Ici, le jour se lève
p r e m i e r e
Bosba (b.1997) is a Cambodian, Western-educated composer. Influenced by French expressionism, European sacred music and American minimalism, her music explores the theme of loss and sacrifice while being accessible to an audience that ranges from music connoisseurs to amateurs. Prior to composition, Bosba began her career in Cambodia as a traditional folk singer at the age of 7. Her parents managed her vocal career. Their collaboration with Cambodian artists led to performances at venues such as Angkor Wat, the 13th-century UNESCO heritage site of temples. Bosba moved to the United States in 2012 to further her studies. She attended the Walnut Hill School for the Arts and now attends the New England Conservatory of Music in Boston, MA studying with Michael Gandolfi and Ken Schaphorst. Amongst her musical influences are Herbert Howells, Benjamin Britten, Leonard Bernstein, Debussy, Ravel and Philip Glass.
Soir-Matin (evening and morning), composed in 1907 is in two movements. It presents two different moods. A cantabile, singing melody dominates the material in Soir which evokes a mostly calm, peaceful evening atmosphere. In contrast, Matin though quiet, features a restlessness, characteristic of awakening, which is continually heard in the sparkling running notes of the piano. It is full of chromaticism and unusual modulations that push but to not pass the boundaries of traditional tonality
5 Stücke im Volkston, Op.102
(5 Pieces in Folk style)
The Five Pieces were written by Schumann in 1849. If there is one word to best describe the character of the Volkston pieces, it might be mellow. All are melodically appealing and exude a tranquility throughout. All these pieces are worthwhile, with Schumann's deft imagination never failing to enchant.
Piano Trio Op. 11
I. Allegro molto vivace
II. Andante espressivo
III. Lied. Allegretto
IV. Finale. Allegretto moderato
The Piano Trio in D minor, Op. 11, of Fanny Mendelssohn Hensel was arguably the greatest work by Felix Mendelssohn's sister. The Trio was conceived between 1846 and 1847 as a birthday present for her sister, and posthumously published in 1850, three years after the composer's death.
Finale note regarding memories of Clara Schumann
While it was rare for a woman to become a significant composer in the European tradition of classical music before the 20th century, there are noteworthy examples. It is generally accepted that one of the very first composers distinguished from the anonymity of the early medieval period was in fact female: Hildegard von Bingen (1098-1179), the "Sybil of the Rhine", who left a significant legacy of over 80 pieces in a highly unique style. The Florentine Francesca Caccini (1587- c.1640) was an influential lutenist, singer, teacher and composer who became the first female to compose an opera. France produced at least two 19th century women composers of note, both of whom wrote chamber music: Louise Farrenc and Pauline Viardot. When Clara Schumann, at the tender age of 20, chastised herself for being a woman with the misguided impulse to compose, her contemporary, Fanny Mendelssohn, sister of Felix, had already written a piano quartet and a string quartet among other works. Whatever the context, sincerity or intent of Clara's words at the time, she would continue to compose, ultimately producing well over thirty works including character pieces for piano, a concerto, several lieder, three Romances for violin and piano and, what is regarded as her greatest achievement, the Piano Trio in g minor, Op. 17, written in 1846 when she was twenty-seven. From a larger perspective of her multi-faceted musical life, it is clear that Clara Schumann was one of the most outstanding and influential female musicians of the 19th century if not the history of European classical music in general up to that point.