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Category Archives: Recording

Falling Man/Dancing Man, CD Release

 

cvr

 

Andrew Schultz’s large-scale 2005 composition for organ and orchestra, Falling Man/Dancing Man, will shortly be released on the US label, Navona, as part of a compilation of contemporary orchestral works. The soloist in the work is the exciting Czech organist, Karel Martinek, performing on the grand organ of the Dum Kultury (House of Culture) in Ostrava, Czech Republic. Full details of the CD are below; individual works on the CD are also available via all digital formats.

 

Falling Man/Dancing Man for solo organ and orchestra,

opus 68 (2005)

Movement 1  Infinity Jinx                          6:00

Movement 2  Deep Crossing                     7:33

Movement 3 The Laughing Man               8:52

Moravian Philharmonic Orchestra, Petr Vronsky – conductor, Karel Martinek – organ

Recorded at Dum Kultury, Ostrava, Czech Republic on 13 September 2016

Producer: Vit Muzik,  Engineers – Ales Dvorak, Jan Kosulic

CD Title: Winter’s Warmth, Contemporary Works for Orchestra

Label: Navona Records, Catalog: NV6091

Release date: 14 April 2017

Web: www.navonarecords.com/catalog/nv6091

YouTube Promotional Video: https://www.youtube.com/watch?v=xBOrCkCoPS8

SoundCloud Link: https://soundcloud.com/parmarecordings/winters-warmth

Information about Andrew Schultz: www.andrewschultz.net

An interview with the composer about Falling Man/Dancing Man in StressPoints (eNewsletter of the International Society for Traumatic Stress Studies): http://www.andrewschultz.net/resources/trauma_classics.pdf

 

 

Program note:

Falling Man/Dancing Man is a concerto-style work for solo pipe organ and orchestra composed for first performance on the organ of the Melbourne Town Hall in 2005. The twenty minute work is in three separate but related movements.

Falling Man/Dancing Man was initially inspired by two photos with contrasting depictions of human reactions to war. The first was the abject image of a Falling Man taken from the ground below the World Trade Centre attacks in New York in 2001. The image was later suppressed and remains a deeply contradictory photo given the choices and pain implicit in the subject’s decision to jump. The second shows a Dancing Man who is celebrating in a Sydney street at the end of World War Two. His hat is in the air as he dances for joy at the end of war. The more I looked into it the more I became aware that images and artwork depicting falling and dancing bodies are almost universal icons from rock art to the present. Perhaps this is because they depict fundamental truths about human experience. Whilst echoes of both these and other images have found their way into the piece, the musical matters took their own course in the work and in the end the organist’s dancing feet and physical elevation in the organ loft also seemed apt for the title.

Falling Man/Dancing Man was commissioned by Symphony Australia for the Melbourne Symphony (with organ soloist, Calvin Bowman and conductor, Oleg Caetani) and composed with the assistance of a residency at the Leighton Studios, Banff Centre for the Arts, Canada.

 

 

Andrew Schultz, left, and Karel Martinek in Ostrava, Czech Republic, September 2016

Andrew Schultz, left, and Karel Martinek in Ostrava, Czech Republic, September 2016

 

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Paradise by Schultz recording release

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A recording of Andrew Schultz’s Paradise – Five Songs for soprano, cello and piano, Opus 95 (2013) has been given a digital recording release by the three outstanding performers who gave the work its premiere in Paris in August 2015: Felicitas Fuchs (soprano), Li-Wei Qin (cello) and Bernard Lanskey (piano). This new recording was made at NUS in Singapore in October 2015 with Zhou Xiaodong the recording’s engineer and producer. Paradise was a finalist in the 2016 Art Music Awards and Highly Commended in the 2016 Paul Lowin Awards and consists of settings of the composer’s own texts.

The recording is available for sale and streaming on all major digital platforms including i-Tunes, Deezer, Spotify and YouTube. The release date of the recording is 6 January 2017 and the catalog number is Sedition 8.

The text of the songs, program note and composer’s biography are available to download as a PDF from this link: paradise-text-program-note-biog.

New CD of Magnificat and Nunc Dimittis by Schultz

Here are the details of the new Tall Poppies release of Australian sacred choral music, including Magnificat and Nunc Dimittis by Andrew Schultz, performed by the Brisbane Chamber Choir/Graeme Morton.

The following is from the Tall Poppies website – http://members.iinet.net.au/~carlvine/tp/index.cgi?tp=cd&val=239

TP239 Mass of the Dreaming

Australian Sacred Choral Music
Brisbane Chamber Choir • Graeme Morton, director

$23   (Australian dollars)

buy at: AMC – Buywell

cover
It is truly amazing that we’ve waited until 2016 for an Australian choir to record a CD of Australian sacred choral music. Yes, this is the first!!

It’s well worth the wait. A lot of this music was commissioned by the choir. Specially mention must be made of Ross Edwards‘ Mass of the Dreaming, a substantial work that will definitely be included among the pantheon of Australian choral works in the future. It’s the largest work on this disc and one of the most engaging.

The Brisbane Chamber Choir sings these works with skill and passion, ably directed by Graeme Morton.

The Choir has also commissioned the cover art from Kangaroo Valley-based artist Githa Pilbrow, who was inspired by the 2016 Vivid! exhibition in Sydney. Her work Cathedral Light makes a lovely cover.

CONTENTS

Paul Stanhope Ubi caritas
Joseph Twist Lamentation of Jeremiah
Keren C. Terpstra Arise my love, my fair one
Matthew Orlovich Communion of Reparation
Andrew Schultz Magnificat
Andrew Schultz Nunc dimittis
Stephen Leek Sanctus
Stephen Leek Agnus Dei
Nigel Butterley Exultate Domino
Ross Edwards Mass of the Dreaming

 

Andrew Schultz Piano Music – CD Release

Piano Music AS web

Antony Gray is the pianist on a new compact disc of Andrew Schultz’s music for piano. The music was written in the period from 1987 to 2015 and includes most of his output written for solo piano during that time. With his amazing virtuosity, the well known Australian born and  international pianist, Antony Gray, demonstrates his expressive control of phrasing and colour throughout the recordings. The recordings were made in Melbourne and London; works on the disc include Barcarole, Prelude and Postscript, and Four Inventions from The Children’s Bach. In a recent review of another work on the disc, Nocturnes and Variations, one critic wrote,  “this captivating piece added to the growing sense that a distinct musical language is coming out of Australia which is as unique and starkly beautiful as the land itself.” [Marc Rochester, “A rare chamber treat,” The Straits Times, 20/2/16.]

The CD is released by the Australian label Wirripang and carries the catalogue number, Wirr 078.  The disc has also been released on digital platforms and via the Naxos Music Library.

Click here for more information, to hear samples of the music, and to purchase the disc.

Some recent reviews of the new disc:

“Andrew Schultz’s impressive piano music collection is deeply rooted in the unique resonant qualities of the instrument. His long-time collaborator, Antony Gray, interprets the works with both sensitivity and panache.”  [Read Michael Hannan’s review of the disc in full in the Music Trust E-zine.]

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“Schultz’s piano works range as widely as the great outdoors.

Antony Gray is a London-based pianist who has gained praise for his recordings of Poulenc, Bach, Brahms and Goossens and one can see his skill with these composers fertilising this new disc devoted to Schultz’s pianistic output. In the Adelaide-born composer’s music there is a sense of space, which is entirely appropriate to the vast Australian landscape; and unlike many earlier composers, Schultz is content to write in a more neo-tonal manner without resorting to dissonance or mimicry of bird-cry.

Even in his recent Interludes (2015), there is a sense of late-Romantic intensity. And though Schultz does not regard himself as much of a pianist, there is much here – a sparseness of creative landscape, which defines modern notions of Australia. His music is more melodic than atonal, and yet almost naively deductive in its sense of logic, place and space. Here is music that is haunting and inward, searching for a sense of landscape if not comprehension.

Schultz’s literary influences are disparate – from the 10th-century Japanese Pillow Book to Inventions from his own opera The Children’s Bach after Helen Garner’s touching novella. His counterpoint is all so appropriate, making even more sense of the Bach adopted by the primer of Garner’s title, with a feeling of improvisation and expanding beauty in the right hand, set against gently resolving chords in the left. For those who wish to disappear into the seemingly understated, there is little need to look further.”

Brett Allen-Bayes, Limelight Magazine, October 2016, p. 79

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A review of the disc by Vincent Plush as published in The Weekend Australian on 10 September 2016.

Weekend Australian, 10 Sept 2016

 

 

 

November matters

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Upcoming November performances and CD/DVD releases of works by Andrew Schultz.

After Nina is presented by the Glasshouse Trio in Eudlo Hall, Eudlo, Queensland on Saturday 7 November at 7pm. The program also includes works by Brahms, Beethoven and Frankel. Glasshouse Trio (Louise King – cello, Paul Dean – clarinet  and Stephen Emmerson – piano) contains two of the players who commissioned After Nina in 2007 – it has since had many performances by other groups as well. More information and tickets to the concert.

Prelude and Postcript for piano has its European premiere given by Antony Gray in London on Friday 13 November at 8pm at Schott’s Music Shop, 48 Gt Marlborough Street, London W1 in a concert presented by the Grieg Society of Great Britain. More information and tickets to the concert.

Lake Moonrise for mezzo, clarinet, cello and vibes is released on Sunday 15 November on a Tall Poppies CD as a part of the Halcyon collection of works, Kingfisher (Songs for Halcyon). For more details.

Endling is presented on radio and on-line by BBC3 in a performance by the BBC Ulster Orchestra/David Porcelijn – listen live on Tuesday 17 November at 2pm (UK time) or listen on-line afterwards for 10 days – here is the link for more information.

August Offensive for orchestra is presented as a part of the Australian premiere of the Gallipoli Symphony by the Queensland Symphony Orchestra/Jessica Cottis at the Concert Hall, Queensland Performing Arts Centre on Tuesday 24 November 2015 at 7:30pmMore information and tickets to the concert. See a YouTube clip about the Gallipoli Symphony. Listen to the concert live on ABC Classic FM.

ABC Classics have just released the DVD of the August 2015 Istanbul performance of the Gallipoli Symphony (including August Offensive) given by the Istanbul State Symphony/Jessica Cottis. Catalog number is 076 2924. Here are the details

 

Kingfisher_Cover

 

 

More info on the works: www.andrewschultz.net

Schultz’s August Offensive in Istanbul and Brisbane

Gallipoli Symphony premiere

Commissioned by the Australian Department of Veterans’ Affairs and supported by the Turkish Ministry for Culture and Tourism as part of the 2015 Year of Friendship and during the 100th anniversary year of the Gallipoli Campaign, the World Premiere of Gallipoli Symphony was conducted at the historically-significant Hagia Irene Monumental Museum in Istanbul on Tuesday 4 August 2015. The work contains music by Australian, Turkish and New Zealand composers including Andrew Schultz’s orchestral work, August Offensive.

It was performed to an invitation-only audience by the Istanbul State Symphony Orchestra under the direction of United Kingdom-based Australian conductor, Jessica Cottis.  Specialist soloist musicians Michael Askill (percussion), William Barton (didgeridoo), Horomona Horo (Maori instruments), Julian Jackson (harmonica) and Omar Faruk Tekbilek (Turkish instruments) featured throughout the performance.  A combined choir including representatives from the St Joseph’s Gregory Terrace – All Hallow’s Gallipoli Choir (Australia) and the (Turkish) State Opera and Ballet provided vocal accompaniment in the first and final movements of the Symphony.

Gallipoli Symphony was also performed by the Queensland Symphony Orchestra/Cottis in Brisbane, at the Queensland Performing Arts Centre – Concert Hall, on Tuesday 24 November 2015 at 7:30pm. Details: http://qso.com.au/special-events/gallipoli-symphony

The ABC-TV  broadcast of the Istanbul performance was available on i-view until 20 August 2015: http://iview.abc.net.au/programs/gallipoli-symphony/FA1425H001S00

The ABC-TV production of the Istanbul performance is available on DVD: https://shop.abc.net.au/products/gallipoli-symphony-dvd

The ABC Classics recording of the Brisbane performance is available on CD: https://shop.abc.net.au/products/qld-symphony-gallipoli-symphony-cd and via iTunes: https://itunes.apple.com/au/album/gallipoli-symphony-viii.-august/id1096207171?i=1096207959

 

Useful links

Visit the Gallipoli Symphony website for full details of the events and music.

Read more about August Offensive and its premiere at Gallipoli in 2013: http://wp.me/p28SRX-5E

Hear an excerpt of August Offensive and read a brief interview about the piece and the Gallipoli Symphony project: http://newsroom.unsw.edu.au/news/social-affairs/musical-tributes-anzac-centenary

Get a recording of August Offensive from iTunes: https://itunes.apple.com/au/album/schultz-august-offensive-for/id836022448

Read Gordon Williams program note for August Offensive.

Deep Blue and Dirty – CD Release

Deep blue

 

 

The Southern Cross Soloists, Stephen Emmerson and Lucinda Collins are the outstanding performers on a newly released CD of recent chamber and vocal music by Andrew Schultz.

The music was written in the period from 2006 to 2011 and includes To the evening star, the winner of the 2009 Paul Lowin Prize. To the evening star is performed on the disc by Margaret Schindler (soprano) and Stephen Emmerson (piano) who premiered the work in 2009. Lines drawn from silence was commissioned by the Southern Cross Soloists with Australia Council assistance in 2007 and is also recorded here for the first time. The work contains a setting of powerful and provocative words by the famous mathematician, Isaac Newton.

In the slow-moving and expressive homage to Nina Simone,  After Nina (2007), Stephen Emmerson is joined by Paul Dean (clarinet) and Patrick Murphy (cello). Tania Frazer (oboe) and Keivn Power (piano) present the moody duet, Master Mariner – Lost at Sea (2006) and Alan Smith (violin) and Patrick Murphy have recorded another short and lyrical duo, Indigo Invention (2010).

The most recent work on the disc gives the CD its title: Deep blue and dirty is a virtuosic and jazzy work for bassoon and piano and it is presented here by Mark Gaydon (who commissioned the piece in 2011) and Lucinda Collins (piano).

The CD is released by Wirripang and carries the catalogue number: Wirr 065. Recordings were made in Brisbane and Adelaide. The disc will also be released soon on digital platforms and via the Naxos Music Library.

Click here: For more information and to purchase the disc.

Download the full track listing and performance details.

Read two recent reviews of the new disc:

http://musictrust.com.au/2015/08/deep-blue-and-dirty-works-by-andrew-schultz/

http://musictrust.com.au/2015/08/deep-blue-and-dirty-works-by-andrew-schultz-2/

August Offensive with the TSO

The Tasmanian Symphony Orchestra (TSO), conducted by Garry Walker, present the Australian premiere of Andrew Schultz’s August Offensive on Friday 27 March at 7:30pm in the Federation Concert Hall, Hobart, in their Master Series concert.

 

Program

Schultz- August Offensive

Elgar- Cello Concerto (Nicolas Alstaedt, cello soloist)

Interval

Kelly- Elegy

Elgar- Enigma Variations

Read more about August Offensive and its premiere at Gallipoli in 2013: http://wp.me/p28SRX-5E

More details from the TSO about the program and the works: http://www.tso.com.au/concerts/essentially-elgar

ABC Classic Fm broadcast this concert at 1:00pm on ANZAC Day, April 25, 2015: http://www.abc.net.au/classic/music-listings/?date=2015-04-25

Hear an excerpt of the music and read a brief interview about the piece and the Gallipoli Symphony project: http://newsroom.unsw.edu.au/news/social-affairs/musical-tributes-anzac-centenary

Read Gordon Williams program note for August Offensive.

‘Captivating’ and ‘eloquent’ After Nina by Andrew Schultz – recording release

After Nina CD cover copy + logo

 

A recording of Andrew Schultz’s “captivating” and “eloquent” chamber work, After Nina, Opus 73 (2007), will be given a digital release on 20 October 2014 on the Sedition label (SEDITION7). The recording is by three outstanding Australian chamber musicians: Paul Dean – clarinet, Patrick Murphy – cello, and Stephen Emmerson – piano.

After Nina, Opus 73 (2007), by Andrew Schultz was commissioned by the Endeavour Trio (Paul Dean and Stephen Emmerson with cellist Trish O’Brien). The title and the mood of the ten minute piece refer to the Nina Simone version of the song, Strange Fruit with its sparse piano accompaniment. Click here to view the release on i-Tunes.

After Nina work was recorded in Brisbane, Australia in February 2014 along with a number of other chamber and vocal works by Andrew Schultz that will be released as a full CD in 2015 by the Southern Cross Soloists ensemble on the Wirripang label (Wirr 065). Other works on the forthcoming disc include To the evening star for soprano and piano – a work which won the Paul Lowin Prize in 2009. Also to be included will be a work commissioned by the Southern Cross Soloists in 2006, Lines drawn from silence.

Paul Dean is currently the Artistic Director of the Australian National Academy of Music in Melbourne and a member of Southern Cross Soloists. He is regarded as one of the finest clarinettists and chamber musicians in Australia and has recorded for several CD labels. As soloist, recitalist and chamber musician, Paul Dean has performed in Norway, England, Japan, China, the USA and Canada. His recording of brother Brett Dean’s clarinet concerto Ariel’s Music won an ARIA in 1999 and the piece was the Selected Work at the 1999 Paris Rostrum of Composers. In 2004 Paul recorded a CD of music by Andrew Schultz for the Tall Poppies label and in 2009 received rave reviews throughout Europe and the US for his recordings of the Mozart clarinet works on the Melba label. He has performed the premieres of over fifty works, many of which have either been written for or dedicated to him, including Colin Brumby’s and James Penberthy’s Clarinet Concertos and Wilfred Lehmann’s Theme and Variations.

Patrick Murphy is Cello Performance Fellow at the University of Queensland School of Music and a member of Southern Cross Soloists. Prior to that he was Lecturer in Cello at the University of Tasmania, Hobart Conservatorium. He has also taught cello and chamber music at the Sydney Conservatorium of Music and worked regularly with the Sydney Symphony. Patrick started learning the cello with Rosemary Iversen in Perth. He completed his Bachelor degree studying with Gregory Baron and Michael Goldschlager before spending several years with the Halcyon String Quartet. Their studies took them to the UK and Canada where they were resident artists at the Banff Centre for the Arts. Patrick then completed a Masters Degree studying with Alexander Ivashkin and Natalia Pavlutskaya. Patrick has an extensive background in chamber music performance, and was a founding member of the Tankstream Quartet (now Australian String Quartet) whose international career was launched after winning first prize in the Osaka International Chamber Music Competition, Japan 2002. They went on to be prize-winners in the Melbourne International Chamber Music Competition (2003).

Stephen Emmerson studied piano with Pamela Page at University of Queensland and later in London with Peter Wallfisch of the Royal College of Music. At the completion of his undergraduate degree, a Commonwealth Scholarship enabled him to study at New College Oxford where he graduated with a Master of Philosophy and Doctor of Philosophy degrees. He has been on full-time staff at the Queensland Conservatorium since 1987 where he teaches various music history and performance-related courses. As a pianist, he has performed widely around Australia, New Zealand, Asia and the Pacific. In addition to solo performances on piano and fortepiano, the focus of his performance career in recent years has been within various chamber ensembles including the Griffith Trio and Dean–Emmerson–Dean, with whom he has toured internationally. Recordings of his playing in collaboration with a variety of performers have been released by ABC Classics, Move Records, The Anthology of Australian Music on Disc, CPO, Tall Poppies, Contact and Melba. His performances and recordings are broadcast regularly on local and national radio.

 

Composer’s Note:

After Nina for clarinet, cello and piano, Opus 73 (2007) – Andrew Schultz

After Nina was composed in the first half of 2007 for the Endeavour Trio (Paul Dean, Trish O’Brien and Stephen Emmerson). It is a ten minute work which was written at the same time as my chamber opera, The Children’s Bach. The work is a slow and lyrical study based around a pattern of low chords heard first in the piano. 

The title and the mood of the piece refer to the Nina Simone version of the song, Strange Fruit with its sparse piano accompaniment. Strange Fruit is the anti-lynching civil rights song written in the 1930s by Abel Meeropol and then made famous by Billie Holiday.

‘Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees.’

I have often been asked why it is the Nina Simone version of the song that interested me rather than the more well-known version by Billie Holiday. It is the relatively detached style of Simone’s version – the limited use of overt emotionalism when dealing with a topic that so easily invites it. Whilst Simone does give vent towards the end, her style is mostly sparse and allows the text to stand.

That idea of restraint as embodied in the use of the stalking, low chords was important to me at this time because I was also dealing with unsettling and emotive material in the subject and text of The Children’s Bach. The question in my mind was how to allow the text to be heard and its impact kept in clear focus with the music still suggesting and adding more than the text could provide on its own.

c. Andrew Schultz, 2007

 

Excerpts from Reviews of After Nina:

“Schultz’ captivating After Nina, with its slow, stalking chords, was partly inspired by the brooding tone of Nina Simone’s rendition of Strange Fruit.  A recording of the latter, played to the audience before Schultz’s work, was an ideal way to familiarize listeners with the composer’s music.”
[Gillian Wills, The Australian, 22 August 2009]

“Andrew Schultz’s After Nina is inspired by Nina Simone’s version of Billie Holliday’s Strange Fruit. After Selby read the first stanza of the original poem, ”black bodies swinging in the Southern breeze”, it was hard to hear anything but tragedy in Schultz’s eloquent, spare writing.”

[Harriet Cunningham, Sydney Morning Herald, 5 July 2012]

 

 Details:

Schultz, Andrew. After Nina, Opus 73 (2007). Paul Dean – clarinet, Patrick Murphy – cello, Stephen Emmerson – piano. Sydney: Sedition, 2014. SEDITION7.

Schultz Sonatina recording by Jennifer Pike released

Sonatina CD Label FINAL

A recording of Andrew Schultz’s Sonatina for solo violin, Opus 66 (2007), featuring the outstanding British violinist Jennifer Pike, was released on 25 September 2014 on the Sedition label (SEDITION6). Pike has previously recorded the Schultz Violin Concerto, Opus 55 (1996) with the Tasmanian Symphony Orchestra/Mills for the ABC Classics label (ABC4764519) – a recording that has earned high praise for both the work and the performance. “This is music for eternity” as one German critic wrote.

Sonatina for solo violin, Opus 66 (2007), by Andrew Schultz was commissioned to be performed by Jennifer Pike for the Wigmore Hall, London, concerts of solo violin music celebrating the sixtieth birthday of violinist and teacher David Takeno. The work is highly virtuosic in its writing for the solo violin and is by turns lyrical and rhythmic. Pike gave the work its first performance in London at the Wigmore Hall in March 2007 and later that year recorded the work in Singapore. Her performances of the Sonatina earned her a Finalist nomination in the Best Performance of an Australian Work category of the Australian Art Music Awards in 2008.

Renowned for her “dazzling interpretative flair and exemplary technique” (Classic FM), British violinist Jennifer Pike has taken the musical world by storm with her unique artistry and compelling insight into music from the Baroque to the present day. She gained international attention in 2002, when aged 12 she became the youngest-ever winner of the BBC Young Musician of the Year and the youngest major prizewinner in the Menuhin International Violin Competition. In demand as soloist with top orchestras worldwide, she recently released the Sibelius Violin Concerto with the Bergen Philharmonic and Sir Andrew Davis on Chandos to great acclaim.

The new recording is available from digital music stores and  i-Tunes:  https://itunes.apple.com/au/album/sonatina-for-solo-violin-op./id911866510?i=911866552

More details

Read more about Jennifer Pike: http://www.jenniferpike.com

Read more about Andrew Schultz: http://www.andrewschultz.net

Hear an excerpt from the Schultz Violin Concerto played by Jennifer Pike (TSO/Mills on ABC Classics 4764519): https://www.youtube.com/watch?v=8cPEjXm4nws

Composer’s Note: Andrew Schultz Sonatina for solo violin, Op. 66 (2007)

The work is entitled Sonatina because it has some flamboyant and effervescent qualities contrasted with sadder and more soulful passages and also because it is in one movement.

Getting the balance of mood in the piece was the biggest challenge. There is an inner dialogue for the player – both on a contrapuntal level of ideas contrasted over time and on an emotional level.  It is as if there should be a performance in which statements are made and then self-effaced but still felt deeply; self-contradictions perhaps.

There is a hint of folk-styles of violin playing with the use of short-lived drones and the use of pizzicato to almost suggest a band of players.  In interpretation, it calls for some freedom of tempo – it should never be rushed (except where it rushes) and ideas always need time to speak.

The piece is about 8 minutes duration and is in a spiral-rondo form – – an ABACA of sorts. That means when the A comes back it’s transformed and ideas also accumulate from section to section – hence the idea of the spiral shape and spiral motion (which may be down or up!). It could be the real, or pure, A is at the end  –  depending on the direction of travel.

The piece was written in early 2007 for performance by Jennifer Pike at The Wigmore Hall in March 2007 to form a part of concert celebrations for David Takeno’s sixtieth birthday. The work is dedicated, in memoriam, to Barbara Takeno.

Excerpts from Reviews: Schultz Violin Concerto, Opus 55 (1996) with Jennifer Pike and the Tasmanian Symphony Orchestra/Mills for the ABC Classics label (ABC4764519) https://itunes.apple.com/au/album/violin-concerto-op.-55-i./id509356971?i=509356984

“Cast in two movements, the concerto is ambitious – and successful – in its attempt to pit the solo line against orchestral textures which constantly change and shimmer, sometimes sounding like a resonating carillon…or a large organ in the vast reaches of a mighty cathedral.”

[David Bollard, Music Forum, Summer 2011.]

“… the first movement proceeds at an evolutionary petal-unfolding gait with the violin singing likewise. The music effervesces slowly and the Silvestrov-like carillon bubbling is unhurried….The violin gently continues to soar. The second movement is animated with iterations of bell fanfares from the brass and Hovhaness-like groans before the violin enters with a fast pulse and slippery virtuosity locked into the harmonies of the first movement…Schultz’s magnetic pull is towards the pensive. So it proves with a final page that glows steadily and in which the solo and orchestral strings whisper into silence.”

[Rob Barnett, Music Web International, October 2011.]

“If the association with film music is hinted at in “Endling”, in the two-part violin concerto it is tangible. In Schultz’ case, this does not mean that his compositions can only be associated with (real) films in order to be apprehended: the works themselves are musical films that do not require illustration but are instead, in terms of their sound qualities, both figurative and sensual. In this sense they touch upon the music of the great Latvian (Vasks), whose work similarly engages the large and existential themes of love, nature, belief, longing, hope, life and death with emotion, spontaneity, directness, without fear of drawing upon ‘already used’ tonality and harmony. One can place Schultz’ violin concerto, that had to wait fifteen years to be transferred to CD, in a line of very great works that have been written for this instrument in recent years: “Distant Light” by Peteris Vasks, “Concentric Path” by Thomas Adès or “1001 Nights in the Harem” by Fazil Say.

Schultz’ violin concerto begins with a lengthy movement titled “Chorale Expansive”. Like languorous waves, the music surges forth, retreats, and surges forth again, continuing in this fashion. This is music for eternity. The composer links the concerto with a poem by the English romantic William Butler Yeats that also recalls Goethe’s phrasing in Faust: “formation, transformation,
the eternal mind’s eternal recreation”. The second movement “Dances: Fast and Vibrant” is rhythmic, exuberant and rollicking and provides, as it were, the antithesis to the foregone “Chorale”. At its end, the music returns once more to the quiet waterways of the first movement.”

[Burkhard Schäfer, blog.codaex.de]

Schultz “is, in my opinion, one of the finest composers in this country today. The music is well-crafted in a modern idiom which is pleasing to the ear. Violin Concerto… is a work of tender lyricism and dramatic power … In two movements, the first is the slow movement titled Chorale with a hymn-like chordal structure alternating with long melodic lines. The second movement, Dance, is in direct contrast with fast, exuberant rhythms which give a feeling of joy and exultation. Double-stopping and drone techniques are employed by the violin and the rhythmic energy is explained by Schultz as ‘possibly influenced by the rich world of folk-style-violin playing’.”

[Elaine Siversen, Fine Music, July 2012.]