Various Artists | Peter Lieuwen: Sarumba

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Peter Lieuwen: Sarumba

by Various Artists

Music of Peter Lieuwen | Volume 3
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
1. Sarumba for 2 Violins and Chamber Orchestra
Deutsche Kammerakademie Neuss, Emeline Pierre & Lavard Skou Larsen
14:39 $0.99
2. Chamber Symphony: I. Nature
Slovak National Symphony Orchestra & Franz Anton Krager
9:56 $0.99
3. Chamber Symphony: II. Love
Slovak National Symphony Orchestra & Franz Anton Krager
6:48 $0.99
4. Chamber Symphony: III. Cosmos
Slovak National Symphony Orchestra & Franz Anton Krager
7:33 $0.99
5. Quad Concerto for Clarinet, Violin, Cello, Piano and Orchestra
Moores Symphony Orchestra & SOLI Chamber Ensemble
14:06 $0.99
6. Concerto Alfresco for Trumpet and Orchestra
Moores Symphony Orchestra & Allen Vizzutti
10:20 $0.99
Downloads are available as MP3-320 files.


Album Notes
Peter Lieuwen's symphonic music has been hailed as “an attractive array of shimmering,
shuddering sonorities” (The New York Times). His orchestral works have been introduced by such orchestras as The Royal Philharmonic Orchestra, Saint Louis Symphony, San Antonio Symphony, Pacific Symphony Orchestra, Mexico City
Philharmonic, National Orchestral Association, Slovak National Symphony Orchestra, Grossetto Symphony Orchestra (Italy), Kozalin State Philharmonic (Poland), Leipzig Academic Orchestra, Deutsch Kammerakademie, Musicfest International Orchestra (Wales) and the Orchestra of the Swan (UK). Renowned conductors including Carl St. Clair, Paul Freeman, Danielle Gatti, Szymon Kawalla, Franz Krager, Lavard Skou Larsen and Jorge Mester have presented his works.


Sarumba (2015) - 14:39
Orchestra: Deutsch Kammerakademie Neuss
Violin Soloists: Emeline Pierre and Lavard Skou Larsen
Conductor: Lavard Skou Larsen

Sarumba was commissioned by Lavard-Skou Larsen for the Deutsch Kammerakademie Neuss and the Salzburg Chamber Soloists. The work, scored for 2 violin soloists, percussion, piano, timpani and strings, was given its world premiere by the Deutsch Kammerakademie on October 23, 2016 in Neuss, Germany.

Like many of my compositions, Sarumba is influenced by natural sounds, infused with the kinetic syncopated rhythms of jazz, rock and world musics. This upbeat double concerto for two violins and chamber orchestra alludes to a quartet of Brazilian rhythms: the Samba, Baião (3+3+2 feel), Rhumba and a hint of the Bossa Nova. With minimalist textures in a neo-classic setting, the sonic design of the work includes frequent 7th, 9th and 13th chords interspersed with modal passages. Both of these elements can be found in Impressionist music as well as modern jazz. The melodic gestures are often presented “in harmony” at the interval of the 7th or 9th, creating a sonic halo around the primary melody. The dissonant octatonic scale (alternating half and whole steps) divides the more consonant pandiatonic gestures which permeate the work. Klangfarbenmelodie in which a melodic gesture is initiated in one instrument or group and completed in another is also present.

Toward the end of the piece, a contrasting section in slow tempo ushers in a brief duo violin cadenza that is followed by a lively finale which recalls previously heard material. An extended coda closes the work. Orchestral color is enhanced by the use of Latin percussion instruments including the maracas, congas, timbales, and cabasa.

Review –

“But the centerpiece of the evening was a world tour. The composition "Sarumba" was written by the Dutch composer Peter Lieuwen (63), living in Texas, on behalf of the Chamber Soloists Salzburg and the DKN for two soloviolines and orchestra. The soloists were Lavard Skou Larsen and his wife Emeline Pierre, who also teaches as a violin professor at the Academie Musicale Lyon. The rhythmically stirring work effectively connects Brazilian dances such as the Samba, Rumba and the North Brazilian Baiao. “Sarumba”completely succeeded the balance between the string orchestras, especially the dancer's rhythms, reinforced by piano, timpani, numerous percussion, and the soloists’ mostly melodic lyricism. The composer present in Neuss was visibly happy with this premiere.”

October 24, 2016

— Nima, Neuss-Grevenbroicher-Zeitung

Chamber Symphony (2013)

I. light and spirited – 9:57
II. tranquillo – 6:49
III. driving – 7:33

Orchestra: Slovak National Symphony Orchestra
Conductor: Franz Anton Krager

Chamber Symphony was written for the Georgian Chamber Orchestra who premiered the work on October, 17, 2013 in Ingolstadt, Germany

Chamber Symphony takes as its inspiration, the text from Shen khar venakhi - Thou art a vineyard, an ancient Georgian Orthodox hymn to the Theotokos (Mary, the Mother of God). While the harmonic language of the music is decidedly 21st century, it is intended to embody the timeless themes of love and nature as embraced in the original text to Shen Khar Venakhi, written by King Demetre I of Georgia (c. 1093–1156). The composer of the original hymn is unknown.

Shen khar venakhi - Thou art a vineyard

shen khar venakhi, akhlad aqvavebuli.
norchi k'etili, edems shina nerguli.
(alva suneli, samotkhes amosuli.)

(ghmertman shegamk'o vervina gjobs kebuli.)

da tavit tvisit mze khar da gabrts'qinvebuli.

English Translation:

You are a vineyard newly blossomed.

Young, beautiful, growing in Eden, (A fragrant poplar sapling in Paradise.)

(May God adorn you. No one is more worthy of praise.)

You yourself are the sun, shining brilliantly.

I. Nature – “You are a vineyard newly blossomed.”

The music here is marked “light and spirited” implying the buoyant awakening of spring. After various pastoral, reflective and stormy passages there is a gradual return to the spiritual uplifting aura of the beginning.

 II. Love - “Young, beautiful, growing in Eden”

This movement opens with a quotation of the original hymn Shen khar venakhi - Thou art a vineyard. This song is now often sung at Georgian weddings. A low pedal tone (E) transforms the harmonic language from the 10th to 21st century while continuing the peaceful aura of youth, love and beauty.

III. Cosmos - “You yourself are the sun, shining brilliantly.”

A relentless motor rhythm in the lower string ushers in broad gestures from the winds and upper strings. Affirmation, celebration and light are the dominant themes in this movement. Following an ebullient percussive section featuring marimba, vibraphone and piano, the symphony drives to its exuberant conclusion.

Review –

“The conductor Franz Anton Krager, with the composer Peter Lieuwen in attendance, come off with a remarkable world premiere. Lieuwen is working with driving patterns, acting as melodic rhythm scenes, which could be derived from characteristic African percussion formations. Here however they are the strings, with the basis set in the violins and alternatively in the violas and cellos. The orchestra forms melodic arches, which move invariably upwards; strong-willed, eruptive and effervescent. Remarkable also is the cue of the brass. The audience perceives jazz-funk- influences in a style of Maceo Parker. Also is recalled the compositions of Patrick Williams (as for instance the film music in “The Streets of San Francisco” from the 70’s). The second movement is entitled “Love”. Here, the brass strike up a solemn introduction which ends in an empty quint. Either major or minor, either luckiness or misery: exit open as in real life.”

— Christof Fiedler, DONAKURIER (Germany)

QUAD CONCERTO (2015) – 14:07

Orchestra: Moores Symphony Orchestra
Soloists: SOLI Chamber Ensemble, Stephanie Key, clarinet, Ertan Torgul, violin, David Mollenaur, cello, Carolyn True, piano
Conductor: Lavard Skou Larsen

The QUAD Concerto was commissioned by the SOLI Chamber Ensemble who premiered the work with the Moores Symphony Orchestra conducted by Franz Anton Krager on March 5, 2016 in Houston, Texas

The idea for the QUAD Concerto was hatched in 2011 at an after-concert dinner with the SOLI Chamber Ensemble in San Antonio. SOLI had just performed my composition OVERLAND DREAM (recorded on MSR MS1581) which was written for the ensemble. As many of my compositions are orchestral, I couldn’t help but envision a new concerto for their colorful instrumental combination.

Writing a concerto for chamber ensemble and orchestra offered unique musical changes and opportunities. Much of the time, the ensemble and orchestra in the QUAD are treated in much the same way as in the Baroque Concerto Grosso; with a small instrumental group (concertino) in dialogue with the orchestra (ripieno).
At others times various soloists emerge and are often paired with another instrument in the ensemble. This offers a marvelous opportunity for klangfarbenmelodie (sound color melody) in which a musical gesture is initiated in a single instrument or group and completed in another.

As in many of my compositions, dramatic tension and repose is created with the diminished sonorities juxtaposed with pandiatonic gestures. Primary structural intervals include 2nds, 7ths and 9ths. Rhythmically, the piece is mostly upbeat, positive and luminous… just like SOLI.

Concerto Alfresco (2013) – 10:21

Orchestra: Moores Symphony Orchestra
Trumpet Soloist: Allen Vizzutti
Conductor: Franz Anton Krager

Concerto Alfresco was the first prize winner of the Doc Severinsen International Composition Competition in 2013. The world premiere was presented by trumpet soloist Allen Vizzutti with the University of Tennessee Symphony Orchestra conducted by James Fellenbaum on February 14, 2014 in Knoxville, Tennessee.

Unlike most composition competitions, the eminent jazz trumpeter and band leader Doc Severinsen envisioned a competition with quite specific guidelines. These included the incorporation of jazz and classical elements, dialogue between the soloist and ensemble, and melody. Written for virtuoso trumpet and orchestra, the work offers improvisation, lively syncopation derived from Latin jazz and rock music, impressionistic harmonies, and minimalist textures in a neo-classical setting. The sonic design of the work includes frequent 7th, 9th and 13th chords interspersed with modal passages. Several passages of the score offer free improvisation for the soloist with jazz chord symbols provided. In live performance, 2 trumpets are placed offstage creating a spatial, antiphonal effect near the end of the piece. Tension and repose is often created through the juxtaposition of consonant pandiatonic sections with those employing the dissonant diminished scale, a favorite of contemporary jazz musicians, which is based on half and whole steps.

Total Time: 63:27

Engineers –

Peter Fuchs (Slovak National Symphony Orchestra)
Holgar Urbach (Deutsch Kammerakademie)
Brad Sayles – (Moores Symphony Orchestra)

Produced by Brad Sayles



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