artists and nearly 50
sponsors/partners, the first edition of this new event has been a
huge success in October 2014.
Born in 1973, Carole Reuge studied flute in Switzerland, where
she obtained the diplôme d’enseignement (master in music
pedagogy) from the Conservatory of Lausanne (HEMU) and the
diplôme de virtuosité (master in performance) from the La ChauxDe-Fonds Conservatory in 2002, with Michel Bellavance
She also studied flute through master classes and exchanges
between music schools with José-Daniel Castellon (F), Philippa
Davies (UK), Sophie Dardeau (F), Andràs Adorjan (D), and Ricardo
Ghianni (I). From 1998 to 2002, she studied music interpretation
whith Canadian pianist Marc Bourdeau.
In 2006, she created “L’Atelier À Travers“, the music studio she
operates from her hometown in Gland, Switzerland. She teaches
flute through private lessons, workshops and summer classes.
With three teachers, enrollment at the studio totals about 50
students. In addition to managing La Côte Flûte Festival and her studio “Atelier À Travers“, Carole Reuge has
also performed flute concerts and given classes, in Europe and North America. She has created the
Swiss Touch! project to present swiss music in 2015, and is a new member of the swiss flute quartet
Tétraflûtes since January 2016.
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The Swiss Touch!
Composers
Daniel Schnyder (USA/CH)
The Swiss American composer Daniel Schnyder was born 1961 in Zurich,
Switzerland and lives in New York City. Daniel Schnyder performs as a
soloist, jazz musician and classical chamber musician at major festivals
worldwide. Among his credits as a composer are com- missions to write
new works for the Orpheus Chamber Orchestra in New York, the
Tonkünst- ler Orchester in Vienna, the Radio Symphony Orchestra in
Berlin, The Norrlands Operan in Sweden, the Chicago Sinfonie a, the
Vienna Art Orchestra, the Tonhalle Orchester Zurich, the Opera of Bern,
the NDR Orchestra in Hannover, the NDR Big Band, the Milwaukee Symphony Orchestra, the New York based new music group „Absolute
Ensemble“ under the di- rection of Kristjan Jaervi, the St. Paul Chamber
Orchestra, the Chicago Jazz Philharmonic, the American Composers Orchestra, the Postclassical Ensemble in
DC., the Paci c Symphony Orchestra and Opera Philadelphia, beside many others. The Album
„Absolution“ (Enja Nova) featuring Daniel Schnyder‘s Bass Trombone Concerto played by David Taylor received
a Grammy nomination for „Best Classical Small Ensemble Recording“ in 2002. As an arran- ger/composer he
produced albums for jazz artists Abdullah Ibrahim („African Suite“), Lee Konitz („Tribute to Billie Holiday“) and
Paquito D‘Rivera („Habañera“, Enja Records). He also worked with Simon Shaheen, Bassam Saba, Jing Jang,
Marcel Kalife and Jamey Haddad on a variety of projects, merging Arab music and Chinese music elements with
jazz and classical music. Daniel Schnyder‘s new Opera ‚Abraham‘ was premiered in Duesseldorf in November
2014. The Opera Charlie Parkers Yardbird, a comission by Opera Philadelphia, got premiered in June 2015 with
the eminent tenor Laurence Brownlee as Charlie Parker. The New York Premier of the work takes place at the
legendary APOLLO THEATRE in Harlem/New York City in June 2016 featuring the New York Philharmonic. Two
concerti for ethnic instruments, his Pipa Concerto and his Alphorn Concerto, were premiered in the 2005/06
season to great acclaim. Daniel Schnyder wrote also a concerto for the Libanese Nay virtuoso Bassam Saba,
that became the centerpiece of the special festival program entitled: „Arabian Night“. His sym- phonic work
‚Sundiata Keita‘ for large Symphony Orchestra, Chorus and 4 soloists from Mali playing traditional instruments
was successfully premiered at the Berlin Philharmonie during his stay as composer in residence with the RSO in
Berlin. He also tours with the program „Around the World“ featuring the Soloists of the Berlin Philharmonic
Orchestra and Stefan Schulz and worked closely with the Berlin Philharmonic‘s Scharoun Ensemble as a
composer and a chamber musician. His new album, showing his collaboration with bass trombonist Stefan
Schulz, is entitled ‚Haendel In Harlem‘, a reinvention of Haendels Trio Sonatas. Daniel Schnyder won rst prize at the 1996 International Trumpet Guild‘s Composition Con- test. His Trumpet
Sonata was selected as one of the o cial pieces for the Concours Maurice André pour Trompe e 2003 (Paris). He
won also numerous awards for his chamber music by the International Flute Association, the International
Clarinet Association, the City of Zurich, Pro Helvetia, the National Art Council of Switzerland, the American
Symphony League, Meet the Composer and New Music America. He holds master classes in composition,
chamber music, improvisation and saxophone at the Hochschule fuer Musik in Stu gart, the Baltic Youth
Philharmonic and the Bruckner University in Linz. He also works as a consultant with major festivals, promoters
and ensembles, trying to bridge the worlds of classical music, jazz and ethnic music in innovative ways. In 2014
Daniel Schnyder ‚recomposed‘ the lost opera Al- ceste by Händel for the Händel Festival 2014 in Halle
(Germany), featuring Kristjan Jaervi, the MDR Orchestra, Thomas Dobler on vibes and himself on saxophone.
Daniel Schnyder toured 2014 with the ABSOLUTE ENSEMBLE and Sara Chang in Korea, playing his new work
‚HN MOO ‚ based on traditional Chinese folk songs.Absolute Ensemble released a CD in 2014 on the SONY
classical label with Daniel Schnyder‘s „ToopART Reinventions“, a new work re ecting on Bachs Two Part
Inventions, featuring Simone Dinnerstein on piano and himself on sax. www.danielschnyder.com (Source: Daniel Schnyder)
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The Swiss Touch!
Marguerite Roesgen-Champion (CH)
Marguerite Roesgen-Champion may not ring many bells these days, but during
the last century she was one of the most highly regarded Harpsihordists and
Women Composers of France. Swiss by birth, Roesgen-Champion settled in
Paris and remained there until her death in 1976. Actively engaged in
performing as well as composing and teaching, Roesgen-Champion recorded
extensively, but primarily of other composers works, not so much her own.
Marguerite Roesgen-Champion was born in Geneva in 1894, and died in
Hyères (F) in 1976. Daughter of Anthony Jean Pierre, jeweler and Antoinette
Cécile Liodet, voice teacher, she married Théodore Julien Champion, a
philatelist. She was the student of Emile Jaques-Dalcroze (music theory), and
Marie Panthès (piano), Otto Barblan and Ernest Bloch (composition) at the
Geneva Conservatory. Professor of the Geneva Conservatory from 1915 to 1926, and at the ‘Ecole
Normale de Paris’, she developed an important career as a concertist. She is
one of the contributors of the harpsichord renaissance and of the 18th century
music. By publishing about 300 works for all vocal and instrumental formations,
Marguerite Roesgen-Champion is one of the first swiss women composer with
a public visibility. Many recordings were made by the ‘radio suisse romande’,
and she was rewarded by many prizes.
(Source: dictionnaire historique de la Suisse and www.pastdaily.com)
Willy Burkhard (CH)
Willy Burkhard was an extremely influential composer of the 20th century.
Burkhard was born in Evilard, Canton of Bern, Switzerland, which is the second
largest canton in all of Switzerland.
He attended and graduated from a teachers' training college called the
Muristalden and went on to study with E. Graf in Berne. His studies led him
even further in his travels including Leipzig to study piano with Robert
Teichmüller and composition with Sigfrid Karg-Elert. After Leipzig he moved on
to Munich to study with Walter Courvoisier and later to Paris to work with Max
d’Ollone.[1]
It wasn't until 1924 that he began teaching composition, theory and the piano
in Berne. He was appointed to the conservatory there in 1928. He conducted
several choirs and small orchestras there. In 1933 due to health reasons, he
was compelled to live for several years in Montana and Davos for his own
good. He settled in Zürich in 1942 and taught composition and music theory at
the conservatory there. In 1950 he received a prize from the Schweizerischer
Tonkünstlerverein or the Swiss Association of Musicians.
Although Burkhard's main interest was to compose for the voice, he is most commonly known mainly to have
renovated church music. After his illness, the kindness and compassion that he received from his friends and
loved ones led him to become deeply humbled and turn to religion. He wrote a large number of cantatas based
on spiritual and biblical texts. Some of the reasons that he was partial to biblical texts were due to its simple yet
interpretive language and its metrical forms.
Burkhard was one of the most original and diverse composers of his generation; he wrote operas, oratorios,
sonatas, suites, serenades, cantatas, concertos, organ music, orchestral charts, and chamber music as well.
Burkhard believed that it was the composers mission to go out on a limb to create and discover new modes of
expression by combining the old ones, but never following already set musical fashions. The trick was to create
a new unique sound that resounded as one solid stylistic sound as that reflected some of what the composer's
personality entailed. He would teach his students exactly this and never steer them away from their original
findings. (source: Wikipedia)
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The Swiss Touch!
Yuko Uebayashi (J)
Born in Kyoto, Japan, in 1975, Yuko Uebayashi earned her degree in
composition from Kyōto Shiritsu Geijutsu Daigaku, the City University of Arts.
Since 1998, Uebayashi has resided in Paris. While Uebayashi lived in Kyoto,
her works were regularly performed in the Kyoto Young Composers’
Presentation Series of the Kyoto International Music Festival. Although she has
obvious ties to the musical traditions of her native Japan, she also draws
considerable inspiration from performers elsewhere.
One such inspiration has been the French flutist, conductor, and teacher Jean
Ferrandis. Uebayashi recalls hearing Ferrandis perform a flute and piano
arrangement of Schubert’s Arpeggione Sonata, D. 821, with Emile Naoumoﬀ. “I
was immediately entranced by their subtle musicality,” she writes, and began
composing Au-delà du temps (Transcending Time). Uebayashi took the title
from a letter she received from another friend describing how days spent in
Paris feel.
Uebayashi has described each of the four movements briefly:
·
La lumière lointaine de nuit (Night, distant light): “The banks of the lake,
twinkling light from boats, distant city lights. Souls interplaying in exquisite
silence.”
·
La lumière dansante (Dancing light): “I go up the stairs and enter a room filled with dazzling light: I see a
blackboard in front of me and I write ‘the light’s dancing’.”
·
La lumière blanche (White light): “The path to the rising sun: It’s a realm of white light. I notice a beautiful
monument in the distance being revealed by the half-light: It’s the start of a peaceful day.”
·
La lumière tournante dans le rêve (In a dream, revolving light): “Just before strating to compose the 4th
movement, I found out about a boy that had lost his sight. I realized he would no longer have access to our
world of light. It seemed impossible to me, the idea of continuing to compose ‘the world of light.’ I nevertheless
took up the composition again hoping that he could run with me, hand in hand, through his memories of light.
Laughing and jumping, we run forever in the revolving rainbow-colored light.”
Au-delà du temps, for two flutes and piano, received its premiere performance by flutists Jean Ferrandis and
Kazunori Seo and pianist Emile Naoumoﬀ in Paris, during June 2002.
(Source: Dorian Wind Quintet)
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The Swiss Touch

Transcription

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