Modern Horn Trios by Premysl Vojta | Ye Wu

Various composers

Premysl Vojta | Ye Wu | Florence Millet

Modern Horn Trios

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085535224
Catnr: AVI 8553522
Release date: 10 March 2023
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Label
CAvi

UPC
4260085535224

Catalogue number
AVI 8553522

Release date
10 March 2023

Album

Artist(s)

Composer(s)

About the album

Modern Horn Trios
Danish composer Hans Abrahamsen wrote his Seks Stykker for horn, violin, and piano in 1984 on the occasion of a National Radio concert featuring the Danish première of György Ligeti’s Horn Trio. Abrahamsen is one those few composers who actually studied the horn at conservatory, and the instrument thus often appears in his scores, with particular prominence in his chamber music…...

John Cage opens up a new perspective on the subject of the horn trio. Cage’s Music for Three embodies one of the possibilities of performing his “Music for,” a collection of 17 parts that can be assembled in any possible combination: each combination is a fully valid version of the “work”…….

Musical quality was the ensemble’s principal criterion in selecting repertoire for this CD, and they found a wonderful exemplar in a work by French composer Charles Koechlin. Koechlin was born in Paris in 1867 as the son of an affluent Alsatian family. He started to study engineering, but in the early 1890s he chose music instead. At the Paris Conservatoire he became of a student of Jules Massenet, later of Gabriel Fauré. During those years of study, he wrote the Quatre petites pièces for horn trio……..

After intense research and preliminary tryouts, the ensemble also chose to include the Second Trio for Horn, Violin and Piano op. 40 by former Cologne Conservatory professor Hermann Schroeder. Written in 1967, the piece is retrospectively oriented toward the style of early 20th-century composers such as Paul Hindemith and Richard Strauss....

The person who had started talking about the horn was Hamburg pianist and professor Eckart Besch. It was Besch who gave Ligeti the idea of writing a horn trio to continue a tradition that had been inaugurated by one of the great masterpieces of chamber music: Johannes Brahms’s Horn Trio, op. 40……...(Quotations from the booklet liner notes by Johannes Zink)

Moderne Horntrios

Der Däne Hans Abrahamsen schrieb seine Seks Stykker für Horn, Violine und Klavier 1984 für ein Konzert des
dänischen Rundfunks mit der dänischen Erstaufführung von György Ligetis Horntrio. Abrahamsen gehört zu den
wenigen Komponisten, die Horn studiert haben, entsprechend häufig erscheint das Instrument in seinen Partituren……

Mit John Cage öffnet sich eine weitere Perspektive auf das Thema Horntrio. Cages Music for Three ist eine
Realisierungsmöglichkeit seiner „Music for“, einem Konvolut von 17 Stimmen, die in beliebiger Besetzung
zusammengestellt werden können, wobei jede mögliche Kombination eine vollgültige Version des Stücks ist……….

Bei der Auswahl der Stücke der vorliegenden CD stand für Ye Wu, Přemysl Vojta und Florence Millet die Qualität der
musikalischen Substanz als Kriterium im Vordergrund. Fündig geworden sind sie auch beim Franzosen Charles
Koechlin. Koechlin wurde 1867 in Paris als Sohn einer wohlhabenden elsässischen Familie geboren. Nach einem
anfänglichen Ingenieursstudium entscheidet er sich in den frühen 1890er Jahren für die Musik und wird am Pariser
Conservatoire Schüler von Jules Massenet und später von Gabriel Fauré…….

Nach intensiven Recherchen und Vorstudien fiel die Wahl auch auf das Zweite Trio für Horn, Violine und Klavier op.
40 des Kölner Musikhochschulprofessors Hermann Schroeder. 1967 orientiert sich das Stück in retrospektiver Stilistik
an Komponisten wie Paul Hindemith oder Richard Strauss……..

…….Derjenige, der das "Horn" [bei Görgy Ligeti] ins Gespräch gebracht hatte, war der Pianist und Hamburger
Klavierprofessor Eckart Besch. Besch hatte Ligeti die Anregung zum Stück gegeben, als Fortspinnung einer
Traditionslinie, die in einer Sternstunde der Kammermusik ihren Ausgang hatte: beim Horntrio op. 40 von Johannes
Brahms.
(Zitate aus dem Booklettext von Johannes Zink)

Artist(s)

Premysl Vojta (horn)

Pˇremysl Vojta, horn, winner of the „International ARD Music Competition“ 2010, tours worldwide as a soloist with orchestras such as the Bavarian Radio Symphony Orchestra, the Camerata Salzburg, the Academy of St Martin in the Fields, the Prague Philharmonia and the Kanagawa Symphony Orchestra. After his successful debut at the Beethoven Festival in Bonn, Pˇremysl was awarded the prestigious Beethoven Ring, past recipients of which include artists such as Igor Levit, Lisa Batiashvili and Gustavo Dudamel. Pˇremysl Vojta has received much international acclaim for his exceptional album productions, including one complete recording of the horn concertos by Joseph and Michael Haydn, and his album Metamorphosis, which was recorded using three different types of horns. In October 2021, Pˇremysl Vojta was appointed as a professor of horn at Folkwang...

Pˇremysl Vojta, horn, winner of the „International ARD Music Competition“ 2010, tours worldwide as a soloist with orchestras such as the Bavarian Radio Symphony Orchestra, the Camerata Salzburg, the Academy of St Martin in the Fields, the Prague Philharmonia and the Kanagawa Symphony Orchestra.
After his successful debut at the Beethoven Festival in Bonn, Pˇremysl was awarded the prestigious Beethoven Ring, past recipients of which include artists such as Igor Levit, Lisa Batiashvili and Gustavo Dudamel. Pˇremysl Vojta has received much international acclaim for his exceptional album productions, including one complete recording of the horn concertos by Joseph and Michael Haydn, and his album Metamorphosis, which was recorded using three different types of horns.
In October 2021, Pˇremysl Vojta was appointed as a professor of horn at Folkwang University of the Arts in Essen to succeed the horn legends Hermann Baumann and Frank Lloyd. In the past, he has also taught at Berlin University of the Arts and the Cologne University of Music and Dance.
At the age of 10, Pˇremysl Vojta received his first horn education from Olga Voldánová at the Brno Music School. A talented competitive swimmer at the time, Vojta had to choose between sports and music, but soon enough, his heart was set on the instrument. Later, he pursed his studies at the Prague Conservatory under the mentorship of Bedˇrich Tylšar (1998-2004) and at Berlin University of the Arts under Christian-Friedrich Dallmann (2004-2010). While he was a student, Pˇremysl Vojta had already started his career as a principal hornist at the Berlin Konzerthaus Orchestra, and continued holding the same position at the WDR Symphony Orchestra in Cologne until 2019.
Vojta is a member of the Carousel Ensemble, PhilHarmonia Octets, Breeze Quintets and Dispar Trios.
His chamber music partners include Tobias Koch, Annelien van Wauwe, Fabrice Millischer, Oliver Triendl, the Pražák Quartet and the Armida Quartet.
Pˇremysl Vojta plays a Mod. 3 double horn from Klaus Fehr Horns, natural horns from Jungwirth and Curtois Paris and the F horn by Daniel Fuchs Vienna.
www.premyslvojta.com

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Florence Millet (piano)

Florence Millet, of Franco-German descent, performs with orchestra, in recitals and ensembles in venues across Europe, Asia and the Americas. Conductors she worked with are Charles Dutoit, Robert Kapilow, Pascal Verrot, Simon Blech, Heinz Holliger, Julia Jones, Elena Schwartz, Jonathan Darlington. She is a founding member of the Lions Gate Trio, since 1988. Residencies include Tanglewood Festival, Universities of North-Carolina-Greensboro, Yale, W. Hartford and the Fairfield Library, CT. A professor at the Hochschule für Musik und Tanz Köln, she was Chair of the Piano Department from 2018 and was elected Executive Director of its Wuppertal Campus in 2021. She has worked worked closely with renowned composers: Luciano Berio, Elliott Carter, Pierre Boulez, George Crumb, Johannes Schöllhorn, Jörg Widmann, Hans Werner Henze, Hans Abrahamsen. She played with the Ensemble Intercontemporain...

Florence Millet, of Franco-German descent, performs with orchestra, in recitals and ensembles in venues across Europe, Asia and the Americas. Conductors she worked with are Charles Dutoit, Robert Kapilow, Pascal Verrot, Simon Blech, Heinz Holliger, Julia Jones, Elena Schwartz, Jonathan Darlington. She is a founding member of the Lions Gate Trio, since 1988. Residencies include Tanglewood Festival, Universities of North-Carolina-Greensboro, Yale, W. Hartford and the Fairfield Library, CT. A professor at the Hochschule für Musik und Tanz Köln, she was Chair of the Piano Department from 2018 and was elected Executive Director of its Wuppertal Campus in 2021.
She has worked worked closely with renowned composers: Luciano Berio, Elliott Carter, Pierre Boulez, George Crumb, Johannes Schöllhorn, Jörg Widmann, Hans Werner Henze, Hans Abrahamsen. She played with the Ensemble Intercontemporain under Pierre Boulez and David Robertson from 1992-2000.
Millet received her master‘s and doctoral degrees at State University of New York Stony Brook, where she studied with Gilbert Kalish. Her other mentors were Leon Fleisher, Paul Badura Skoda, Peter Serkin and Jean Hubeau.
Florence Millet is the artistic adviser for the Lichterfeld Foundation, promoting tolerance, intercultural understanding and creator of the Echospore.de platform which propagates music from persecuted composers.
She explores multidisciplinary concert formats with actors, choreography and dance (Tanztheater Wuppertal Pina Bausch) and arts in the Tony Cragg Foundation, Van der Heydt-Museum, The Phillips Collection, 70th anniversary of „Rundgang“ Music of the time (Musik der Zeit), or lecture recitals.
www.florencemillet.com

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Ye Wu (violin)

Chinese violinist Ye Wu took her first violin lessons in her home town Shanghai before continuing her studies in the USA as well as in Berlin. As concertmaster, she has been invited to perform with many orchestras, playing under such conductors as Kurt Masur, Kent Nagano and Christoph Eschenbach. She has performed extensively in America and Europe as a soloist. Ye Wu has attracted attention with numerous recordings and concerts as a chamber musician, particularly in recent years as Primaria of the WDR Chamber Players. In 2017 their recording of the string quintets by Johannes Brahms, released by the Pentatone label, was awarded the Diapason d‘Or. Their newest CD of the string quintets and octet by Max Bruch was rewarded the Choc de Classica in 2021. Since 2014 she...

Chinese violinist Ye Wu took her first violin lessons in her home town Shanghai before continuing her studies in the USA as well as in Berlin. As concertmaster, she has been invited to perform with many orchestras, playing under such conductors as Kurt Masur, Kent Nagano and Christoph Eschenbach.
She has performed extensively in America and Europe as a soloist.
Ye Wu has attracted attention with numerous recordings and concerts as a chamber musician, particularly in recent years as Primaria of the WDR Chamber Players. In 2017 their recording of the string quintets by Johannes Brahms, released by the Pentatone label, was awarded the Diapason d‘Or. Their newest CD of the string quintets and octet by Max Bruch was rewarded the Choc de Classica in 2021.
Since 2014 she has been second concertmaster in the WDR Symphony Orchestra Cologne. Ye Wu plays a Joseph Rocca violin (1851), on loan from Mr. Jianquan Ge and Mr. Peng Bai.

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Composer(s)

John Cage

John Cage was an American composer and music theorist. He was a pioneer in the implementation of indeterminacy in music, as well as in his use of non-standard musical instruments and electroacoustic ways of generating sound. He was one of the leading composers of the 20th century and propelled the post war avant-garde movement. His teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951.
Cage is perhaps best known composition 4′33″ (1952), which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces.

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György Ligeti

György Ligeti is considered as one of the most important representatives of the postwar avant garde, next to Pierre Boulez, Karlheinz Stockhausen, Luciana Berio and Iannis Xenakis. While the science fiction classic 2001: A Space Oddyssey created publicity for Strauss Also Sprach Zarathustra in particular, most of the impressive music comes from Ligeti's Atmosphères and his Requiem. Ligeti's somber sounds could also be applied to happier things: in his obscene and death-defying opera Le Grand Macabre he would mock the horroreffects of experimental music in a hilarious manner. Ligeti's maniac experiments often exceeded the human measure (think of his virtuoso Etudes for piano). Perhaps his most consequent work is the purely mechanic Poème Symphonique for 100 ticking metronomes. Legend goes that its première was recorded only to...

György Ligeti is considered as one of the most important representatives of the postwar avant garde, next to Pierre Boulez, Karlheinz Stockhausen, Luciana Berio and Iannis Xenakis. While the science fiction classic 2001: A Space Oddyssey created publicity for Strauss Also Sprach Zarathustra in particular, most of the impressive music comes from Ligeti's Atmosphères and his Requiem. Ligeti's somber sounds could also be applied to happier things: in his obscene and death-defying opera Le Grand Macabre he would mock the horroreffects of experimental music in a hilarious manner.

Ligeti's maniac experiments often exceeded the human measure (think of his virtuoso Etudes for piano). Perhaps his most consequent work is the purely mechanic Poème Symphonique for 100 ticking metronomes. Legend goes that its première was recorded only to be archived with the note: never to be broadcasted again!

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Hans Abrahamsen

Charles Koechlin

Charles Koechlin, born into a large family from the Elzas, wanted to become an astronomer as a child. He started to compose at the age of fifteen and eventually chose for music. He found his very personal, individual style and became regarded as magician and researcher of orchestral sound. Koechlin composed in a particularly suggestive way. His compositional style was very subtle, full of delicate, colourful combinations of instrumental sounds. Many of his colleagues allowed him to orchestrate their works, simply because Koechlin was a master of the art. His compositions were also designed for the imagination, often built around extra-musical elements – tales, movies, novels – which of course was the perfect milieu for his telling melodies and instrumental sonorities, producing...

Charles Koechlin, born into a large family from the Elzas, wanted to become an astronomer as a child. He started to compose at the age of fifteen and eventually chose for music. He found his very personal, individual style and became regarded as magician and researcher of orchestral sound.
Koechlin composed in a particularly suggestive way. His compositional style was very subtle, full of delicate, colourful combinations of instrumental sounds. Many of his colleagues allowed him to orchestrate their works, simply because Koechlin was a master of the art. His compositions were also designed for the imagination, often built around extra-musical elements – tales, movies, novels – which of course was the perfect milieu for his telling melodies and instrumental sonorities, producing moments that are magical, reflective and highly expressive.

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