This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

Winterleben (Song Cycle for mezzo soprano, horn and piano, after Friedrich Rückert)

This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

TEXT:

V. Wintersonne

Mond und Sonne scheint so schön,
Wie im Frühling immer;
Öder nur die Winterhöh'n
Macht der kalte Schimmer.

Ach vom Himmel kann die Lust
Nicht hernieder steigen,
Wenn der Erde, wenn der Brust
Sie nicht schon ist eigen.


GORDON Winterleben V

This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

TEXT:

IV. Erwartung

Wenn ich gegen Tages Mitte
 Setz' ins Zimmer meine Schritte,
 Die auf Schnee und Eis geweilt;
 Denk' ich, auf dem Wust des Tisches
 Liegen müss' ein Blatt, ein frisches
 Das vom Freunde Kund' erteilt,
 Wie die rötlich angeglühte
 Mandelblüte,
 Die voraus dem Frühling eilt.

 Oder wann ich lange träumte,
 Wie er nun so lange säumte,
 Sich zu melden; kommt mir's vor,
 Selber müss' er aus den Ecken
 Treten, froh mich zu erschrecken,
 Ohne Meldebrief zuvor,
 Überraschend, wie die Feige
 Aus dem Zweige
 Ohne Blüte tritt hervor.


GORDON Winterleben IV

This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

TEXT:

III. Der Abglanz der Rose

Wenn der Rose Liebesrot
 Ist im kurzen Lenz verglüht,
 Bleibt in Erdenwinternot
 Dir kein Trost, o mein Gemüt;
 Blick' hinauf! am Himmel sprüht
 Ew'ges Abend-Morgenrot:
 Deine Ros' ist hier nicht tot,
 Die dort oben doppelt blüht.


GORDON Winterleben III

This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

TEXT:

II.Winter-Lerchenton

In Lüften hängt ein Lerchenton,
 Mein Ohr hat staunend ihn vernommen.
 Ist's eine, die noch nicht entflohn?
 Ist's eine, die zurückgekommen,
 Gelockt von Frühling schon,
 Da rings die Schöpfung noch von Winter ist beklommen?

 Durch meine Seele zieht ein Schwung,
 Den jener Ton hat angeschlagen.
 Ist's Ahnung, ist's Erinnerung
 Von künftigen, von vor'gen Tagen?
 Ich fühle nur mich jung,
 Ob wie ich's war, ob wie ich sein werd'? ist zu fragen.

 Verklungen ist die Melodie,
 Verschlungen von Schneewolkenherden;
 Und Winter ist's im Herzen, wie
 Am Himmel Winter und auf Erden,
 So Winter, als ob nie
 Gewesen Frühling sei und nimmer sollte werden.


GORDON Winterleben II

This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.

Friday, August 7, 2015
Zipper Hall, Los Angeles

Andrew Bain, horn
Renee Rapier, mezzo
Nic Gerpe, piano

PROGRAM NOTE:

Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.

-Geoffrey Gordon

TEXT:

I. Die Winternachtigall

So laut im Winterzimmer schmettert
 Die Nachtigall,
 Daß sich ein Frühlingshain beblättert
 An ihrem Schall:
 Zum blauen Himmel wird die Decke
 Und jede Wand zur grünen Hecke,
 Zur Schattengrotte jede Dunkelecke,
 Des Vorhangs Weh'n zu Bäche-Rieselfall.

 Nur wenn der Himmel oft so schaurig
 Durchs Fenster schaut,
 Dann klagt die Nachtigall so traurig
 Den Klagelaut,
 Als wollte sie ihr Los verklagen,
 Daß sie in Winterhaft muß schlagen
 Und schweigen einst, wann in beglücktern Tagen
 Der freie Frühling seinen Tempel baut.

 Doch laß dich das nur nicht verdrießen
 Und singe zu!
 Ein Lenz muß auch im Winter sprießen,
 Den wirkest du.
 O Himmelskehl' im Zeitenfroste,
 Du bist gegeben uns zum Troste;
 Sing' nur, und ob es dir die Seele koste,
 In jede Seele Sehnsucht, Schmerz und Ruh'.


GORDON Winterleben I

US/UK composer Geoffrey Gordon’s contributions to the contemporary music repertoire have been and continue to be exceptional.  Intense and luxuriant harmony, passionate melody and superb handling of instrumentation and sonic textures define his music.  His works include orchestral, chamber and vocal works, recognised and performed by the world's top musicians and ensembles.  His music has been called "darkly seductive" (The New York Times), "complex, richly-satisfying " (BBC Music Magazine), “stunning” (Philadelphia Inquirer), “iridescent and glowing” (Chicago Tribune), “taut and exhilarating” (Classical Ear), “haunting” (Strings Magazine), "gripping" (Bachtrack), "fierce and uncompromising" (MusicWeb International) and “magnificent” (Fanfare).  The Philharmonia identifies “his infectious style" and “an ear for melody”; the New York Times his “zest for sonic experimentation”.  

Recently and upcoming, the BBC Philharmonic will premiere Mr. Gordon's new bassoon concerto, Anima Mia, during the 2022-23 concert season; the St. Paul Chamber Orchestra, Swedish Chamber Orchestra and Hong Kong Sinfonietta will premiere a jointly commissioned chamber concerto for Bb clarinet and ensemble, Fumee; and the Antwerp Symphony will premiere Mr. Gordon's Mad Song, which they commissioned for soloist Dimitri Mestdag. 

In 2018, the Philharmonia gave the premiere of Geoffrey’s Gordon’s bass clarinet concerto “Prometheus” after the treatment by Franz Kafka, at the RFH, with US and Nordic premieres following in 2019 with the Minnesota Orchestra and Malmo Symphony.   His superb setting of Keats' “Ode to a Nightingale” for choir and cello premiered in May 2018 in Copenhagen by Mogens Dahl Chamber Choir and a new CD of three of his major cello works, Cello Libris,  was released on the BIS label in early 2020, featuring the Copenhagen Philharmonic under Lan Shui.  His song cycles, “Peter Quince at the Clavier” and “Sonnets from Neruda” premiered in March 2018 at the Arnold Schoenberg Center, Vienna, and in October 2017 the Munich Philharmonic under James Gaffigan premiered his trumpet concerto, "CHASE," after the sculptures of Giacometti.  His cello sonata “FATHOMS” premiered at Carnegie Hall in  December 2015  and his “Winterleben” for horn, mezzo and piano (commissioned for Los Angeles Philharmonic principal horn, Andrew Bain), premiered in August 2015 as part of the 47th International Horn Symposium in Los Angeles.  Honoured by a number of residencies internationally, he has twice served as composer-in-residence at the Aaron Copland House and is winner of 2017 Mario Merz Prize for Music Composition. In 2018, he was commissioned by the Curie Institute in Paris, part of the Muse-IC project. A new chamber work, featuring musicians from the Orchestre Philharmonique de Radio France, premiered at the  Salle Cortot Theatre in Paris in March, 2019. 

Future performances and commissions include new works for the Frankfurt Radio Symphony Orchestra, the Orchestre de la Suisse Romande, the National Taiwan Symphony Orchestra, the Brussels Philharmonic and many others.

Find more links to Geoffrey Gordon's music, as well as bio and reviews etc. at www.geoffreygordoncomposer.com

NEW CD, Cello Libris, out on BIS Records!  
Find it here:
https://bis.se/performers/moldrup-toke/cello-libris-works-by-geoffrey-gordon

GORDON Winterleben II

Geoffrey Gordon Composer