Futrell: Stabat Mater Eirin Rognerud, Astrid Nordstad, ERJUNGENSEMBLE & Lars-Erik ter Jung

• Tyler Futrell (b. 1983): Stabat Mater: 1. Prelude:
• 1Futrell: Stabat Mater: 1. Prelude: Crossbeam, nails01:21
• Stabat Mater:
• 2Futrell: Stabat Mater: 2. Stabat Mater dolorosa03:36
• Stabat Mater: 3. Interlude:
• 3Futrell: Stabat Mater: 3. Interlude: Pierced01:10
• Stabat Mater:
• 4Futrell: Stabat Mater: 4. O quam tristis01:45
• 5Futrell: Stabat Mater: 5. Quae moerebat et dolebat01:30
• 6Futrell: Stabat Mater: 6. Quis est homo02:31
• 7Futrell: Stabat Mater: 7. Eja Mater, Pt. 102:08
• 8Futrell: Stabat Mater: 7. Eja Mater, Pt. 203:40
• 9Futrell: Stabat Mater: 8. Fac me vere tecum flere02:32
• 10Futrell: Stabat Mater: 9. Fac me plagis vulnerari02:45
• 11Futrell: Stabat Mater: 10. Lullaby02:00
• 12Futrell: Stabat Mater: 11. Quando corpus morietur04:07
• Brittle Fluid:
• 13Futrell: Brittle Fluid11:20
• Vuggesang:
• 14Futrell: Vuggesang11:27
• Total Runtime51:52

Info for Futrell: Stabat Mater

TERJUNGENSEMBLE has recorded what is to become their fourth album, namely "Stabat Mater" by Tyler Futrell, a brilliant work that the ensemble commissioned, premiered and played several times in 2022, for BIS record (now part of Apple Music Classical). The recording will be released in the fall, also featuring "Brittle Fluid" and "Vuggesang" ("Lullaby", with cellists Ingvild Nesdal Sandnes and Ulrikke Henninen). Soloists are Eirin Rognerud, soprano and Astrid Nordstad, mezzo soprano; sound engineer is Sean Lewis. A great pleasure to work with Futrell's music!

Eirin Rognerud, soprano
Astrid Nordstad, mezzo-soprano
Ingvild Nesdal Sandnes, cello
Ulrikke Henninen, cello
Lars Henrik Johansen, harpsichord
TERJUNGENSEMBLE
Lars-Erik ter Jung, conductor

Eirin Rognerud
from in Norway, finished her education at The Juilliard School in December of 2022, where she was a recipient of the prestigious Kovner Fellowship. Prior she was the youngest singer ever admitted to Barratt Due’s Bachelors program in Oslo, Norway.

2022 she was named a New York district winner of the Metropolitan Laffont Competition, and in 2016 she won the Midgard Music Competition. She has attended programs such as Music Academy of the West (MARLI), Opera by the Fjord, Renée Fleming’s Carnegie SongStudio, and Edith Wiens’ program Internationale Meistersinger Akademie both in 2019 and 2022. She has sung with orchestras such as Münchner Rundfunkorchester, Nürnberg Symphony Orchestra, The Royal Norwegian Navy Band and Drammen Symphony Orchestra. In 2022 she recorded Mendelssohn’s Elias with Münchner Rundfunkorchester & choir and Howard Arman as a soprano soloist. Her operatic roles include Amelia in Menotti’s Amelia al Ballo, Sandrina in Haydn's L’infedelità Delusa at The Juilliard School and Morgana in Handel's Alcina at Saluzzo Opera Academy.

From the fall of 2023, Eirin will be a part of the Opera Studio des Bayerische Staatsoper, where she will be performing roles such as Barbarina in Mozart’s The Marriage of Figaro, Papagena in Mozart's The Magic Flute, Giannetta in Donizetti's The Elixir of Love, and Sister Genovieffa in Puccini's Sister Angelica.

Astrid Nordstad
is a Norwegian mezzo-soprano born in Trondheim. Well-known in her home country as a recipient of the Tom Wilhelmsen Opera Prize 2022, the most important prize of its kind in Norway, she is making her way onto the operatic and concert stages in Europe.

In the 2023/24 season, she will return to the Royal Opera in Copenhagen to sing the role of Olga in Onegin. At Norwegian National Opera, she will sing Suzuki in Madama Butterfly and revive the role of Tisbe in La Cenerentola. On the concert stage, she will sings her first Wesendock-Lieder by Wagner at the Dresdner Musikfestspiele with the Dresden Festival Orchestra and Marc Minkowski and she will sing the part of Cleofe in Händel’s La Resurrezione with Marc Minkowski and Les Musiciens du Louvre in Aix-en-Provence and at the Elbphilharmonie in Hamburg. She will make her debut at the Concertgebouw in Amsterdam singing Bruckner’s Mass in f minor with the Dutch Radio Philharmonic Orchestra led by Sascha Goetzel, and will sing Händel’s Messiah with the Aalborg Symphony Orchestra, among other concert engagements.

In the 2022/23 season, she appeared as Olga in Onegin and as Ruth Sherwood in Wonderful Town at Norwegian National Opera, as Tisbe in La Cenerentola at the Royal Danish Opera, and as Dritte Dame in Die Zauberflöte at Bergen National Opera. Her concert highlights were Mahler’s Rückert-Lieder with the Arctic Philharmonic and Mahler’s Symphony no. 3 with the Real Orquesta Sinfónica de Sevilla and Marc Soustrot, and Das Lied von der Erde with the Orquesta Sinfónica de Castilla y León.

She recently debuted the title role of Carmen with the Helgeland Sinfonietta, Baba the Turk in The Rake’s Progress at the Oslo Opera Festival, and Rossini in Il barbiere di Siviglia for Ringsakeroperaen. Other recent highlights include Ravel’s Shéhérazade with the Trondheim Symphony Orchestra led by Marc Soustrot, Mahler’s Lied von der Erde with the Kristiansund Symphony Orchestra, a performance at the Kirsten Flagstad 125 year memorial concert, and Mahler's Rückert-Lieder with the Danish Chamber Orchestra led by Ádám Fischer. From 2018-2020 she was a member of the Norwegian National Opera Young Artists’ Programme, where she performed Maddalena in Rigoletto and Badessa in Suor Angelica, Mercedes in Carmen, Masha in Queen of Spades and Tisbe in La Cenerentola.

As an active concert singer, Astrid has performed the solo part in works such as Händels Messiah, the Johannes Passion and Weihnachts Oratorium of Bach, and works such as Mahler’s Lieder eines fahrenden Gesellen and the Rückert-Lieder. As a recitalist, she has sung recitals at Grieg’s birth house, and is featured on a recording of Peter Heise: The Song Edition Condensed. In her native Norway she is a highly sought-after performer of Griegs Haugtussa song cycle.

Raised in the city of Trondheim, her first musical experiences where in the Nidaros Cathedral Girls' Choir. She moved to Oslo to study singing at the Norwegian academy of Music, where she was chosen to participate in the prestigious opera program at the Oslo National Academy of the Arts (ONAA). She went on to study at the Opera Academy in Copenhagen, Denmark, where she was coached by the renowned voice teacher Susanna Eken. In 2019 she reached the semi-finals of the Queen Sonja International Music Competition in Oslo, where she was awarded the Ingrid Bjoner Scholarship as the best Norwegian participant that year.

TERJUNGENSEMBLE
has established itself as a chamber orchestra with a distinctly contemporary profile and as an important player on the Norwegian music scene. The ensemble aims to contribute to the enrichment of the contemporary repertoire by regularly commissioning new works. New music appears on its concert programmes alongside historically important works, creating a dialogue that is both contrasting and stimulating. Founded in 2019, the ensemble quickly established itself after COVID restrictions were lifted, thanks to the quality of its performances, both in concert and on disc.

The group has premièred numerous works, several of which have been performed at the Ultima Oslo contemporary music festival. Tyler Futrell’s Stabat Mater and the projects built around this work in 2022 have helped to make TERJUNGENSEMBLE one of today’s leading independent ensembles of its kind.

Also prizewinning new pieces like “Fleurs” by Jan Erik Mikalsen and “Å vere I livet” by Agnes Ida Pettersen, along with works by Jon Øivind Ness (“Vóren”), Martin Ødegaard (“Woods”) and Ørjan Matre (“Three songs after Ragnar Vigdal”) has lifted the ensemble forward and given it a larger focus.

The release of the “Stabat Mater” album on BIS records in September this year, will be the ensemble’s fourth record in relatively short time; the previous albums “Kimen” (2020), “Den annen sang” (2021) and “Vóren / Fleurs” (2023) are all on the Norwegian label Fabra.

TERJUNGENSEMBLE is generously supported by the Arts Council of Norway.

Tyler Futrell
Originally from northern California, Tyler Futrell is an eclectic Oslo-based composer. His music attempts to synthesise almost contradictory historical branches yet his goal remains to write coherent music combining intellectual interest and perceptual fascination. His influences include musique concrète instrumentale, sacred minimalism, late romanticism, spectral music, formalism, and contemporary choreography and theatre. Tyler Futrell’s Stabat Mater immerses us in the rich history of this religious text. Preserving the melancholic beauty of the Stabat Mater settings composed over the last 600 years, Futrell exposes aspects that have previously been obscured and incorporates the concept of the glorification of suffering more generally, alluding to Samuel Barber’s Adagio. A modern take on a sacred text, and music that raises such questions as ‘why so beautiful?’ and ‘can we tolerate this beauty?’. Two other works by Futrell are also included. Vuggesang – ‘lullaby’ in Norwegian – is a meditative piece directly linked to a quotation from Brahms’s famous piece in the Stabat Mater. Brittle Fluid is also thematically and causally linked to the Stabat Mater. The title evokes a frozen waterfall, and the composer wanted to represent something both static and dynamic in which death is also present, inspired by Tarjei Vesaas’s novel The Ice Palace.

Booklet for Futrell: Stabat Mater