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Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for twenty years sought to draw attention to unexplored repertoire. Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers. At the same time it aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire. Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions. Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, and Schwarzschwanenreich (The Kingdom of the Black Swan), the new catalogue adds Bruder Lustig, which again explores the mysterious medieval world of German legend. Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. -
Klassiske Musik
En tilgang til den klassiske Musik Forord Motivet eller motivationen, for at denne bog er lavet er min store fascination af hele det klassiske område. Bogen er først og fremmest lavet til brug for undervisning, i hele det klassiske område på Radiohandlerskolen. Det har været en umulig opgave, at finde oplysninger på alle de nævnte komponister i bogen. Først og fremmest fordi der næsten ikke findes levnedsbeskrivelser på mange af de "små" komponister. Men de allerfleste er nævnt for at give et helhedsindtryk af hvor mange der virkelig har været. Ideen til bogen fik jeg for snart to år siden fordi jeg manglede overblik over hvad klassisk (se ordliste ) musik egentlig er. Det var denne interesse der gav mig sparket til at få læst og hørt en masse. Min fascination af den klassiske musik har mange år på bagen, og det har derfor været mig muligt at opbygge en forholdsvis stor samling af klassisk musik der går lige fra 1100 tallets middelaldermusik til vores dages klassiske musik. Bogen skal opfattes som en nem tilgang til den klassiske musik. Så derfor har jeg valgt at dele bogen op i de karakteristiske tidsperioder bl. a. Ud fra et historisk synspunkt. Mange musikforskere skændes bravt om hvordan man egentlig inddeler dem. I denne bog er der gået noget let hen over hvorledes man deler perioderne ind fordi, jeg fra starten har valgt at stille bogen op i kronologisk rækkefølge efter år, men for nem hedens skyld er der dog holdepunkter. I indholdsfortegnelsen kan man hurtigt danne sig et overblik over musik perioderne og over komponisterne. -
Piano Trio Literature
GUIDE TO THE PIANO TRIO, • • ' ., ' - J. ..... .... ., -� �.., ., LITERATURE T he Silve rtrust G uide To t he Pia Tr no io Li terat ure ;..{.. ... BY RAYMOND SILVERTRUST EDITOR OR THE CHAMBER MUSIC JOURNAL -1- Table of Contents Introduction and Preface ··································································································· 3 Trios for Violin, Viola and Piano ······················································································ 6 Trios for 2 Violins and Piano ·························································································· 12 Trios for Violin, Cello and Piano ···················································································· 14 Index······························································································································· 82 -2- A Guide to the Piano Trio Literature By Raymond Silvertrust Introduction and Preface incredible number of excellent pieces, many masterpieces in their First, I would like to apologize to my readers. I have hastily typed own right, awaiting a hearing. Of course, not every rediscovered this entirely myself. And as I have no editor and because I am not work by a little known composer is a masterpiece, but one must a good proof reader, you will find many mistakes, largely because remember that not everything Mozart, or even Beethoven, wrote I have felt, now in my seventh decade, that I am racing against the is a masterpiece. The sad thing is that many marginal chamber clock so to speak. I have wanted to make sure that I would be works get performed simply because they are the work of com- able to complete this guide. When it is done, and if I have time, I posers who became famous by virtue of writing operas or sym- will improve it, add to it and, of course, try to eliminate all of the phonies, while a truly superb piece of chamber music by a com- errors I have left behind. -
FINI HENRIQUES Piano Pieces Christina Bjørkøe Melodiske Profiler, Op
FINI HENRIQUES Piano Pieces Christina Bjørkøe Melodiske profiler, op. 38 (Silhouettes) (1911) . 41:48 FINI HENRIQUES (1867-1940) Vedbend (Ivy) ������������������������������������������������������������������������������������������������������������������������������������������������� 1:17 Sorgens vals (Valse triste) ������������������������������������������������������������������������������������������������������������������������� 2:35 Piano Pieces Sommerstemning (In Summertime) ������������������������������������������������������������������������������������������������������� 1:48 Christina Bjørkøe, piano Gedebuk (The Playful Goat) ��������������������������������������������������������������������������������������������������������������������� 0:56 Vemod (In a Sombre Mood). 2:29 Barneblund (Children's Slumber). 1:07 From Aphorismer, op. 6 (Aphorisms) (1876ff.) – IV Jeg elsker (I love). 1:20 Udve (Longing) . 1:53 Billedbogen (The Picture Book) (1899) �������������������������������������������������������������������������������������������26:41 Hønsemorgen (Daybreak) ������������������������������������������������������������������������������������������������������������������������� 2:13 ABC. 1:00 Gratie (Grace) . 1:53 Dukkens vuggevise (Doll’s Lullaby). 1:03 Hurtigløberen (The Sprinter) . 0:26 Blindebuk (Blind Man's Buff) ��������������������������������������������������������������������������������������������������������������������� 0:51 Drillepind (The Tease) ��������������������������������������������������������������������������������������������������������������������������������� -
Works for Violin and Piano Johannes Søe Hansen Christina Bjørkøe FINI HENRIQUES (1867-1940) Kleine Bunte Reihe, Op
FINI HENRIQUES Works for Violin and Piano Johannes Søe Hansen Christina Bjørkøe FINI HENRIQUES (1867-1940) Kleine bunte Reihe, op. 20 (1899) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 17:00 Works for Violin and Piano I Hyrdedrengen (The Shepherd Lad) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:29 II Pantomime �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:00 Johannes Søe Hansen, violin · Christina Bjørkøe, piano III Nikke-dukker (Yes-men)� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:55 IV Menuetto � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3:56 V Myggedans (Mosquito Dance) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1:06 VI Erotik (Eroticism)� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 4:34 Canzonetta, op. 27 (1923) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1:38 Romance, op. 43 (1919) �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2:04 Sorg -
Fini Henriques, Le Sourire Du Danemark
ResMusica.com 1 La série des Danois VI : Fini Henriques (1867-1940) le sourire du Danemark * Jean-Luc CARON * La série des Danois : I : Victor Bendix. Le Danois injustement oublié ; II : Hans Christian Lumbye. Un roi du divertissement au Danemark ; III ; Louis Glass. « Le » post-romantique danois par excellence ; IV : Lange-Müller. Le Danois migraineux ; V : Les Musiciens Danois de L’Age d’Or. Un aperçu. VI ; Fini Henriques. Le sourire du Danemark. VII. Launy Grøndahl. Un grand de la baguette danoise. VIII. Ludolf Nielsen. Le dernier des romantiques danois Les sourires du Danemark est le titre d’un ouvrage de Serge de Chessin paru en 1936 à la Librairie Hachette. Comme l’indique le titre, l’auteur dresse du petit pays scandinave un tableau fort sympathique et plein d’admiration. Il met en avant avec beaucoup de conviction la jovialité de ses habitants, la recherche politique du bonheur nivelé pour tous, la simple joie de vivre de chacun. Si la description peut paraître certes idyllique, elle n’en véhicule pas moins, à vrai dire, d’authentiques vérités à une époque où planaient sur l’Europe une menace de guerre, beaucoup de pessimisme et d’incertitude. « Il existe entre le Danois et sa plaine un équilibre harmonieux, une sorte d’accord préétabli, qui permet aux hommes de se reconnaître dans la nature au lieu d’en subir les violences ». Ces mots s’appliquent encore au personnage jovial que nous allons présenter. L’auteur précise encore : « Berceau d’adorables chansons populaires, de symphonies et de chorales, le Danemark n’est pas précisément la patrie de l’opéra. -
“TIDENS FYLDE”: TEMPORALITY and TRADITION in CARL NIELSEN's WORKS for VIOLIN by LUCY HOLLAND PHILLIPS a DISSERTATION Prese
“TIDENS FYLDE”: TEMPORALITY AND TRADITION IN CARL NIELSEN’S WORKS FOR VIOLIN by LUCY HOLLAND PHILLIPS A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts June 2012 DISSERTATION APPROVAL PAGE Student: Lucy Holland Phillips Title: “Tidens Fylde”: Temporality and Tradition in Carl Nielsen’s Works for Violin This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance by: Marian Smith Chairperson Kathryn Lucktenberg Advisor Loren Kajikawa Member Leslie Straka Member Michael Stern Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Lucy Holland Phillips iii DISSERTATION ABSTRACT Lucy Holland Phillips Doctor of Musical Arts School of Music and Dance June 2012 Title: “Tidens Fylde”: Temporality and Tradition in Carl Nielsen’s Works for Violin This dissertation highlights the position of the violin works in Danish composer Carl Nielsen’s oeuvre. The violin was an integral part of this composer’s life from an early age. Despite this, his compositions for the violin have received little critical attention. My project is the first full-length treatment of Nielsen’s repertoire for violin. I approach the subject with the goal of examining Nielsen’s position in the early twentieth century through the notions of temporal consciousness and tradition. -
SCANDINAVIAN, FINNISH & BALTIC CONCERTOS from the 19Th
SCANDINAVIAN, FINNISH & BALTIC CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers A-H TORSTEIN AAGARD-NILSON (b.1964, NORWAY) Born in Oslo. He studied at the Bergen Conservatory and then taught contemporary classical music at this school. He has also worked as a conductor and director of music festivals. He has written works for orchestra, chamber ensemble, choir, wind and brass band. His catalogue also includes the following: Concerto for Cello and Orchestra (1995-6), Concerto for Trumpet and String Orchestra "Hommage" (1996), Trombone Concerto No. 1 (1998), Concerto for Euphonium and Orchestra "Pierrot´s Lament" (2000) and The Fourth Angel for Trumpet and Sinfonietta (1992-2000). Trombone Concerto No. 2 "Fanfares and Fairytales" (2003-5) Per Kristian Svensen (trombone)/Terje Boye Hansen/Malmö Symphony Orchestra ( + Hovland: Trombone Concerto, Amdahl: Elegy for Trombone, Piano and Orchestra and Plagge: Trombone Concerto) TWO-I 35 (2007) Tuba Concerto "The Cry of Fenrir" (1997, rev. 2003) Eirk Gjerdevik (tuba)/Bjorn Breistein/Pleven Philharmonic Orchestra ( + Koch: Tuba Concerto and Vaughan Williams: Tuba Concerto) LAWO CLASSICS LWC 1039 (2012) HANS ABRAHAMSEN (b. 1952, DENMARK) Born in Copenhagen. He played the French horn at school and had his first lessons in composition with Niels Viggo Bentzon. Then he went on to study music theory at The Royal Danish Academy of Music where his composition teachers included Per Nørgård and Pelle Gudmundsen-Holmgreen. Later on, he had further composition studies with György Ligeti. In 1995, he was appointed assistant professor in composition and orchestration at The Royal Danish Academy of Music, Copenhagen.