Violeta Dinescu: Trajektorie Gudula Rosa, Marko Kassl, Irene Kurka, Markus Schäfer

• Violeta Dinescu (b. 1953): In lingua ignota:
• 1 Dinescu: In lingua ignota: I. — 07:15
• 2 Dinescu: In lingua ignota: II. — 06:53
• 3 Dinescu: In lingua ignota: III. — 03:41
• Immaginabile:
• 4 Dinescu: Immaginabile 05:44
• Trajektorie:
• 5 Dinescu: Trajektorie: I. — 03:01
• 6 Dinescu: Trajektorie: II. — 01:40
• 7 Dinescu: Trajektorie: III. — 03:27
• 8 Dinescu: Trajektorie: IV. — 01:39
• 9 Dinescu: Trajektorie: V. — 01:58
• 10 Dinescu: Trajektorie: VI. — 04:38
• 11 Dinescu: Trajektorie: VII. — 05:18
• 12 Dinescu: Trajektorie: VIII. — 02:29
• 13 Dinescu: Trajektorie: IX. — 01:44
• 14 Dinescu: Trajektorie: X. — 02:24
• 15 Dinescu: Trajektorie: XI. — 02:21
• Mein Auge ist zu allen sieben Sphären zurückgekehrt:
• 16 Dinescu: Mein Auge ist zu allen sieben Sphären zurückgekehrt 17:03
• Total Runtime 01:11:15

Info for Violeta Dinescu: Trajektorie

The Romanian composer Violeta Dinescu (*1953) is undoubtedly one of the most distinguished female composers in Europe. She has lived and worked in Germany since 1982 (including from 1996-2021 as Professor of Applied Composition at the Carl von Ossietzky University in Oldenburg). The chamber music works recorded here in various instrumentations cover the creative period from 1993-2018.

Almost 1000 years separate Hildegard's work and Violeta Dinescu's three movement composition In Lingua ignota. Hommage à Hil¬degard von Bingen for Accordion con voce ad libitum from 2015. What links the two composers is the experimental script Lingua ignota, an unknown lan¬guage, which Hildegard developed, consisting of about 1000 foreign-sounding words, as well as words she invented herself. Hildegard's list begins with Aigonz, the word for God, and ends with Cainz, the word for the cicada. Between these two words all areas of ecclesiastical and secular life are dealt with. All the words are nouns and they are all pronounceable.

The Croatian accordion player Mirjana Petercol, who for a long time now has been examining the connection between contemporary and medieval music, suggested that Dinescu look at the Lingua ignota as the basis for a composition. Petercol sent her a selection of Hildegard's words and Dinescu wrote her composition, which was given its first performance by Petercol.

For this album Immaginabile was supplemented by a second 'voice', which, as in a canon, retains the same melody, but is played at a slightly altered tempo and with a different agogic. It is the coexistence of a melody and a variant. This heterophony as a way of making music between unisono and polyphony appears in many differing guises in the traditional music of southeast Europe. In Immaginabile the entrance of the second 'voice' begins on a diamond-headed note G# (see music example), which signifies the tonal centre and the start of a new level in the composition. Thus, two versions exist, as Dinescu explains: "For the original version with only one recorder a creative interpretation is important in order to realize an elasticity of the melodic contour. The duo version opens up more possibilities to create a more complex discursive per¬formance." She compares the relationship of the two voices to one another with a picture: "The first voice is like a cloud which is clearly visible in the sky. As a resonance to it another cloud follows it on the horizon."

Gudula Rosa, recorder
Marko Kassl, accordion
Irene Kurka, soprano
Markus Schäfer, tenor

strong>Gudula Rosa
studied recorder with Winfried Michel at the Academy of Music in Detmold/Münster and at the Academy of Music in Kassel, where she made her final exam with distinction for the interpretation of Japanese avant-garde works. She was awarded a scholarship to study with Walter van Hauwe at the Sweelinck Conservatory in Amsterdam. Among her many tributes and prizes is for example to top prize in the International Recorder Competition of the E.R.T.A. for contemporary music.

She collaborates with composers on commissioned works and premieres, with artists on performances with speech and dance and with improvisers on a variety of projects.

As a soloist as well as a member of different ensembles she is in demand for concerts both at home in Germany and in other European countries, and has toured places such as Japan, China, Ecuador, Brazil, the United States and the Democratic Rep. Of Congo.

In the spring of 2002 she was invited to do a concert tour of Japan, where she played at the Kyoto Concert Hall and at Tokyo and Osaka Miel Parque Hall.

Following an invitation by Maki Ishii in 2004 Gudula Rosa presented premieres and Chinese first performances of works by Qin Wenchen, Gerald Eckert, Joji Yuasa, Makoto Shinohara, Anette Schlünz and Ming-chi Chan at the Japanese-Chinese Festival of Contemporary Music in Tokyo and Peking.

Both as guest and as soloist she has played with the NOTABU Ensemble for New Music, Düsseldorf, the musikFabrik NRW (conducted by Johannes Kalitzke), the Tokyo Symphony Orchestra Nipponica and the Symphony Orchestra of Muenster, Dortmund and Osnabrück.

In 2009 she played the solo part in Münster in Händel's opera "Rinaldo" conducted by Michael Schneider. In 2010 The Municipal Theater of Münster invited her to play in the dance theater production "Cage" as well as in the operas "The English Cat" and "Pollicino" by Hans Werner Henze (2011).

In 2012 she will be heard with the Osnabrück Symphony Orchestra in Telemann's opera "Sieg der Schönheit" and as soloist with the „Deutsche Streicherphilharmonie“ under Michael Sanderling.

The CD Double Talk – Contemporary Japanese Music documents her long-standing collaboration with the Koto virtuoso Makiko Goto. The CD (Dreyer.Gaido CD 21005) was recorded 2001 at the studios of the Sender Freies Berlin and was highly acclaimed by the international press (“a truly wondrous sound”, “Marvelous!”, “the highest praise!”).

Together with outstanding percussion player Haruka Fujii (Tokyo/New York) she recorded the CD “Ko-Ku” with contemporary Eastern compositions at RadioBremen/Germany in 2008 (Dreyer.Gaido CD 21039). Also this CD was highly acclaimed by the international press, followed by concert invitations to New York in 2008 and 2011.

In addition to her concert career, Gudula Rosa is a passionate and successful teacher and her students regularly win numerous national prizes. 1998-2004 she taught at the Folkwang Academy of Music, Theatre and Dance in Essen. Presently she teaches at the Musikhochschule Münster and at the Westphalian School of Music in Münster.

Furthermore she is the project manager of the "Jugendakademie Münster", an academy for exceptionally talented young musicians.

This album contains no booklet.