DVA LESNÍ ROHY NA PÓDIU
English version„povídání s Bedřichem Tylšarem“
napsal Zdeněk Divoký
Sedíme v útulné kavárně v Praze na Smíchově a povídáme si s Bedřichem Tylšarem (1939), českým hornistou a pedagogem, který společně se svým bratrem Zdeňkem (1945–2006) vystupoval v sólovém koncertním duu mezi lety 1965–2000 na významných pódiích Evropy i v zámoří a jako pedagog vychoval několik generací českých hráčů na lesní roh.
Výčet jím iniciovaných a nahraných dvojkoncertů pro lesní rohy (LP a CD) je mimořádný a i v dnešní době unikátní. Jeho a bratrovou péčí se do té doby málo známá díla českých klasických autorů (Rosetti, Fiala, Rejcha, Pokorny, etc.) ale také díla zásadních jmen ve vývoji evropské hudby (Telemann, Vivaldi, L. Mozart, J. Haydn) dostala do širšího povědomí.
Vzpomínám si, že jsem při studiích v Brně někdy kolem 1973 poslouchal v bytě svého kamaráda hornisty na starém gramofonu desky a dostala se mi do ruky první nahrávka bratrů Tylšarů pro Supraphon (Czech label) s dvojkoncerty Vivaldiho, Telemanna a Haydna. Jako studenta konzervatoře mě tato nahrávka doslova „uhranula“. Lehkost a samozřejmost s jakou Zdeněk Tylšar hrál corno primo i pohyblivost a zřetelnost partů corno secondo (Bedřich) se spojila do lahodného fenoménu hornového dvojhlasu.
Ve skrytu bylo rozhodnuto: chtěl jsem se tomuto ideálu přiblížit a interprety, kteří v té době působili v Praze v České filharmonii, blíže poznat a hlavně – naučit se pořádně hrát na lesní roh.
Dnes si ale povídáme a já se ptám:
ZD: „Rozumím tomu, že jako dva bratři hrající na stejné nástroje a studující u stejného pedagoga (prof. František Šolc – Janáček Music Akademie Brno) a později hrající v orchestru České filharmonie v Praze se toto spojení nabízí, jak a proč jste ale začali s dvojkoncerty?“
BT: „Někdy kolem 1962 jsem byl v Belgii a navštívil v Bruselu obchod s hudebninami. Mimo noty zde měli také oddělení na poslech různých desek. Najednou jsem uslyšel hornový dvojhlas – myslím, že to byl Haydn. Už nevím, kdo byli interpreti, ale bylo to krásné. Napadlo mě, že tyto dva nástroje jdou svou bohatostí alikvotních (harmonických) tónů ideálně dohromady a že by se na tom dalo „stavět“. Pomalu jsem začal pátrat v archívech v Československu i v zahraničí, navázal kontakty s řadou kolegů (např. Edmond Leloir) a dával dohromady notový materiál. Ukázalo se, že celé 18. stol. bylo v tomto žánru velmi plodné a bohaté. První vystoupení s bratrem bylo 1964 v Olomouci a hráli jsme dvojkoncert A. Rosettiho Es dur.“
ZD: „Party dvojkoncertů barokního a klasického období jsou někdy technicky mimořádně náročné. Uvážíme-li, že byly prováděny na přirozené a invenční rohy, je jasné, že interpreti té doby museli být na vysoké úrovni“
BT: “Ano, ať už to byli reprezentanti barokního „clarino style“ v Drážďanech, hornisté Houdek a Hampel nebo později duo Palsa a Thürrschmid nebo Nagel a Zwierzina ve Wallersteinu – jejich umění bylo nepochybně pro skladatele vynikající inspirací“.
ZD:“ V této souvislosti bych rád připomněl ještě jednoho raně klasického českého skladatele, který působil v druhé pol. 18. stol. v Itálii, je to Josef Mysliveček (Mysliweczek; 1737–1781). Ten sice žádný hornový dvojkoncert nenapsal, ale jiskřivá Aria in Dis pro koloraturní soprán, lesní roh a orchestr je příkladem dobové virtuozity. Nedávno jsem v Praze shlédl nový český film „IL BOEMO“ o životě tohoto skladatele a tato árie z opery Bellerofonte je tam citována. Myslivečkova hudba oscilující mezi barokní vznešeností a klasickou rozverností je hluboce krásná“.
BT: “Souhlasím. Mysliveček byl v kompozici žákem Františka V. Habermanna (1706–1783), což byl ve své době skladatel evropského formátu. Party horenkoncipoval ve stylu německého baroka-podobně jako Bach, Händel nebo Zelenka. Mysliveček tento styl převzal a naplnil ho vlastní invencí.“
ZD: “Když se dívám na staré fotografie z vašich prvních koncertů, vidím na portrétu (cca1970), že jste v této době s bratrem hráli na lesní rohy Alexander 103, to ale nebylo v té době v tehdejším Československu obvyklé, že?“
BT: „To jistě ne. Poválečná generace hornistů v České filharmonii hrála na nástroje Knopf, Kruspe nebo Josef Lídl. Já jsem měl to štěstí, že jsem se během svého působení v Německu (2 roky jako sólohornista Münchener Philharmoniker 1967–69) poznal osobně s panem Antonem Alexanderem, tehdejším šéfem firmy v Mainzu. Na tyto nástroje (A 103) jsme potom s bratrem začali hrát. Pan Alexander často jezdil na naše koncerty po celém Německu. Tohoto přátelství si dodnes velmi vážím“.
ZD: “Ještě bych rád vzpomněl tvého bratra Zdeňka, po jehož boku jsem hrál více než 30let v České filharmonii. Byl pro mě vzorem talentu, energie a muzikality. V době mého příchodu do filharmonie (1979) hrál sólohornu a já jsem nastoupil na pozici 3. horny. V té době (mezi1970 – 2000) byl velký boom nahrávání desek, ať už to byly LP nebo později CD. To byl celosvětový trend, počet nahrávacích společností té doby byl ohromující. Nahrávali jsme téměř všechno: komplety Mahlera, Dvořáka, instrumentální koncerty, komplety oper. V té době bylo ve filharmonii běžné, že jsme na pódiu seděli 7 hodin denně: dopoledne orchestr 3 a půl hod. zkoušel, odpoledne bylo nahrávání. Často byla nahrávací frekvence také v den koncertu, které byly 3 v týdnu, často také v sobotu. Zdeněk Tylšar toto vše odehrál bez asistenta a tzv. střídače, prostě vždycky hrál všechno výhradně sám. Samozřejmě kromě orchestru měl ještě mnoho vlastních sólových projektů, dvojkoncerty, hrál v komorních ansámblech. Bez nadsázky mohu říci, že po těch 40let kariéry hrál doslova od rána do večera“.
BT: „Ano je tomu skutečně tak. Často jsem za něj musel řešit „administrativu“, když se mu více projektů anebo třeba zahraničních cest sešlo v jednom termínu“
ZD: „Děkuji za rozhovor a přeju vše dobré“
TWO HORNS ON STAGE
A Conversation with Bedřich Tylšar
by Zdeněk Divoký
We are sitting in a cozy cafe in Prague having a chat with Bedřich Tylšar (b. 1939), Czech horn player and pedagogue. Between the years 1965 and 2000, he and his brother Zdeněk (1945-2006) performed as a horn duo in famous concert halls around the world.
The list of concertos for two horns that they recorded (LPs and CDs) still remains exclusive and unique. Thanks to the two brothers, Czech classical horn pieces by Rosetti, Fiala, Rejcha, and Pokorny, together with those of world-renowned composers (Telemann, Vivaldi, L. Mozart, J. Haydn), became widely known.
I can remember listening to the first recording of the Vivaldi, Telemann, and Haydn double concertos by the Tylšar brothers (published on the Supraphon label), around 1973. I was a conservatory student, and the recording bewitched me on the spot; the easy subtlety of first horn by Zdeněk Tylšar, together with the agile distinctness of second horn by Bedřich, connected into a horn harmony of phenomenal delicacy.
At that time, I made my personal decision: I wanted to reach this ideal, to achieve the interpretations (by then members of the Czech Philharmonic), and above all, to master the horn.
Today we are talking together, and I ask:
ZD: You were two brothers, playing the same instrument and studying with the same teacher, Prof. František Šolc at the Janáček Music Academy in Brno, and later you both became members of the Czech Philharmonic orchestra. The connection is obvious; nevertheless, how did you begin performing double concertos?
BT: Sometime around 1962, I visited a music shop in Brussels, Belgium. Apart from sheet music, they also offered the possibility of listening to recordings. Suddenly, I heard two horns—I believe it was Haydn. I do not remember who was playing, but it was beautiful. I realized that these instruments blend together perfectly thanks to the abundance of harmonic overtones, and I decided to pursue this idea. I began to explore both Czech and foreign archives, contacted many colleagues (e.g., Edmond Leloir), and gathered the music. The entire 18th century proved to be very rich in this genre. The first performance with my brother was in Olomouc in 1964, and we played the Concerto in E-flat by Antonio Rossler-Rosetti.
ZD: The music in baroque and classical double concertos is sometimes very demanding from the technical point of view. Considering the fact that the original interpreters were playing on natural or inventions horns, it is obvious that their technique must have been excellent.
BT: Agreed. Whether we mention Houdek and Hampel, the representatives of baroque clarino style in Dresden (Germany), or later Palsa and Thürrschmid, then Nagel and Zwierzina in Oettingen-Wallerstein, the quality of their playing must certainly have been a great inspiration for the composers.
ZD: I would like to mention another early classical Czech composer, famous in Italy in the second half of 18th century, Josef Mysliveček (Mysliweczek, 1737-1781). He did not compose a horn concerto, but his sparkling Aria in Dis for coloratura soprano and horn with orchestra is a perfect example of the contemporary virtuoso style. Recently, I saw a new Czech film, Il Boemo, a biographical movie about Mysliveček, and this wonderful aria from the opera Bellerofonte is used there. Mysliveček’s compositions vary between baroque grandness and classical high spirit, resulting in a deep sense of beauty.
BT: Definitely. Mysliveček studied composition with František Václav Habermann (1706-1783), who was then a recognized composer. He composed horn parts in the German baroque style, similar to Bach, Händel, or Zelenka. Mysliveček adapted this style and added his own ideas.
ZD: Looking at old photos from your first concerts (around 1970), I can see that you and your brother both played Alexander 103 horns. This was not common in Czechoslovakia at that time, was it?
BT: Certainly not. The first generations of Czech horn players after WWII played instruments made by Knopf, Kruspe, or Josef Lídl. Luckily, during my time in Germany (two years as solo horn with the Munich Philharmonic, 1967 – 69), I met in person with Anton Alexander, executive of the Alexander company in Mainz. Soon after, we started to play the 103 models. Mr. Alexander often came to our concerts in Germany. I still highly value his friendship.
ZD: I would also like to remember your brother Zdeněk, my colleague in the Czech Philharmonic for more than 30 years. For me, he was the ideal of talent, energy, and musicality. When I entered the Czech Philharmonic in 1979, he was playing solo horn, and I started at the position of third horn.
At that time (1970-2000), we experienced an intense boom of recording, first LPs, later CDs. It was a worldwide trend, and the number of recording labels was huge. We recorded almost everything: sets of Mahler, Dvořák, numerous concertos, and operas. Then, it was quite normal to play seven hours a day: a three-and-a-half-hour rehearsal in the morning, a recording in the afternoon. Quite often, we even recorded on concert days, since we performed three concerts per week on Thursday, Friday, and Saturday. Zdeněk Tylšar was able to play everything without alternation, always performing everything by himself. Of course, apart from the orchestra, he had many personal solo projects, and double concerto and chamber ensemble performances. We can say, without exaggeration, that in his forty-year career he played virtually from morning until night.
BT: I remember I often had to deal with the paperwork on his behalf when several projects or foreign trips overlapped.
ZD: It has been a great pleasure to have this interview with you.
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Bedřich Tylšar (b. 1939), Czech horn player and pedagogue
"The brothers Bedrich and Zdenek Tylsar are the leading exponents of a long Czech tradition of French horn-playing. Both graduated from the Janáček Academy of Musical Arts and after winning prizes in prestigious competitions in Europe became members of the acclaimed Czech Philharmonic Orchestra."
Röntgen’s Aus Jotunheim
by Paul van Zelm
For several seasons around the year 2000, I played a beautiful program with the oboist Maarten Karres and his wife Ariane, based on the friendship between Julius Röntgen and Edvard Grieg. We played Röntgen's oboe sonata, several songs, and some piano works by Grieg, including the piece Sehnsucht nach Julius, dedicated to Röntgen (later called Resignation op. 73 no. 1). As the main work for horn, I played the suite Aus Jotunheim for horn and piano, a five-part work based on Norwegian folk music. To explain the friendship between Grieg and Röntgen, we read aloud letters and fragments from a biography.
The two composers met in Leipzig in 1875. When Grieg visited Amsterdam in 1883, Röntgen invited him to stay with him. The plan was for Grieg to stay for one day, but Grieg wrote to Röntgen: "I am looking forward to seeing you and your wife again. Please make sure that this one day lasts 48 hours!" Things went differently, and Grieg ended up staying with Röntgen for a whole month. From that point, the two composers were connected by a warm friendship until Grieg's death in 1907.
In the years that followed, Röntgen would travel to Norway to visit Grieg no fewer than 14 times, usually in the summer. They undertook days-long hikes in the Jotunheimen mountains, always using the occasions to listen to Norwegian folk songs and commit them to paper. Röntgen wrote about this: "Jotunheim is a world of its own, inhabited only by shepherds in the summer. The journey with Grieg was by horse-drawn carriage and rowboat across the Sognefjord to Skjolden. These were warm afternoons in August, and lying on hay bales, we let the grand landscape pass us by." Later, Franz Beyer, a friend and traveling companion of Röntgen, wrote: "After spending the night in a mountain hut, we were allowed to go to the meadow to milk cows. Naturally, the Norwegian folk songs were sung during this activity, transcribed holding the manuscript paper on the backs of the animals, so they were 'almost fresh from the cow!'"
From these songs and melodies, the Suite "Aus Jotunheim" was created in 1892, initially for violin and piano as a gift for Grieg and his wife Nina's 25th wedding anniversary. In 1901, the version for horn and piano was written for the well-known Viennese hornist Luis Savart. Röntgen also wrote another work for Savart: Variations and Finale on Sankt Nepomuk.
In the concerts previously mentioned, I played the piece from the manuscript, which is currently located at the Dutch Music Institute in The Hague.
In 2003, a printed version was released by John Smit (who happened to be my first horn teacher). When I recorded a number of short videos to publish on the internet in the fall of 2022, it was a logical choice for me to include some parts of the Jotunheim Suite: in its genre (high Romanticism), the piece is a valuable addition to our repertoire.
A Glimpse into Montréal’s Musical History
by Eric St-Pierre
Montreal International Jazz Festival (photo: gonzai.com)
Montrealers have always had great influence in the music industry, both locally and on the international scene.
From 1929 to 1950, the New York Metropolitan Opera’s primary conductor of French repertoire was Wilfrid Pelletier, founding conductor of the Orchestre Symphonique de Montréal. Pelletier also founded the Conservatoire de Musique et d’Art Dramatique du Québec, where many successful musicians have been trained, including Joseph Masella, principal horn in the OSM from 1943 to 1969. Fun fact: for a while, Joseph and seven of his brothers—Raphael (clarinet), Pietro (oboe), Rodolfo (bassoon), Alfred and Mario (violin), and Paul and Giulio (horn)—were all playing in the OSM at the same time!
Montréal has always been one of the hottest jazz cities in North America. During the US Prohibition of the 1920s and ’30s, Montréal was one of the few places where you could still legally buy alcohol...which made our nightclubs and cabarets flourish. Montréal’s reputation was so infamous that it was nicknamed "Sin City!" This environment helped create famous Montréal-born jazz artists like Oscar Peterson, Maynard Ferguson, and Oliver Jones. Nowadays, Montréal's International Jazz Festival is the biggest annual jazz event in the world, taking place each year in June, with over 500 indoor and outdoor shows.
1969 provided a notorious moment in Montréal’s musical history: it was during that spring that John Lennon and Yoko Ono held their famous “bed-in” protest against the Vietnam war. This is where they recorded the song Give Peace a Chance live from their bed at the Fairmont Queen Elizabeth Hotel. You can still rent the mythical room, but you will have to spend a few thousand dollars a night (and even in Canadian dollars, that’s a lot)!
Over the last few years, many musicians and performers from Montréal have loomed large on the international scene. Celine Dion, for example, was born and raised in the suburbs of Montréal, but other famous artists are linked to our city: singer-songwriters Leonard Cohen, Rufus and Martha Wainwright, and Elisapie; concert pianists Marc-André and Charles-Richard Hamelin; members of the rock bands Simple Plan and Arcade Fire; and conductor Yannick Nézet-Séguin, to name a few. This diversity has made Montréal a rich and fertile environment for musicians in many genres.
Speaking of maestro Nézet-Séguin, we are happy to announce that he will be conducting a concert as part of IHS 55 in partnership with the Festival de Lanaudière and the Orchestre Métropolitain. This concert will feature IHS 55 artists Sarah Willis, Stefan Dohr, Yun Zeng, and host Louis-Philippe Marsolais performing Schumann’s Konzertstück as well as Strauss’ Alpine Symphony.
Maestro Yannick Nézet-Séguin (photo credit: © Orchestre Métropolitain)
A lawn-section ticket for this concert is included with your full registration to IHS 55 (with upgrades possible on demand, according to availability). Register now for IHS 55 at www.ihs55.org. More information on the concert is available at Strauss au sommet – Festival de Lanaudière (lanaudiere.org)
Pedagogy Column—Find Your Voice
by Arkady Shilkloper
I played in orchestras for twelve years in Moscow, and while that was a great experience, it made me want to find my own unique voice in music and in horn playing. I mostly now play music that I write or improvise—even if I’m playing a piece someone else wrote for me, I’ll put my own stamp on it.
Every horn player can find his or her own voice on the instrument. I like to have students get away from printed music, but of course telling a student to just start improvising is very unhelpful. A good starting point is to imitate, on the horn, sounds that you hear in the real world. It could be whale sounds, or car alarm sounds, or sheep, dogs, cats, wolves, trucks, screams, or anything else. The point is to make your horn sound like something else instead of trying to play notes that someone else wrote.
Another great exercise is to imitate the intonation of human speech. By “intonation” I don’t mean playing in tune, but rather the ups and downs we make with our voice as we speak. For instance, you might say, “I learned something interesting at school today.” When I say that sentence, my voice goes a little higher on the words “interesting” and “school.” Also, there is a rhythm to the words: they don’t all come out as even eighth notes—not even close. You can use pitch and rhythm on the horn to imitate that sentence or any other sentence. Start by saying what you want. Next: repeat it with your voice, but without words, just with rhythmic pitches. Now play it on your horn, in the same way. This is a way to give yourself permission to just play, without playing something that someone told you to play!
There is an interesting practice called sound painting developed by Walter Thompson. It comprises a large set of hand gestures that the Soundpainter (who is the composer/conductor) gives to the players. You can look at the gestures on the website or develop your own. Get into a group of players who want to improvise, and develop gestures for long note, short note, high note, low note, do something different, faster, slower, and so on. The gestures, in other words, give a context and direction to the players, which is easier than just making music up from scratch.
As you do this in a group, start responding to what each other is playing. And start paying attention to what you are playing. What kinds of musical gestures come out of your bell? What kinds of sounds? You are developing your own musical voice!
You can also work on your body’s sense of rhythm. Think of a slower tempo in 4/4 time. Sit in a chair and tap beat 1 with your left foot. Then add beats 1 and 3 with your right. When you can do that, use your left hand to tap quarter notes on your left knee. When you can do all three of these things together, add eighth notes in your right hand on your right knee. It’s hard, but you are learning to coordinate your body according to its sense of rhythm.
As you develop your body’s sense of rhythm, you can apply that sense to the music you improvise. You are becoming more and more coordinated: experiencing rhythm will become a full-body experience. The music that comes out of your bell can be informed by that sense of rhythm, so that you aren’t playing random notes at random times, but notes that flow with your own rhythmic logic.
At this point, you will be finding your musical voice. And all of this work will make you a better horn player, too, no matter what kind of music you are playing.
Composer Spotlight—Claude Arrieu
by Caiti Beth McKinney
Hello everyone!
For our April edition, I want to introduce you to a composer with whom I only recently became acquainted: Anne-Marie Simon, or as she is more widely known, Claude Arrieu. Born in Paris in 1903, Arrieu became a student at the Conservatoire de Paris in 1924 where she studied piano and composition with famous teachers such as Paul Dukas. There seems to be little agreement on why Arrieu chose to adopt a pen name, but a certain possibility is that her mother was also a composer who went by several different pen names, including Cecile Paul Simon, Guy Portal, and John Rovens. The second possibility is that all of these pen names use traditionally male first names, although Claude was occasionally a woman’s name as well. While this is speculation, it is quite possible to see how the choice to adopt male names could have been attempts to avoid the sexism rampant in the composition world during the 19th and early 20th centuries. While she is, unfortunately, not well-known today, she achieved a high level of success in her career prior to her death in 1990. Her extensive catalogue includes twelve operas, film and radio music, as well as chamber and solo works.
Arrieu wrote several pieces that feature the horn, including (as of now) an unrecorded piece for solo horn and piano entitled Le Coeur Volant. Since it is available to purchase, I hope someone will take up the challenge and get us a recording! More well-known is her Wind Quintet, written in 1955, which exemplifies the French neo-classicism popular during this period. In the movements of this work, the listener can hear elements pulled from jazz, Impressionist composers like Debussy and Ravel, and much more. Check out a recording and enjoy!
Röntgen: Aus Jotunheim
Röntgen: Aus Jotunheim
door Paul van Zelm
Rond het jaar 2000 speelde ik enkele seizoenen lang met de hoboist Maarten Karres en zijn vrouw Ariane een prachtig programma, rondom de vriendschap tussen Julius Röntgen en Edvard Grieg. Gespeeld werden de hobosonate van Röntgen, enkele liederen en pianowerken van Grieg, waaronder het stuk „Sehnsucht nach Julius“, opgedragen aan Röntgen (later “Resignation“ opus 73 nr. 1). Als hoofdwerk voor de hoorn speelde ik de suite Aus Jotunheim voor hoorn en piano, een vijfdelig werk, baserend op noorse volksmuziek. Om de genoemde vriendschap tussen Grieg en Röntgen toe te lichten, lazen we brieven en fragmenten uit een biografie voor.
De beiden komponisten maakten in 1875 kennis in Leipzig. Toen Grieg in 1883 Amsterdam bezocht, nodigde Röntgen hem bij zich thuis uit om te verblijven. Het plan was, dat Grieg 1 dag zou blijven. Grieg had Röntgen geschreven: „ik verheug me er bijzonder op, u en uw vrouw weer te ontmoeten. Zorg er altublieft voor, dat die ene dag 48 uur duurt!“ Het liep anders: Grieg zou een hele maand bij Röntgen blijven. Sindsdien waren de beiden Komponisten door een warme vriendschap verbonden, tot Griegs dood in 1907.
In de jaren daarna zou Röntgen maar liefst 14 keer naar Noorwegen reizen om Grieg te bezoeken, meestal in de zomer. Er werden dan dagenlange trektochten door het gebergte „Jotunheimen“ ondernomen, telkens ook met het doel, Noorse volksliederen te horen en deze op papier te zetten. Röntgen schreef hierover: „Jotunheim is een wereld voor zich, slechts in de zomer door herders bewoond. Met Grieg samen ging de reis per paardenkar en een roeiboot over het Sognefjord naar Skjolden. Het was een warme namiddag in augustus en we lieten, liggend op hooizakken, het grootse landschap aan ons voorbijtrekken.“ Later schreef Franz Beyer, vriend en reisgenoot van Röntgen, het volgende: „Na de overnachting in een berghut mochten we mee de wei op om de koeien te melken. Ook daarbij werden natuurlijk de Noorse volksliederen gezongen en deze werden nog tijdens het zingen, met het notenpapier op de rug van de koe liggend, quasi „vers van de koe“ opgeschreven!“ Uit deze liederen en melodieën is in 1892 de Suite „Aus Jotunheim“ ontstaan. Aanvankelijk voor viool en piano, als geschenk voor het 25 jarig huwelijk van Grieg en zijn vrouw Nina. In 1901 was de versie voor hoorn en piano, voor de bekende weense hoornist Luis Savart geschreven. Voor Savart schreef Röntgen nog een werk: Variationen und Finale über „Sankt Nepomuk“.
In de bovengenoemde concerten speelde ik het stuk uit het manuscript, dat zich tegenwoordig in het Nederlands Muziek Instituut in Den Haag bevindt.
In 2003 verscheen een gedrukte versie van de hand van John Smit (die heel toevallig ook mijn eerste hoornleraar was). Toen ik in de herfst van 2022 een aantal korte video ́s opnam om op het internet te publiceren, was het voor mij een logische keuze om enkele delen van de Jotunheim Suite op te nemen: in zijn genre (hoogromantiek) is het stuk een waardevolle aanvulling op ons repetoire.
