Thierry Escaich Flute Concerto premiere
Thierry Escaich’s new flute concerto was premiered by Joséphine Olech and the Rotterdam Philharmonic Orchestra under the baton of Lahav Shani, in Concertgebouw Amsterdam on May 1st, 2021. It was performed again in the Doelen, in Rotterdam, On september 3nd, 2021.
Listen to the radio recording on the website of NPO Radio4 :
https://www.nporadio4.nl/uitzendingen/ntr-zaterdagmatinee/66d45177-dbd7-4ace-9677-c8ee7bf1c53f/2021-05-01-ntr-zaterdagmatinee
“The first tableau opens onto a kind of Theatre of the Absurd where, in constant agitation, episodes of frenzied "walking bass" intersect, sparse polyphonic layers in contradiction to them, ephemeral and futile role-playing interspersed with grating snickers ... So many contrasting elements contributing to give life to this imaginary opera-bouffa that suddenly collapses and lets itself be dragged into a slow and inexorable descent towards the void.
"Autopsy of a Dream" could be the title of the second tableau. After a short cadential passage in which the alto flute prolongs the concert flute in a low register, a slow waltz settles in like a sort of great dreamer that the flute, as play master, seems destined to push away towards more and more distant lands with each of its interventions. A game of coming and going begins, along with these successive metamorphoses, until the solo instrument finally imposes a sort of "riff" reminiscent of a repetitive and jerky tango on which it starts more and more abundant improvisations. However, inevitably, this last outburst closes on the initial slow waltz, this time adorned with a black lyricism that does not counter the long and inexorable descent into nothingness that closes this second tableau, just like the first one.
In this episode of suspended time that separates the two tableaux, in halos of harmonics from which the flute barely emerges, one can distinguish vestiges of this vanished dream mixed with the first glimmers of the final ceremonial that constitutes the third tableau.
In a sort of regained calm, and led by a repetitive melody, this ritual dance intensifies as it lets itself be invaded by the resurgence of the thematic characters of the previous tableaux. Although, this time, they do not manage to divert the piece from its path towards a brighter atmosphere which only the unexpected return of the dream element will obscure, like a last nostalgic revival, before a final grotesque and jubilant nose-thumbing.”
Thierry Escaich
New CD Release
Joséphine Olech’s new concerto CD with Odense Symphony Orchestra and Anna Skryleva was released in July 2021.
“With this album, I have the wish to explore some less known flute works, as well as to pay a tribute to the three countries which have forged my musical personality so far.
The first country is France, where I was born and raised, and where I learned to play flute with teachers who descend directly from the French Woodwinds tradition. Jean Françaix is known for his compositions for woodwinds, but his flute concerto is very rarely played, even though it represents very well this French school of playing, focused on virtuosity, flexibility of sound and articulation.
The second country is the Netherlands, and particularly the city of Rotterdam, where I live and work and which I now call my home. Theodoor Verhey is a Dutch composer who taught in the Rotterdam conservatory. His work is very much inspired by the works of Robert and Clara Schumann, and Johannes Brahms. I fell in love with his flute concerto in D minor for its passionate outbreaks as well as for its intimate melodies: it is a very nice addition to the flute romantic repertoire.
And last but not least, the third country is Denmark, in particular the city of Odense, birthplace of the composer Carl Nielsen, and host city for the Nielsen International Competition which I won in 2019. The flute concerto by Carl Nielsen is a crucial piece of the flute repertoire, and I feel extremely privileged to have been able to play it with the wonderful musicians of the Odense Symphony Orchestra. It is truly a wonderful piece; the musical language of Carl Nielsen is one of a kind, and it took time for me to understand it as a student, but I have grown absolutely fond of it and I am sure I will continue discovering many more of its aspects with time.
It has been such an honour and pleasure to be able to record this album with the great Anna Skryleva and the Odense Symphony Orchestra, and with Mette Due and Prebben Iwan as artistic directors. I thank all of these wonderful artists truly, and I hope you will enjoy listening to this album as much as we enjoyed making it.”
Joséphine Olech
Order your physical CD on the website of Orchid Classics :
https://www.orchidclassics.com/releases/orc100169-josephine-olech/
You can also listen to it on Spotify :
https://open.spotify.com/album/5G4DXDXHDk5SyQDWCeAtzt?si=CZAuS_98RRSuIALrutTYMg
RECONNECT –
Nature and the Modern Man
Joséphine Olech releases debut album
As part of winning the Fanny Mendelssohn Förderpreis 2020, today flutist Joséphine Olech releases her debut album. With RECONNECT- Nature and the Modern Man, the young Frenchwoman reflects on whether man and nature can reconcile with each other. For this, she juxtaposes pieces of music by Debussy, Takemitsu, and Crumb, inspired by nature's sounds, with minimal music by Steve Reich and the exciting first release of Rekindle by Dutch composer Michel van der Aa. With her virtuosity on the flute, an instrument that embodies the sounds of nature like no other, Joséphine Olech not only presents a musically demanding debut but also sets a personal sign for one of the greatest challenges of her generation: the conservation of nature in a modern world.
The flute - link between man and nature
The flute is an ancient symbol for the sounds of nature. As one of the oldest instruments ever – originally crafted from natural materials such as bone or wood – it is considered a means of communication to the elements of nature and the hereafter. With her debut RECONNECT – Nature and the Modern Man, Joséphine Olech uses the magic of her instrument for an exceptional kind of experiment to depict and bring to consciousness the complex relationship between man and nature. Man exploits nature while at the same time viewing it as a form of appeasement, positive energy, or, in some cultures, even a divine element. In her debut album, the flutist emphasizes this contrast between the mystical, at times even religious connection to nature and the modern age, which is characterized by technology.
For Joséphine Olech, the musical sounds of nature are depicted in the works of Debussy, Takemitsu, and Crumb. Introduced by the mystical dimension of Claude Debussy's Six Épigraphes antiques, her debut album features Toru Takemitsu's Toward the Sea III, commissioned by Greenpeace in 1981 for a campaign to protect whales, and Vox Balaenae, inspired by George Crumb's recordings of humpback whale songs. Both works are masterpieces of the 20th century.
At the other end of the sound spectrum lies man-made modernism and technology, represented by two pieces that use electronic or minimal music processes. With Rekindle by Michel von der Aa, Joséphine Olech dares to make the first recording of a flute's combative dialogue with a playback. Steve Reich's Vermont Counterpoint also presents a special challenge: It is a typical work of minimal music, which overlays a total of 12 voices, all played by the French flutist.
At the end of the contrasting program, Toru Takemitsu's Le fils des étoiles, based on the music of Eric Satie, is a thoughtful-meditative piece that serves as a question mark: Is man becoming aware of the need to reconnect with nature?
Joséphine Olech – virtuosity meets authenticity
Joséphine Olech is successful both as a soloist and as a chamber and orchestral musician. Since 2017 she has been the principal flutist of the Rotterdam Philharmonic Orchestra. Born in France in 1994, she began flute lessons at the age of seven. She completed her Bachelor and Master in Music at the Conservatoire de Paris (CNSMDP) and was trained as an orchestral musician at the Royal Concertgebouw Orchestra Academy. In addition to this year's Fanny Mendelssohn Förderpreis, the musician has won numerous awards, including first prize, the audience prize, and the junior jury prize at the 2019 Carl Nielsen International Competition and third prize at the 2015 Prague Spring International Competition.
The jury of the 6th Fanny Mendelssohn Förderpreis was impressed by the young Frenchwoman with her authentic mixture of musical vision, technical virtuosity, and innate personality. Joséphine Olech is looking forward to her debut album, which she recorded in August in Hamburg's famous Friedrich-Ebert-Halle: "The Fanny Mendelssohn Förderpreis is a unique platform for young musicians to carry their message to the world, not only by means of their playing itself but above all by creating a program and the chance to record and release this program according to their own ideas. This allowed me to make a very personal statement on a subject that is particularly close to my heart: environmental protection".
Artists:
Joséphine Olech, flute
Sélim Mazari, piano
Anaïs Gaudemard, harp
Clément Peigné, cello
Repertoire:
Claude Debussy: Six Épigraphes antiques (1914) transcription for flute and piano
Michel van der Aa: Rekindle (2009) for flute and soundtrack
Toru Takemitsu: Toward the Sea III (1989) for alto flute and harp
George Crumb: Vox Balenae (1971) for three masked players
Steve Reich: Vermont Counterpoint (1982) for flute and tape
Eric Satie/ Toru Takemitsu: Le fils des étoiles (1975) for flute and harp
Joséphine is the winner of the Fanny Mendelssohn Förderpreis 2020!
Joséphine won the final round last November by presenting her project called “Reconnect”, with music by Takemitsu, Crumb, Jolivet and Messiaen. Lots of exciting things to come, including concerts in Germany and a CD recording: stay tuned for more!
“C’est Joséphine Olech, flûte solo à l’Orchestre Philharmonique de Rotterdam, qui a ouvert la soirée en solo, en interprétant La Bergère Captive de Pierre Octave Ferroud. Dans un engagement musical exemplaire, elle respire la musique dans un souffle parfait. Sa virtuosité ne tombe jamais dans la démonstration et son jeu est si naturel qu’on l’écoutera volontiers pendant des heures !”
TOUTE LA CULTURE, Révélations Classiques concert review by Victoria Okada, February 12, 2019
“Rafraîchissante entrée en matière : la flûtiste nous parle avec simplicité le vrai langage de la grâce. Sa Fantaisie brillante de Carmen (G. Bizet/F. Borne), est d’une subtile élégance, et respire par moment une lumineuse allégresse.”
BACHTRACK, Salle Cortot concert review by Julien Hanck, November 20, 2017
“The solo of the new first flautist Joséphine Olech in the same final part was beautiful, and the Andante got a sovereign, calm apotheosis.”
NRC.NL, Rotterdam Philharmonic concert review by Joep Stapel, November 26, 2017
“The second movement of the concerto also shed light on a very talented young flutist, Joséphine Olech, whose airy notes matched perfectly with Renaud Capuçon’s part, giving way to a beautiful duo.”
CONCERTO NET, Rotterdam Philharmonic concert review by Gabrielle Farnier, June 15, 2019
