Oslo Philharmonic Orchestra

Tuva Livsdatter Syvertsen

Lars Lillo-Stenberg

Frida Ånnevik

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Peter Herresthal

Clément Mao-Takacs

Several of Kaija Saariaho’s works are named after natural phenomena that serve as a starting point to her compositional process. Composed in 1998, Neiges was inspired by various qualities of snow and explores instrumental languages and colors similar to those found in her earlier works. On the present album the piece is heard in its never-before recorded version for twelve cellos, performed by the cellists of the Oslo Philharmonic. Another source of inspiration has been medieval literature, which formed a point of departure for Graal Théâtre, the first concerto Saariaho wrote, as well as for the recent Vers toi qui es si loin (2018). Recorded for the first time here, the piece is a transcription, made for the violinist Peter Herresthal, of an aria from the opera L’Amour de loin. These two works for violin and orchestra bookend this amply filled disc, and frame Circle Map, a work in six movements for large orchestra. Permeating the work are six short poems by the 13th-century Persian poet Rumi, providing inspiration through their essence and vivid imagery, but also part of the musical material by way of a recording of them recited in Persian. This recording forms the raw material for the electronics included in the work, but also for much of the writing for the orchestra, for instance in terms of pitches and intonations. All four works are conducted by Clément Mao Takacs, who has collaborated extensively with Kaija Saariaho and conducted her music across Europe and in the U.S.A.

Kaija Saariaho: Circle Map, Graal théâtre, Vers toi qui es si loin & Neiges

Eldbjørg Hemsing

谭盾

The first encounter between Chinese composer Tan Dun and Norwegian violinist Eldbjørg Hemsing took place in 2010 during the Shanghai World Expo, when Hemsing premièred Tan’s Love Concerto. Both have strong roots in the traditional music of their native countries, and out of this meeting between traditions a fruitful collaboration has developed which also involves an investigation of the music that happens here and now. In Hemsing's words, the encounter ‘opened up my musical horizons’ and she has since performed a number of the composer's works involving the violin. Fire Ritual, the concerto that lends its name to the present album, was composed with Hemsing in mind. It exists in a version for violin and Chinese traditional orchestra, as well as the one recorded here, which Hemsing and the Oslo Philharmonic premièred in September 2018, conducted by the composer. For Eldbjørg Hemsing, Tan Dun has also created the concerto that opens the disc, Rhapsody and Fantasia, based on earlier works. Both works reflect the composer’s memories of growing up barefoot in the countryside, and his later experiences of bringing together the shamanistic and spiritual world of his childhood with the discipline and philosophy of Peking Opera. Or in the composers own words: ‘a reflection of those early memories of my youth, but through the lens of my current musical soundscape’.

God natt Oslo

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