Benjamin Britten
Variations on a theme of Frank Bridge Op. 10
Karl Amadeus Hartmann
Concerto funèbre
Béla Bartók
Divertimento
Netherlands Chamber Orchestra

Gordan Nikolić, Leader

PTC 5186 056

DSD recorded

Music from the silence before the storm
1937: an imminent holocaust was threatening Europe. In November, during his so-called ‘Führer’ conference, Adolf Hitler revealed his war plans. He was planning to use aggression in order to extend the German Empire and expand the ‘Lebensraum’ of the German people. On the one hand, Hitler tried to create the necessary goodwill by means of treaties: thus he signed a non-aggression pact with the British prime minister Chamberlain during the Munich conference. On the other hand, these treaties turned out to be worth less than the paper on which they had been written. Hitler’s urge to expand could not be checked. Before the year 1939 came to an end, Czechoslovakia and Austria had already been annexed and Poland attacked. What could a composer do in these uncertain times? Could he make a stand in his work against aggression and violence? Could music be used to propagate political ideas? The three works on this CD were written between 1937 and 1939 in England, Germany and Hungary. The three composers were both pacifists and humanists. All three were finally forced to flee: be it literally, by leaving for the United States, or figuratively speaking, by means of self-imposed exile.

A resounding portrait
In Great Britain, people were holding their breath, following developments on ‘the continent’ with Argus’ eyes. Including Benjamin Britten, who was swinging between hope and fear. After Chamberlain had returned to England with the non-aggression pact, Britten wrote to his friend and publisher Ralph Hawkes that he was “much more cheerful” and was going to look for blackberries to celebrate the news, as now he believed that there might still be a next year, when he could eat the jam. However, in the spring he wrote about “jitters... with regard to the International Situation”. And when Hitler pushed through into eastern Europe on March 16, his mind was made up. He left for the United States: “Isn’t everything bloody... However, we’re going away.”
But in 1937, the situation had not yet advanced thus far. On the contrary: the famous Boyd Neel String Orchestra had still been invited to play at the Salzburg Festival and to perform a new composition by an English composer at the request of the festival organisers. Benjamin Britten was the chosen composer, due to the speed with which he could work. “Suddenly I thought of Britten,” wrote Boyd Neel, “because I had noticed his extraordinary speed of composition during some film work in which we had been associated. I immediately asked him whether he would take on the Salzburg commission, and in ten days’ time he appeared at my house with the complete work sketched out. In another four weeks it was fully scored for strings as it stands today, but for the addition of one bar. This is one of the most astonishing feats of composition in my experience.”

The choice of the theme for this series of variations paid homage to his teacher, Frank Bridge. It was taken from his Idyll No. 2 for string quartet dating from 1906. Britten had already started writing a series of variations for piano to the same theme back in March 1932, but had never got past the stage of jotting down a few sketches for the work. This time, though, inspiration did not leave him in the lurch. Following an introduction, the theme softly blossoms into existence, played by a string quartet. This is followed by ten variations and a Finale, in which musical styles characteristic of various European countries are dealt with in satirical fashion – an indication, perhaps, of the major upheavals awaiting Europe? Thus the work includes a German march, an Italian opera aria, a French bourrée classique, a Viennese waltz and a funeral march, in which some critics divine a criticism of the war. When the theme returns at the end, it is totally different to the original and is combined with quotes from other compositions by Bridge.
Britten himself visualized another ‘programme’ for his composition. In his sketches and his own copy of the printed score, he included notes indicating that each variation was a portrayal of a different trait of Frank Bridge. Above the theme is written the word “Himself”. Then follow respectively: “His depth, energy, charm, humour, tradition, enthusiasm, vitality, sympathy, reverence”. The series is concluded with “His skill and dedication”. Frank Bridge was deeply touched by the work of his former student: “I don’t know how to express my appreciation in adequate terms. It is one of the few lovely things that has ever happened to me.”

Quiet portrait
The German composer, Karl Amadeus Hartmann, also fled the Nazi regime, although his flight was a spiritual one. After the Nazis came to power, he withdrew from public life. From 1933 to 1945, he lived in ‘inner exile’ in Munich, and categorically refused any performance of his music in Germany. However, his works were performed abroad, and appreciation slowly grew for this ‘independent German’.

Although Hartmann considered music to be an autonomous art form, he did grab the opportunity of propagating his principles by means of his compositions. He believed that “the artist has a certain political function, and must also have a political vision if he wants to be part of his day and age.”
After the Nazis invaded Czechoslovakia in 1938, Hartmann began composing his Musik der Trauer as a ‘silent protest’. This work received its première the following year in St. Gallen. Later, he renamed the work Concerto funèbre. The composer wrote as follows: “I wrote my Concerto funèbre in the autumn of 1939. The times explain the character of the work and the reason behind it. The four parts, Chorale - Adagio - Allegro - Chorale, follow on seamlessly. Both chorales at the beginning and end of the work were meant to support and encourage the concept of intellectualism, which at the time was facing a future without hope. The solo voice mainly carries the first chorale. The orchestra, which does not serve as accompaniment, only takes over the cadence. The lyrical melody of the second chorale at the end has the character of a slow progression. The lamentation in the Adagio, interspersed by episodes with the character of a funeral march, is dominated by the melody and the sound. The Allegro – with hammering quavers – releases rhythmic and dynamic forces. I wanted to put all my thoughts and feelings into the music, and thus the form and the melos came into being.”
Typical for Hartmann is the balance between calculated craftsmanship and pure emotion in his music. After studying Anton Webern’s Variations for piano, Op.27, he once wrote: “If only I could see past this structure of interwoven notes to discover how he manages to do it and what exactly gives his music this divine aura.” In all his works, Hartmann tried to achieve a balance between, on the one hand, a measured, rationalized and in all aspects well-controlled approach, and on the other hand, an emotional approach, one containing the free power of expression. And it is the tension of the balancing which gives his music its own, highly unique voice.

Concerto grosso with barn dance
In a lecture he once gave at Harvard University, the Hungarian composer Béla Bartók made a distinction between the two ways in which a composer can approach folk music. The first was by quoting folk melodies in his own compositions. The second was by investigating the musical building blocks which form the foundation of these melodies, in order to thus create a new musical idiom. Bartók considered the latter way to be the most creative, as it provided the freedom to bring together elements from various folk-music traditions in a single, personal style.
A good example of the way the composer approached folk music is to be found in the Divertimento he wrote in just two weeks’ time during the summer of 1939. The work was commissioned by his patron, the conductor Paul Sacher, for the Basle Chamber Orchestra. (Previously, Bartók had composed his Music for strings, percussion and celesta for Sacher.) In his Divertimento, Bartók keeps to the tradition of the genre, coming up with light-hearted, entertaining music. The outer movements, especially, are seething with vitality. But he also plays with the tonality and with the classical form structures. The alternation of the passages for solo quintet with those for the entire string section is highly reminiscent of the Baroque concerto grosso.

In the two outer movements, the composer employs elements from Hungarian and Rumanian folk dances. By contrast, the middle movement is a sombre adagio; a nightmare full of frightening premonitions. Was this his creative reaction to the threat of war? Whatever it was, the Divertimento turned out to be the last orchestral work that Bartók was to compose in Europe. The following year, he emigrated to the United States, terrified that his native country would surrender to the Nazis.

Gordan Nikolić
Gordan Nikolić was born in 1968 and began playing violin at the age of seven. In 1985, he entered the Musikhochschule Basel to study with violinist/conductor Jean-Jacques Kantorow. Four years later he graduated with the highest honours, as both teacher and soloist. He also worked with Lutoslawsky and Kurtág and developed an interest in both Baroque and contemporary music. He is the recipient of several international awards, which include the Tibor Varga, Niccolò Paganini, Cità di Brescia and Vaclaw Huml prizes.
In 1989, he was appointed Leader of the Orchestre d’Auvergne, which he conducted regularly from his leader’s chair: for instance, during a tour of Germany in 1993. In 1996, he was appointed Leader of the Lausanne Chamber Orchestra, and later he also became Leader of the Chamber Orchestra of Europe. In 1997, he was invited to become the Leader of the London Symphony Orchestra.
He has conducted the Chamber Orchestra of the London Symphony Orchestra, the Orchestre National d’Île-de-France, the Manchester Camerata and the Rotterdam Philharmonic Orchestra, among others; and during the 2005/2006 season, he is scheduled to conduct the Orchestre de Lille. Since September 2004, he has been Artistic Director of the Nederlands Kamerorkest (= Netherlands Chamber Orchestra), which is based in Amsterdam.
In 2000, he was appointed “Prince Consort Professor” for string ensembles at the Royal College of Music. Since September 2003, he has also been a professor at the Guildhall School of Music.
Gordan Nikolić has a special interest in chamber music and is regularly invited to perform at various festivals. These include the Musique à l’Empéri Festival, Edinburgh Festival, Daytona Music Festival, Chaise-Dieu Festival, and the Proms, where he has performed with such musicians as Vladimir Mendelssohn, Pieter Wispelwey, Christophe Coin, Eric Le Sage, Maria João Pires, Mikhaïl Pletnev, Emmanuel Ax, Leif Ove Andsnes and Tim Hugh. Recently, he joined the Vellinger String Quartet.
He has performed as a soloist with the Orchestre de la Suisse Romande, the Orchestre Symphonique de Bâle, the Combattimento Consort Amsterdam, the Israel Chamber Orchestra and the London Symphony Orchestra, among others. In 2001, he played the Walton Violin Concerto with the London Symphony Orchestra under André Previn. In 2003, he performed the Brahms Double Concerto with the London Symphony Orchestra under Bernard Haitink, which was recorded for the ‘LSO Live’ label, as well as Paganini’s Violin Concerto No. 1 in five concerts in Holland. He gave the première of James MacMillan’s Violin Concerto, “Deep But Dazzling Darkness”, under the baton of the composer with the London Symphony Orchestra.
Gordan Nikolić has made many recordings for various labels (Olympia, Lyrinx, Syrius), exploring the lesser-known violin repertoire. One of his recordings, dedicated to Vivaldi, was nominated “Recording of the Month” in Holland, and his Bach recording received an award from DRS3, Switzerland’s cultural radio channel.
In 2005, Gordan Nikolić was invited by the London Symphony Orchestra to be the soloist in three important projects: Schumann’s Violin Concerto under Daniel Harding, Brahms’s Violin Concerto under Sir Colin Davis, and Beethoven’s Triple Concerto with pianist Emmanuel Ax and cellist Tim Hugh, under Bernard Haitink, at the Barbican Centre in London.
Gordan Nikolić plays a Lorenzo Storioni violin dating from 1794.

“The skilled Netherlands Chamber Orchestra players communicate successfully both the lighter moments and the heavier emotions in these works, and their lovely string ensemble tone is perfectly captured by PentaTone's engineers.”
--John Sunier, audiophile audition

ClassicsTodayFrance.com

"Gordan Nkolić, who has had a distinguished career bith as a violin soloist, orchestral plyer (beginning in 1999 he wad concertmaster of the London Symphony), and chamber music performer, and now is Artistic Director and Leader of the Netherlands Chamber Orchestra, leads the group in vivid performances of this music.”
--Robert Benson,classicalcdreview.com

“The Netherlands Chamber Orchestra ia a top flight ensemble, with crisp and articulate playing. Gordan Nikoli?, their leader, is also the solo violin player. His tone is superb.”
--Oscar Gil, SA-CD.net

"The Netherlands Chamber Orchestra is a first-rate group, and leader Gordan Nikolic gets to the heart of each piece. His performances are lyrical and energetic without frivolity, and the string sound benefits greatly from being presented in the SACD format. The upper violins are bright, with natural edge yet no harshness, while the lower strings have excellent focus and splendid tone. The surround channels add just the right amount of hall reverberation to give the overall sound pleasant amounts of warmth and presence."
--Rad Bennett, Ultra Audio

Grammy nomination (2006)

Fabulous interpretation by Gordon Nikolc and the Netherlands Chamber Orchestra.Ó
--Guy Wagner, Pizzicato

ÒAll the elements for a great recording are present here. Each of the three works is a masterpiece by one of the great composers of the 20th century. Each exploits the potential of a virtuoso string orchestra, and each includes brilliant solo- as well as ensemble-writing. Gordan Nikoli_, violin virtuoso and conductor, and the excellent Netherlands Chamber Orchestra are powerful interpreters of these scores, and PentaTone has delivered their performances in rich, resonant, and, where appropriate, biting surround sound.
--Robert Mc Colley, FANFARE

Nederlands Kamerorkest
The Nederlands Kamerorkest (= Netherlands Chamber Orchestra) was founded in 1955 and gave its first concert that year during the Holland Festival. Szymon Goldberg – the legendary violinist, conductor and pedagogue – was artistic director of the ensemble for the first 22 years. Goldberg then appointed David Zinman as second conductor (alongside himself) and, jointly, they raised the level of the orchestra to equal that of any top international chamber ensemble. They were succeeded in 1979 by Antoni Ros Marbà, who led the orchestra until 1986. From 1986 to 2002, Hartmut Haenchen was chief conductor of the ensemble, with Philippe Entremont as permanent guest conductor.
Since 2003, Yakov Kreizberg has been chief conductor of the Nederlands Kamerorkest. In September 2004, top violinist Gordan Nikolic´ was appointed Artistic Director and Leader of the Nederlands Kamerorkest. As such, he regularly leads the orchestra from within.
The Nederlands Kamerorkest gives about 25 concerts per year in the major Dutch concert halls, including the Concertgebouw. Each season, the orchestra also accompanies a number of productions of the Nederlandse Opera at the Muziektheater in Amsterdam. Apart from the many Rossini and Mozart operas, the orchestra has performed numerous contemporary operas to great critical acclaim. For instance, the world-première of Alexander Knaifel’s Alice in September 2001; and the production of Tea by the Chinese/American composer Tan Dun in January 2003 was also a major success. More recently, the ensemble excelled in the opera La clemenza di Tito under conductor Hartmut Haenchen, with recitatives provided by Manfred Trojahn; and Lucio Silla under Adam Fischer. In March 2005, the orchestra accompanied Bellini’s opera Norma, and performances of Rossini’s Il barbiere de Siviglia are scheduled for January 2006.
The Nederlands Kamerorkest has toured extensively to countries such as the United States, Middle and South America, Canada, Australia, Japan, China and almost all European countries. It has performed at many festivals, including the Wiener Festwochen, Prager Frühling, Edinburgh Festival, Granada Festival and La Folle Journée (Nantes 2002).
Since its foundation, the Nederlands Kamerorkest has worked with prominent guest conductors such as Darius Milhaud, Rudolf Barshai, Carlo Maria Giulini, Erich Leinsdorf, Yehudi Menuhin, Hans Vonk and Edo de Waart. The numerous world-famous soloists who have performed with the orchestra include Elly Ameling, Maurice André, Martha Argerich, Vladimir Ashkenazy, Alfred Brendel, Gidon Kremer, Radu Lupu, Anne-Sophie Mutter, Isabelle van Keulen, Jean-Pierre Rampal, Marie-Claire Alain, Han de Vries and Mstislav Rostropovich. During a successful three-year project, Christian Zacharias performed Mozart’s complete piano concertos from behind the piano.
The Nederlands Kamerorkest has an extensive repertoire available on CD. Some recordings dating from the LP era – which include a Mozart Piano Concerto featuring Martha Argerich, and Szymon Goldberg’s Bach programmes – have since been re-released on CD for their historic value, and new CD recordings on the PentaTone label are scheduled. (Please surf to www.orkest.nl to view the orchestra’s comprehensive discography.)
This year, 2005, the Nederlands Kamerorkest celebrates its 50th anniversary with, among others, an anniversary concert on November 19 at the Concertgebouw.