Meta-Φysics vol.I | Chamber Music Concert | 20.11.2021

META-ΦYSICS Vol. I

LAMDA ENSEMBLE & ΜΥΡΣΙΝΗ ΜΑΡΓΑΡΙΤΗ

Ναταλία Γεράκη • φλάουτο
Ίρις Λουκά • βιολί
Αλέξης Καραϊσκάκης-Νάστος • βιολοντσέλο
Λευκή Καρποδίνη • πιάνο
Άρτεμις Βαβάτσικα • ακορντεόν

ΣΥΝΑΥΛΙΑ

ΣΑΒΒΑΤΟ 20 ΝΟΕΜΒΡΙΟΥ, 20:00
Ωδείο Αθηνών • Αίθουσα «Άρης Γαρουφαλής» 
www.athensconservatoire.gr

‘Οταν τα φυσικά φαινόμενα και ό,τι βρίσκεται πέραν της ανθρώπινης κατανόησης μεταμορφώνονται σε ήχους  

Η ανθρωπότητα έχει υπάρξει μάρτυρας κοσμολογικών φαινομένων από την απαρχή της στη Γη. Τα Φυσικά φαινόμενα, εν πολλοίς εκτός του ελέγχου του ανθρώπου, και τα ανεξήγητα Μεταφυσικά φαινόμενα εξελίσσονται ατέρμονα και αντικατοπτρίζουν τη σοφία του σύμπαντος. Η σειρά Meta-Φysics συνίσταται από προγράμματα, ερμηνευμένα κάθε φορά από διαφορετικό σχηματισμό των μελών του λ-ensemble. Περιλαμβάνουν συνθέσεις εμπνευσμένες από φαινόμενα όπως: ηλιαχτίδες, βροχοπτώσεις, κρυστάλλους χιονιού, ήχους του δάσους, ήχους θηλαστικών, ιστορίες φαντασμάτων, καλέσματα ψυχών, βήματα δαιμόνων, μάγια και ξόρκια, όνειρα… Πρόκειται για μια περιδιάβαση στο ηχητικό σύμπαν της μουσικής του 20ού και 21ου αιώνα.

ΠΡΟΓΡΑΜΜΑ

• Δημήτρης Ανδρικόπουλος (1971)
  • 12 Haiku για σοπράνο και σύνολο, 2001/2021 ••Α’ παρουσίαση στην Ελλάδα
• Andrea Tarrodi (1981)
  • Crystallites για σόλο πιάνο, 2012
• Arvo Pärt (1935)
  • Spiegel im Spiegel για βιολί και πιάνο, 1978
• Xingzimin Pan (1986)
  • Kaidan Op.13 για φλάουτο και πιάνο, 2013
• Arne Nordheim (1931-2010)
  • Flashing για σόλο ακορντεόν,1987
• George Crumb (1929)
  • Vox Balaenae για φλάουτο, βιολοντσέλο και πιάνο, 1971

Dimitris Andrikopoulos (Larisa, Greece 1971)
12 Haiku for soprano and piano, 2001 / revised for ensemble, 2021

Since his first contact with the Japanese Haiku poetry Dimitris Andrikopoulos has been very fascinated with its Doric structure, but at the same time, with the strong images and emotions that it communicates. A poetry of silences.  For these particular songs, twelve poems were chosen-three from each season-by classical Japanese Haiku poets who lived between the late 17th and early 20th century such as Bashô, Buson, Shiki, Hokushi, Gochiku and Roseki. For the composition of the songs he followed the same line, an economy of musical material, trying at the same time to express the poetics and the atmosphere suggested by the poems with as few as possible musical elements. The song cycle can be performed with short interruptions between each song or in four blocks, matching the four seasons of the year, with three songs each. The 12 Haiku were composed in 2001 and are dedicated to the Japanese soprano Katsuko Komeda. The first performance of the songs took place in Brussels in 2002. Today the 12 Haiku are presented for the first time in Greece, transcribed for soprano and ensemble in a revised version. 

Andrea Tarrodi (Stockholm, Sweden 1981)
Crystallites for solo piano, 2012

Crystallites for solo piano was commissioned by Swedish Radio P2 and written for pianist Peter Friis Johansson. Crystallites means “crystallites”. Crystallites are small crystals, so small that their properties cannot even be determined with a microscope. When I wrote the piece, I thought of snow crystals falling, which at first glance all look the same. But if you zoom in, you see that they each have their own structure. The piece also has a kind of descending shape. It starts in a very bright register and gradually falls to the very bottom of the piano’s lowest register. The piece then ends with a short coda – a few occasional snowflakes left up there, frozen … ” | Andrea Tarrodi
 

Arvo Pärt (Paideν, Estonia 1935)
Spiegel im Spiegel (mirror in mirror) for violin and piano, 1978

The compositional course of the Estonian Arvo Pärt, one of the most important living composers of religious music, is divided into two periods. The compositions of the first period are influenced by the dodecahedron or the neoclassical trend that prevailed during his youth. The second, to which Spiegel im Spiegel belongs, is the period when Pert finds his voice. After a period of about ten years, during which he composed absolutely nothing, in 1977 he started writing again.He creates the Tintinnabuli, a music whose roots are in the church music of the Renaissance and in the Gregorian again. The works of this period are minimalist and create a meditative mood in the listener. He describes how “Tintinnabulation is a place I enter when I look for answers about life, music, work. In my “dark” moments I have the certain feeling that anything outside this space does not make sense…I could liken music to white light that includes all colors. Only one prism can distinguish the colors and highlight them, and that is the soul of the listener “. The Spiegel im Spiegel – commissioned by the famous Russian violinist Vladimir Spivakov – was originally written for violin and piano, but has been adapted for many other instruments. It is one of the most popular works of the composer of the 20th century.

Xingzimin Pan (China, 1986)
Kaidan (ghost story) for flute and piano, op.13, 2013

Xingzimin Pan’s music has been performed in many countries worldwide. He is the recipient of several composition competitions including IFCM International Composition Competition, The American Prize, FNMC Composition Contest and China-ASEAN Music Week Composition Competition. As an active choral composer in China, Pan has collaborated with choirs globally including Sydney Chamber Choir, University of Toronto Women’s Choir, National Taiwan University Chorus, Echo Choirs, Peiyang Chorus and Shanghai Spring Children’s Choir. His representative works Poem I, What Flowers Tell You, and Three Eternal Questions received strong reviews from both critics and audiences. Pan’s choral works are published by Fudan University Press and Schott Music. Pan has taught music theory at University of Northern Iowa and University of Utah, where he received his MM and PhD in Composition. He is now a Research Professor at South China Normal University. Besides choral works, Pan’s instrumental music also draws wide attention. In Kaidan he experiments with new possibilities for sound production and notation. In Japanese, the word Kaidan means horror or ghost story. The work does not refer to a specific story but tries to create the atmosphere and emotional state that is usually associated with telling such stories. To achieve this he uses a variety of techniques on both the flute and the piano. The melody comes from a Chinese traditional song, “Ku Qi Qi” (Seven Periods of Mourning), which is used here to mourn the dead and to tame their spirits. This work has been performed and studied by many musicians worldwide.

Arne Nordheim (Larvik, Norway 1931 – Oslo 2010)
Flashing for solo accordion,1987

This is one of the most famous works written for accordion solo. It is a composition which borrows material from an earlier work of the composer, Spur (Push) for accordion and orchestra (1974).  Flashing was written between 1985-86 for the distinguished Danish accordionist Mogens Ellegaard. In Flashing, the composer explores what he describes as the “interesting possibilities” of the instrument, such as its ability to sustain notes in crescendo or diminuendo (which compares to the human voice), its variety of register (likened to the organ), and attacks which can be quite metallic. Nordheim relates his interest in the accordion to his work in electronic music. The aesthetics of his music rests on the musique concrete with themes around loneliness, death and love, creating sound landscapes. Structurally, the work starts from the core of a note, from which the rest of the material emerges, expands, develops, to end up back at its core. This course could perhaps be compared to the cosmological view of the eternal universe. The molecules  come from the same nucleus and will end up in it, only to disintegrate again, and the process is repeated endlessly.

George Crumb (West Virginia, ΗΠΑ 1929)
Vox Balaenae (the voice of whale) for (amplified)  flute, cello and piano, 1971

The Voice of the Whale is a work inspired by the song / sounds of the Great Whale (the cetacean mammal characterized by impressive jumps over water), which Crumb heard recorded by researchers. The composer writes in the score of the work, that the stage should be illuminated by a deep blue color and the performers should wear a black mask that covers the eyes. In this way, symbolically weakening the human projection, the sweeping, impersonal forces of Nature (acquired nature) are illuminated. The composer also stated that he would like to be “like whales, which travel in the oceans without knowing borders, without distinguishing East and West”.