in briefrelease
28.05

A Violinist with Fire in His Bow

Darragh Morgan, Ulster Orchestra & David Brophy: »Spin – New music for Violin & Orchestra from Northern Ireland«
© Brian Morrison
© Brian Morrison

There is nothing quite like true enthusiasts. They champion composers and works that might otherwise have remained dormant. Here we have the exuberant violinist Darragh Morgan, who since the age of fifteen (!) has promoted and performed contemporary music. He knows what works and has a keen instinct for new pieces and composers – especially on this album with the not exactly catchy title Spin – New Music for Violin & Orchestra from Northern Ireland. Four relatively recent violin concertos, all centred around Morgan as soloist. Two of them are dedicated to the musical firebrand himself.

There is fire in Brian Irvine’s violin concerto À mon seul désir from the very beginning, where sparkling motifs and riffs erupt everywhere. Almost too much energy and activity – but it works, and all the fierce gestures are carefully balanced. The movement is titled »With a big life embracing energy«. Concrete and descriptive – the Irish leave the grand spheres of abstraction to the contemporary music scene in Central Europe. I have replayed the dramatic climax of the second movement several times out of sheer enthusiasm, and the entire concerto (which lasts only fifteen minutes) ends with angelic beauty on Morgan’s highest, finest strings.

Ryan Molloy’s three-movement violin concerto, stretching beyond twenty minutes, by contrast tends to drift somewhat aimlessly, although the final movement reaches a strong level. Bill Campbell’s Swim is unmistakably Irish in tone throughout, conjuring images of rolling fields and the proud Irish landscape. Midway through the quarter-hour work, Darragh Morgan delivers a heartfelt and expansive solo cadenza. 

Fortunately, Frank Lyons’s Spin 3 is also a small gem, leaving the listener uplifted by this new Northern Irish music performed by the Ulster Orchestra and the fascinating Darragh Morgan, whose deep personal dedication gives so much to the music.

English translation: Andreo Michaelo Mielczarek

 

© PR

»For me, music is an emotional refuge. When I sit at the piano I feel safe, it's where I can release everything I carry inside. It's not about performing, it's about being honest, vulnerable and free.«

Samanta Yubero, known artistically as Samyula, is a composer, pianist, and neuroscientist based in Barcelona. Trained as a classical pianist and holding a PhD in her scientific field, Samyula bridges the worlds of art and science in her work. Her music – often within neoclassicism – blends both serene and intense piano melodies with vivid, dynamic string arrangements, creating emotionally resonant and immersive soundscapes. With a deep passion for both composition and performance, Samyula offers audiences a uniquely powerful and moving experience.

© PR

»Music is the ultimate gateway to presence, a true expression of the moment.«

Praised by DownBeat Magazine as one of Europe’s most versatile and inquisitive musicians, Polish-born, Scandinavian-based trumpeter and composer Tomasz Dąbrowski creates music that whispers before it screams – blending open, lyrical melodies with raw, unconventional trumpet sounds. Dąbrowski has revealed an unceasing curiosity, stretching and expanding his jazz roots in an ever-widening circle of exploration. From the beginning he’s rejected hierarchies, preferring to see creative music as a boundless practice that can accommodate ideas drawn from every spot on the stylistic map. While plenty of musicians pivot toward new directions, sometimes transforming their aesthetic wholesale, Dąbrowski has long revealed a more ruminative and holistic mindset that has allowed him to retain a clear artistic identity through countless projects, whether driven by improvisation or composition. 

© Malthe Ivarsson

»Music is where my heart is. The place where I feel the most freedom and possibility to express myself. It's also the place I seek to when I need to calm down.«

Anna Roemer is a Danish guitarist and composer from South Zealand, now based in Copenhagen. She has performed with artists like Hannah Schneider, Jacob Bellens, and Guldimund. Together with saxophonist Cecilie Strange, she forms the acclaimed duo K A L E II D O, known for music that constantly evolves. The duo has received national and international praise and won the Carl Prize for »Jazz Composer of the Year« for their albums Elements and Places (2024).

in brieflive
02.06.2025

Not the Royal Rock Star We Might Have Wished For

David M. A. P. Palmquist: »King Frederik X’s Honour March«
© Kongehuset
© Kongehuset

Surely, I can’t be the only one who nearly choked on my oyster on New Year’s Eve, when King Frederik X delivered his first New Year’s speech. What a modern take on the old tradition! Instead of sitting solemnly at a desk, he calmly walked into the room – a room demanding attention, where a futuristic mural stole the show. I could barely focus on the speech itself, distracted by the psychedelic imagery behind him: a visual nod to Yellow Submarine by The Beatles. Was this a sign of a rock star ascending the throne?

Wishful thinking, as it turned out. The speech turned into a parade of predictable platitudes. The same can be said about the King’s new Honour March, composed by David M. A. P. Palmquist, former conductor of the Royal Danish Life Guards Music Corps. A traditional and sluggish piece that plays it entirely by the book.

Since H.C. Lumbye gifted a march to Frederik VII in 1861, it has been a tradition for members of the royal family to be granted personal marches. Take the lively and self-ironic Parade March for Queen Margrethe, which includes quotes from both »I Danmark er jeg født« and »Daisy Bell«. Or Crown Prince Frederik’s brisk and quirky Honour March in 6/8 time – written by Fuzzy for the now-King’s 30th birthday – tipping its hat to Carl Nielsen’s »Som en rejselysten flåde«.

But where is the personal character in Palmquist’s march? The composer approaches the task far too conceptually, attempting to give the piece a musical signature with a kind of rebus at the beginning. The first note is an F, followed by one ten steps higher – thus spelling »Frederik the 10th« in musical code. The many references to other military music are just as internal. What’s missing is something that breaks with protocol – just like King Frederik himself has done in his most memorable and beloved moments. In the end, it sounds like a march that has forgotten who it was written for.

English translation: Andreo Michaelo Mielczarek. Proofreading: Seb Doubinsky

© Clement Beauvais

»Music exploration and creation is not limited to notes, timbres and traditional structures, but extends to everything that shapes the listening experience.«

Alexandre Bazin is a French musician, and documentary producer, active in the experimental music scene at the fringes of GRM. His music is published by Important Records, Umor Rex Records, and Constructive. Bazin began his musical journey early, first studying classical piano at the conservatory before exploring jazz and electroacoustic music. The study of other musical languages has opened new perspectives and led him to rethink music beyond its traditional structures. He discovered a world where sound becomes raw material, and where production plays an essential part. This exploration revealed to him that music creation transcends notes and timbres, encompassing all elements that shape the listening experience, with sound engineering playing a pivotal function in this process. Bazin produces monthly documentaries for Radio France and GRM (Groupe de Recherches Musicales), chronicling the history of the experimental scene from its origins to the present.