Wehnachten für Alle

Instrumentation: 2 Chöre SATB (antiphonal), and kleines Sinfonie Orchester

Texte: Maria A. Niederberger: A Star Shall Guide

Antiphonales Chorwerk mit kleinem Orchester. Tonal/modal geschrieben.
In diesem Werk kommunizieren ein Engel??" und irdischer Chor. Neben dem Englischen Gedicht “A Star Shall Guide “ verwende ich Vokalisierungen und lateinische Passagen für den Chor der Engel. Am Ende verbinden sich beide Chöre.

Durée: 5' 50"

CHF: 28.00

I. Tears from Heaven; II. Impromptu II; III. Joy Mingling With Sorrow

Instrumentation: Klavier

Program Notes to HOMAGE À FRÉDÉRIC CHOPIN It was a privilege to compose HOMAGE À FRÉDÉRIC CHOPIN for my colleague Chih- Long Hu, who is one of the finest young pianists I know. At his request, I wrote this set of three impromptus for the ETSU “Chopin 200” series in honor of his 200th birth year (1810). Dr. Hu premiered the work in his faculty recital on October 23, 2009 on the campus of East Tennessee State University. The term impromptu is a musical expression that derives from the word “improvisation.” It suggests a free-flowing music that is not bound by a traditional form. Each of my impromptus brings into focus a segment or element of Chopin’s days or work and connects it to my own life in this composition. When I composed HOMAGE, I did not intend to imitate Chopin’s style. Chopin was a leading force in musical innovation in his time, and I think that there’s no better way to celebrate his legacy, as to have his story and sounds inspire new music. Impromptu I: “Tears from Heaven” “ His composition of the evening was indeed full of the drops of rain which resounded on the tiles of the monastery, but they were transformed in his imagination and his music into tears falling from heaven on his heart” French novelist George Sand, 1838, Valdemosa, Spain During the unusually rainy summer of 2009 in Johnson City, when I composed the first impromptu, I thought about Chopin’s rainy retreat in Spain. Tears express human emotion, both sad and happy. While Chopin’s repeated notes (tears) in his Prelude No. 6, Op. 28 sound pained and languid, mine stem from a joyful and happy frame of mind. Impromptu II: “With Whom Shall I Speak?” “With whom shall I speak of the unique genius [Chopin], whom heaven took from the earth; whom I mourn often, being no longer able to visit him nor savor his divine harmonies?” French painter Eugène Delacroix (1798-1863) These poetic words of Chopin’s artist friend touched and inspired me. I set the first lines as if writingavocalline. Theresultingmelodicideabecamethethemeformysecondimpromptu. Impromptu III: “Joy Mingling With Sorrow” My third impromptu resembles a collage: it incorporates vast stylistic shifts. The movement incorporates quotes, fragments and ideas taken from Chopin’s Ballade Op. 47 in Ab major (1841), that I have set in sharp, deliberate, (sometimes humorous) contrast with my contemporary musical language. With this “mixed media” approach, I intended to create something like a time twirl. I have consciously chosen to focus on Chopin’s music in order to zoom in and out from his time to our own. There are also passages where our styles are interwoven. In my imagination, this varied process mirrors our modern life, where we are continuously surrounded and informed by music of different eras, styles, and cultures. Maria A. Niederberger

Durée: 11' 10"
Manuscrit

I. Awakening; II. Glistening Leaves; III. Winter Escapade; IV. Avian Creatures

Instrumentation: Solo Violine

MOUNTAIN VISIONS (Bergvisionen) für solo Violine Juhani Palola gewidmet, 2010 I. Awakening (Erwachen) (ca. 2:00) II. Glistening Leaves (Glänzendes Laub) (ca. 1:45) III. Winter Escapade (Winter Ausflug) (ca. 3:00) (Wolves at Bays Mountain 2009-10) IV. Avian Creatures (Fliegende Kreaturen) (ca. 2:45)! Bergvisionen Ich habe Bergvisionen zwischen 2009 und 2010 für meinen Musikerfreund Juhani Palola geschrieben, der mich seit Jahren immer wieder inspiriert, neue Werke für solo Violine zu schreiben. Ich bin ihm für dieses unschätzbare Geschenk sehr dankbar und freue mich auf die Premiere am 11. Juni 2010 in Sankt Gallen. Bergvisionen besteht aus vier kurzen Sätzen, wovon jeder für eine andere Szenerie steht. Diese wiederum beziehen sich auf die Natur in meiner Umgebung. Gegenwärtig lebe ich in Ost–Tennessee in den Blue Ridge Mountains. Diese dicht mit Laubwäldern bewachsenen, uralten Gebirgszüge bieten jeden Frühling während der Blüte und im Herbst beim Farbwechsel des Laubes einen fantastischen Anblick. Die Blue Ridge Mountains sind auch ein natürlicher Lebensraum für viele Wildtiere. Es ist nicht selten, dass man ihnen auf einer Wanderung begegnet. Im nahen Bays Mountain Park werden verwundete oder kranke Wildtiere von Fachleuten liebevoll aufgehoben und gepflegt: Schlangen, Raubvögel und Säugetiere wie Wölfe und Wildkatzen. Obwohl ich keine Programm–Musik schreibe, benutze ich Bilder aus meiner Umgebung, um den Charakter der Sätze zu illustrieren. Die musikalischen Ereignisse sind allerdings nicht so gestaltet, dass sie wie in einem Film je einem Bild zugeeignet wären. Musikalische Formen sind vielmehr abstrakt und folgen eigenen kreativen Prinzipien. Der erste Satz, «Awakening (Erwachen)», erinnert an warmen Sonnenschein nach einem kalten Winter. Der Winter von 2009–10 war in Ost–Tennessee besonders streng. Ich stellte mir vor, wie ein Tier nach der langen Ruhe des Winterschlafs zu einem viel versprechenden Frühling erwacht. Der zweite Satz, «Glistening Leaves (Schillernde Blätter)», knüpft an einen Anblick am Stausee im Bays Mountain Park an, in dessen glattem dunklen Wasser sich das glänzende Laub der Uferbäume spiegelt. Allein schon die stetige Wiederholung dieser Lichtflecke ist ein fesselnder Anblick. Der Titel des dritten Satzes, «Winter Escapade (Winterausflug)», stammt von einem Ereignis im Bays Mountain Park im vergangenen Winter, als ein mächtiger Baum während einer Sturmnacht auf die Umzäunung des Wolfsgeheges stürzte und den Wölfen Gelegenheit zu einem kurzen «Ausflug» gab. Der letzte Satz, «Avian Creatures (Fliegende Kreaturen)», ist ein Tribut an die prächtigen Vögel, die in den Bergen Ost–Tennessees leben. Der Anblick dieser majestätischen Kreaturen verleiht mir jedes Mal neuen Schwung. M.A.N., Johnson City, USA, April 2010

Durée: 9' 42"
Manuscrit

Maestoso-Animato-Maestoso

Instrumentation: Klavier

Fantasy for E: Rocks, Sea, and a Muse There is a long tradition of performers encouraging composers to write pieces for them. For example, Clara Schumann, a famous pianist in her day, encouraged her husband Robert Schumann as well as composer Johannes Brahms to write piano works for her. She performed their works and made them well known. While I am not comparing myself to Schumann or Brahms, I was happy to write a piano piece for my colleague Esther Park, who is a formidable, accomplished pianist. You might have guessed from the title that the E. in Fantasy for E. stands for Esther. Her performances are always delightful and inspiring. An important element in my life is nature and its beauty. When I was composing this piece, I thought of Pfiffer Beach at Big Sir in CA. I love to walk out on this beach and see the giant rocks that stand tall against the crashing waves of the Pacific Ocean. Perhaps you have experienced this or seen pictures of it. There you have two important principles: Stasis –-namely something that is immutable or steady like a big rock and flux, something that constantly moving and changing shape like water. I don’t write program music, but I used these principles. The beginning of my piece is a recurring theme that, like a big rock, is fairly immutable in the course the piece. You might hear it recur in a different range of with a different colors. But you will recognize it. Then you have the big waves, the moving, constantly changing parts that gain strength and intensity, that break up gradually or suddenly, etc. Finally, I mention a muse in my title. A muse is a mythological figure and a personified inspiration. I find that great performers are tremendously inspirational; they are a composer’s muse.

Durée: 5' 05"
Manuscrit

I. Corona Sonate; II. Meditation; III. Intermezzo; IV. Ritournelle

Instrumentation: Violine und Klavier

Die vier Sätze sind kontrastierend. Während der erste Satz suchend und flehend ist, stellt der zweite Satz mit meditierender Musik das Gleichgewicht wieder her. Der leichte dritte Satz wird vom Ritournelle des vierten Satzes abgelöst.

Durée: 16' 40"

CHF: 31.20

Instrumentation: Chor (Sopr., Alt, Tenor, Bass) und Streichorchester (Viol 1.2., Bra, Cllo, CB)

Texte: Robert Frost (1874-1963) To the Thawing Wind

Artistic transformation is the topic of Frost’s poem “To the Thawing Wind” and that’s why I selected it. Throughout this poem, the strong Southwest wind symbolizes the powerful creative force. At the beginning, the artist calls on the wind to bring rain, to entice the birds back, to initiate fresh growth, even to enter into his narrow quarters “Burst into my narrow stall.” In a progression, he invites the “South-wester” further to seize and transform everything for the better, including his own writings. At the final climax, the wind is to set the artist free: “Turn the poet out of doors.” The outdoors, in this context, stands for a supportive community and inspiring environment an artist requires to flourish. Frost’s poem befits the opening of the Martin Center for the Arts in 2021, as this newly designed building allows East Tennessee State University artists to get out of their “narrow stall(s)” and to work and collaborate with each other in a fitting space.

Durée: 2' 30"
Manuscrit

Instrumentation: Chor (Sopran, Alt, Tenor, Bass) und Streichorchester

Texte: Maria Niederberger (frei nach Edith Söndergran 1892-1923)

Durée: 3' 50"
Manuscrit

I. Weaving in the Morning, II. Song of the Wild Dove, III. Summer Dance

Instrumentation: Klarinette /Bass Klarinette (ein Spieler), Bratsche, Klavier

Program Notes to Weaving Sound............................by Maria Niederberger Premiere performance: October 9, 2022. Recital Hall, Center Ann E. Pitzer, University of California Davis. The Empyrean Ensemble, Sam Nichols, Director. Peter Josheff, clarinet/bass clarinet, Joe Peterson, viola, Michael Orland, piano I wrote Weaving Sound during the summer of 2022 for the UC Davis Empyrean Ensemble. Sam Nichols, its director, suggested a piece for clarinet, viola and piano. I chose a B-flat clarinet to alternate with a bass clarinet. As the title suggests,composing with different Instruments is like “interweaving” sounds into a tapestry of colorful expression. I. Weaving the Morning I imagine nature awakening in the countryside at dawn, Intermingling sounds from man and beast are shaping the emerging day. Gradually, machines start humming, and a frenzy of activity follows. Everyone rushes to meet goals. II. Song of the Wild Dove (O Canto da Juriti) a poem by Cassiano Ricardo inspired this movement. The poem describes a longing for greatness, far-away places, and perhaps unreachable goals. Both the characteristic sounds of bass clarinet and viola are well-suited to express this yearning mood. The steady “ticking” of the viola pizzicato hints at fleeting, finite time. III. Summer Dance Purposefully untraditional, this “dance” is light, energetic and playful. The piano takes the lead. Its percussive sound is well suited for rhythmic expression. The viola and clarinets introduce colorful sound gestures. Excitement builds towards the end, where in a tutti section, the instruments rise simultaneously.

Durée: 7' 25"
Manuscrit

moderato-vivace-tranquillo-agitato

Instrumentation: Symphony Orchestra

Program Notes I have dedicated like an echo… to Robert Samson Bloch (1934 to 2023) my violin teacher, mentor, and musical friend. Upon my arrival in California from Switzerland in 1975, Robert was my very first musical contact. I was his violin and also beginning theory student at UC Davis. I am thankful for his strong encouragement for me to pursue a musical career. The title like an echo…refers to the impact our mentors have on our lives. It keeps on reverberating like an echo. My piece is in one movement that divides into four sections: moderato - vivace - tranquillo- agitato. moderato: The percussive beginning is tentative. It is a conversation between percussion instruments and plucked strings. The (plucked) harp entry awakens the woodwinds to whispering sounds. Trumpet calls bring focus and call for various other instrumental sounds to join in. vivace: The strings begin an imitative texture that soon engages various wind instruments and the harp. The piece transitions to new combinations with featured winds and strings. tranquillo: Sustained muted string chords contrast with a soft background of winds, while the harp accentuates harmonic events. The string theme develops earlier thematic material. agitato: This last section is initiated by percussion sounds and whispering woodwinds. The familiar trumpet calls reappear, but this time, various instruments echo them back and forth. The instrumental gestures grow increasingly agitated and excited suddenly fade into silence. A coda provides closure. M.N.

Durée: 6' 45"
Manuscrit

I. You Will Find Us ..., II. Cantabile-Vivace-Espressivo, III. Adventures and Trials

Instrumentation: Klavier

I have written “Three Impromptus for Piano” for pianist Patrizio Mazzola of Bern, Switzerland. The piece is to honor my beloved brother Paul, who was also Patrizio’s longtime friend. Paul died unexpectedly in early December 2023. A recording engineer, Paul was deeply connected to music. From his early childhood, he loved music; it gave him the greatest pleasure. He beautifully recorded a variety of music performed by great artists all over the world, including modern works like mine. He admired Patrizio’s pianistic art and skill and on occasion accompanied him on concert trips abroad. Paul was an adventurer and traveled, sometimes on a shoestring, all over the world. Patrizio and I reconnected in Büren NW, Switzerland, at the celebration of Paul’s life on December 10, 2023. On that sad day, we made a plan to collaborate on a piece that was to musically honor our beloved Paul. Three Impromptus for Piano I. You Will Find Us... II. Cantabile-Vivace-Espressivo* III. Adventures and Trials *Giovanni Pascoli’s poem Nel Campo inspired movement II. Nel Campo mezzo grigio e mezzo nero resta un aratro senza buoi che pare dimenticato, tra il vapor leggero. Ecadenzato dalla gora viene lo sciabordare delle lavendare con tonfi spessi e lunghe cantilene: Il vento soffia e nevica la frasca, e tu non torni ancora al tuo paese! quando partisti, come son rimasta! come l’aratro in mezzo alla maggese. __________________________________ In the gray-black field a plow without oxen seems forgotten in the light haze. The rhythmic sloshing of laundering comes from the millpond with sharp splashes and drawn-out songs: The wind blows and the snow drifts And you still don’t return to your country! When you left, how I felt left behind! Like the plow in midst of fallow land. ___________________ Im grauschwarzen Feld Bleibt ein Pflug ohne Ochsen, wie vergessen, inmitten des leichten Nebels. Und vom Mühlenteich hört man die rhythmische Arbeit der Wascherfrauen mit lauten Spritzern und langen Gesängen: Der Wind heult und der Schnee weht, und Du kehrst immer noch nicht in Dein Land zurück! Mit Deiner Abwesenheit, wie ich mich verlassen fühle! So wie der Pflug mitten im Brachland.

Durée: 9' 12"
Manuscrit