 DUO FLORIAN KITT - RITA MEDJIMOREC |
| Lördag 1 november 2003 kl 16.00, Norrtullskolans aula Växjö | |
| Musik för cello och piano av Toru Takemitsu, Kurt Estermann, Gerd Kühr, Benjamin Britten |
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FLORIAN KITT
Den österrikiske cellisten Florian Kitt har studerat för Gaspar Cassado och André Navarra i Detmold efter tidigare studier och avlagd examen vid Akademien för Musikinterpretation i Wien. Där som elev till Frieda Litschaur.
Efter sin debut i Wiens konserthus har han framträtt som solist med många ledande orkestrar och dirigenter, solo-cellistframträdanden och en mängd inspelningar. Många engagemang har fört honom till de flesta europeiska länder, Nord- och Sydamerika, Främre orienten och Australien.
Mest uppmärksammade har alltid hans framträdanden av nutida verk varit: Györgi Ligetis cellokonsert i Royal Festival Hall i London, Luciano Berios konsert med Filharmoniska Orkestern under ledning av Diego Masson vilket renderade honom strålande bifall från press och av publik, Berios konsert "Ritorna degli Snovidenia i Rom, Nigel Osborns konserter, båda dedicerade till Florian Kitt och vilka gjort succé över hela världen.
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Florian Kitt and Rita Medjimorec
| Florian Kitt är också en hängiven lärare. Han har hållit diverse mästarklasser och innehar en professur i musik vid Universitetet i Graz sedan 1970. Utöver hans omfattande repertoar av klassisk och romantisk musik har hans speciella lidelse för nutida musik inspirerat många kända tonsättare att dedicera verk till honom.
RITA MEDJIMOREC
Utexaminerad från högskolan Mozarteum i Salzburg, mottog pianisten Rita Medjimorec högsta utmärkelse i ämnet undervisning samt i pianospel solistdiplom.
Sedan 1973 har hon lett en utbildning för speciellt begåvade barn vid Musikhögskolan i Graz där hon också instruerat studenter som ackompanjatör. Från 1990 och framåt har hon haft samma position vid Universitetet i Wien.
Hon har med stor förkärlek ägnat sig åt kammarmusik (duospel med cellisten Florian Kitt och med sin make Heinz Medjimorec) samt som ackompanjatör åt lieder-sångare. Internationella engagemang har fört henne till de flesta europeiska länder, USA och Mellanöstern. Skivinspelningar, TV-framträdanden och instruktörsuppgifter vid kurser i kammarmusik kompletterar bilden av henne som musiker.
Sedan början av 1990-talet har hon uruppfört ett antal verk av nutida Österrikiska tonsättare speciellt i den framträdande duon Florian Kitt - Rita Medjimorec.
CONCERT PROGRAMME
TORU TAKEMITSU
Orion (1984 for Florian Kitt)
Born in Tokyo, combined elements attached to far eastern traditions as well as avantgarde means and techniques of expression in his form of writing. He composed works not only for the conventional European formations and electronic media, but also for the traditional instruments of his home country. His main concern as a composer he considered ´to give sense to the flow of sounds that penetrates our world´. Whereby Takemitsu does not try to ´impress´ the listener, highly structured, his music reveals itself not in the usual dynamic development, but in a more contemplative, meditative access. So it seems that in Orion for cello and piano time stands still.
The title of this composition, which has been commissioned by the ORF, initiated by Florian Kitt, relates itself to the astrological sign as well as to a similar Japanese letter, which at the same time stands for the governess of the sea in Japanese mythology: eternal change but yet invariability.
Without any ´dramatic´ development Takemitsu composes a sequence of lyrical elements on a free tonal basis. Microtones and glissandi intesify the melodic line, utmost concentration shows itself in the subtle and highly differenciated lyricism.
KURT ESTERMANN (1960)
Cello and Piano (1998 for Florian Kitt and Rita Medjimorec)
Kurt ESTERMANN, organist of the convent of Wilten in Innsbruck presently occupies a guest-professorship for composition in the department of sacred music at the University ´Mozarteum´ in Salzburg. Highly distinguished and decorated his main favours are consequence and sensibility in the act of creativity, which one may realise in the continuous, irresistible, almost monumentally rising development of the rather extensively spaced first movement of this work. The two instruments, differently to the functions of solo and accompaniment, are united in a virtually symphonic setting, thereby creating a widening polyphonic sound-tape. The continual progressive extension of the basic ideas takes place with absolute consequence.
The following three movements of the work are decreasing in length and compositional density according to their sequence - the second one beeing a more relaxed, virtuosic Capriccio as contrasting chamber-music with a slight Tyrolean touch. In the Adagio a wonderfully expressive melody of the cello ascends over an ostinato of bells resounding from far away, whilst the fourth and last movement is dominated by pronounced rhytmical features.
GERD KÜHR (1952)
Portraits, eight musical gestures for violoncello and piano
(1993 for Florian Kitt and Rita Medjimorec)
Gerd KÜHR, born in Maria Luggau in Carinthia/Austria is one of the most important musical dramatists of this country. Educated at the Mozarteum in Salzburg and by Hans Werner Henze, the drama is also present in his symphonic works, which does not manifest itself by sheer loudness - one of the foremost virtues of a well thought out and functioning musical dramaturgy is especially to place climaxes as sparingly as possible, integrated into an ingenious construction.
Sparing in expenditure, but striking in their dramatism are also his Potraits, eight musical gestures for violoncello and piano, composed to characters from the collection ´Der Ohrenzeuge´ (´the earwitness´) by Elias Canetti - almost surrealistic human visions, equipped withe a very special kind of humour which stimulated musical images in Kühr´s mind. Although, according to his own description the pieces became more and more independent from their sources of association during the processs of composition, they are mainly characterised by sudden impulses and fractures, fleetingness of gesture - he calls them: musical line-drawings.
BENJAMIN BRITTEN
Sonata in C Op.65 (1960)
It was not Benjamin BRITTEN´s way to write music in the abstract; there was always some personal commitment behind each work. This time it was Mstislav Rostropovich, whom he had met in London at the British premiere of Shostakovich´s cello-concerto where he had been the solist, whose warm spirit and immense prowess on the instrument stimulated the composer in a new way.
The Sonata in C was then written already in the same year 1960 - it consists of five short movements whose spare epigrammatic style anticipates that of parts of the much larger-scale work Britten completed later in 1961, the War Requiem.
Economy of material - in the scherzo pizzicato and in the sparse texture of the bizarre march - makes the sonata less assertively brillant than Britten´s earlier instrumental works, as if, more than before, virtuosity was less important than deeper musical concerns. |
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