DOCSLIB.ORG

Stm–Sjm 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stm–Sjm 2015 STM–SJM 2015 SVENSK TIDS KRIFT FÖR MUSIKFORSKNING SWEDISH JOURNAL OF MUSIC RESEARCH STM 2015 omslag_VARIANT_sv.indd 1 2016-04-27 14:22 STM–SJM Svensk tidskrift för musikforskning Swedish Journal of Music Research 2015 Svensk tidskrift för musikforskning vol. 95–2013 1 Försättsblad och innehållsf 2015. (kopia).indd 1 2016-04-13 20:03 2 Svensk tidskrift för musikforskning vol. 95–2013 Försättsblad och innehållsf 2015. (kopia).indd 2 2016-04-13 20:03 STM–SJM Svensk tidskrift för musikforskning vol. 97 Swedish Journal of Music Research Vol. 2 2015 SVENSKA SAMFUNDET FÖR MUSIKFOrsKNING SWEDISH SOCIET Y FOR MUSICOLOGY Svensk tidskrift för musikforskning vol. 95–2013 3 Försättsblad och innehållsf 2015. (kopia).indd 3 2016-04-13 20:03 STM–SJM 2015 / Svensk tidskrift för musikforskning vol. 97/ Swedish Journal of Music Research Vol. 2 Redaktion / Editors Huvudredaktör / Editor-in-chief: Jacob Derkert Redaktör /Editor: Erik Wallrup Redaktionsråd / Advisory board: Alf Björnberg, Johannes Brusila, Bengt Edlund, Karin Eriksson, Johan Fornäs, Erling E. Guldbrandsen, Erkki Huovinen, Jeffrey Kallberg, Annemette Kirkegaard, Lars Lilliestam, Signe Rotter, Øivind Varkøy Adresser / Addresses STM-SJM, c/o Jacob Derkert, Institutionen för kultur och estetik, Stockholms Universitet, SE-106 91 Stockholm [email protected] Recensionsexemplar av musiklitteratur skickas till / Review copies of music literature may be sent to STM–SJM, c/o Jacob Derkert, Institutionen för kultur och estetik, Stockholms universitet, SE-106 91 Stockholm Hemsida / Website: musikforskning.se/stm-sjm/ STM–SJM 2015 är producerad med bidrag från Vetenskapsrådet / STM–SJM 2015 has received financial support from The Swedish Research Council. Alla rättigheter reserveras. / All rights reserved. Graphic design: Anders Bodebeck Page layout: Jacob Derkert Cover picture: Från den stora musikfesten i Stockholm 31 maj-1 juni. Första aftonens konsert å Kungl. Teatern. Fru Jungstedt föredrar Ludvig Normans hymn ”Rosa rorans bonitatem”. Originalteckning för Idun av Hj. Eneroth. (Idun 1906) [Reproduktion: Stadsmuseet i Stockholm]; Aftonbladet 1855. [Reproduktion: Kungliga biblioteket] Printing: exakta ISSN: 2002-021X STM-SJM publiceras löpande i elektronisk form. Se musikforskning.se/stm-sjm/ för uppdaterad information och författarvägledning. STM-SJM is published continuously. Please view musikforskning.se/stm-sjm/ for updated information and author guidelines. 4 Svensk tidskrift för musikforskning vol. 95–2013 Försättsblad och innehållsf 2015. (kopia).indd 4 2016-04-27 19:55 Jacob Derkert Editorial i Ulrik Volgsten Between critic and public: Listening to the musical 1 work in Stockholm during the long 19th century Eva Georgii-Hemming Music listening and matters of equality in music 27 & Victor Kvarnhall education Carola Finkel The revised versions of Kurt Atterberg’s symphonies 45 Cecilia Ferm The music classroom as a local place and a public 61 Thorgersen space: Democratic education towards music as a language of us all Recensioner/Reviews 75 In memoriam Jan Ling 99 Gunnar Larsson 101 Anna Lena Holm 102 Svensk tidskrift för musikforskning vol. 95–2013 5 Försättsblad och innehållsf 2015. (kopia).indd 5 2016-04-13 20:03 6 Svensk tidskrift för musikforskning vol. 95–2013 Försättsblad och innehållsf 2015. (kopia).indd 6 2016-04-13 20:03 Editorial Editorial Welcome to the second printed issue of the Swedish Journal of Music Research/STM–SJM, equivalent to the 97th volume of Svensk tidskrift för musikforskning. STM–SJM is a peer-reviewed journal for music research in various disciplines. Musicology, Music Education Research, and Artistic Research in Music are the three core areas, and research concerning music carried on in other disciplines within the Humanities and the Social Sciences, like History, Ethnology, Sociology, or Media and Communication Studies, are clearly within its scope. STM–SJM is published both in electronic (Open Access, continuous publication) and paper format. Its aim and ambition is to be not just a prime platform for the publication of music research executed in Sweden, but an important platform for re- searchers in the other Nordic countries, as well as a strong alternative for the publication of research on music and musical phenomena related to the Nordic countries, irrespective of provenience. About this issue The second issue of STM–SJM includes peer reviewed articles, reviews, and obituaries. ‘Between critic and public: Listening to the musical work in Stockholm during the long 19th century’ is an article by Professor Ulrik Volgsten. (At the time of electronic publica- tion (June 23, 2015), Volgsten was Associate Professor in Musicology at the School of Music, Theatre and Art, Örebro University.) Through a systematic, selective study of the daily press criticism in Stockholm in the 19th century, the author qualifies the picture of 19th-century listeners as in general apprehending music as autonomous musical works. ‘Music listening and matters of equality in music education’ is an article jointly writ- ten by Professor Eva Georgii-Hemming, School of Music, Theatre and Art, Örebro Univer- sity, and Ph.D. Victor Kvarnhall. Taking its point of departure in the notion of inclusion in an educational context, as well as a certain idea of how music and societal construct is related, it recognizes the excluding effect on some students of the current use of certain varieties of popular music in public school music education – in, e.g., the Nordic coun- tries. Against this background, the article enters an extensive discussion of how educa- tors could use classroom practice in music listening for furthering equality and inclusion. ’The revised versions of Kurt Atterberg’s symphonies’ documents the research done by Ph.D. Carola Finkel, lecturer at the Hochschule für Musik und Darstellende Kunst Frank- furt, concerning the different versions of three of Atterberg’s symphonies. The author relates the history and the details of the different versions, and sets the stage for more considerate choices in the performance of these works. Svensk tidskrift för musikforskning vol. 97-2015 i Editorial_2015_print.indd 1 2016-04-27 14:25 Editorial In ‘The music classroom as a local place and a public space: Democratic education towards music as a language of us all’, Cecilia Ferm Thorgersen, Professor in Music Edu- cation at Luleå University of Technology, investigates the implications of the philosopher Hannah Arendt’s thoughts on democracy, equality and freedom for the realization of the Swedish curriculum for compulsory schools (Lgr 11). In other words, Arendt is suggested as a guide for music educators to interpret the steering documents of the music educa- tion. *** STM–SJM has received funding from the Swedish Research Council for production and dis- tribution of the volume 2015. Stockholm 31 January 2016 Jacob Derkert Editor-in-chief ii Svensk tidskrift för musikforskning vol. 97-2015 Editorial_2015_print.indd 2 2016-03-29 12:16 Between critic and public Between critic and public Listening to the musical work in Stockholm during the long 19th century Ulrik Volgsten ‘The audience, yes - who is it and where can it be found?’ With these words Albert Ru- benson, composer and music critic in Stockholm, draws attention to a much neglected part of 19th century music life in Sweden. Writing for the periodical Ny tidning för musik in the summer of 1857, Rubenson paints a rather dull picture. Except for the friends of friends of the concert arranger, the audience is limited to ‘a few young idlers, one or other real friend of music … and half a dozen critics, who believe themselves be better off as critics if they have heard the music beforehand’ (Rubenson, 1857, p. 218).1 One might think the writer is promoting a naïve first-time experience of music, but reading further the text rather suggests the impact on Rubenson by Eduard Hanslick’s treatise Vom Musikalisch-Schönen, which had been published just a few years earlier. However Rubenson’s main issue was not primarily to educate the listener, but to elevate the status and quality of the Swedish composers, above the embarrassing level of the dilettante.2 The chief task of the critic, therefore, was to aid the composer and mark a distinction be- tween the amateur and the professional (see Reese Willén, 2014). Nevertheless, without the reports of the professional critic, so Rubenson seems to say, the audience is lost to ignorance and lewd enjoyment in its encounter with the music. 1 All translations by the author. Citations from primary sources in original language are collercted on pp. 24- 26. 2 Rubenson was well acquainted with what was going on in the cultural centres of continental Europe. He studied in Leipzig with Niels Gade and Moritz Hauptmann and promoted the romantic symphony-aesthetic of his teachers upon his return to Stockholm. Although eager to incorporate Swedish folk-music material into his compositions, he did not abandon his formalist ideals. In an earlier article Rubenson had spelled these out: ‘The artist has a definite standpoint, based on studies and on the striving along a definite path to a defi- nite goal; the dilettante lacks such a goal. For the artist the sensuous is of subordinate importance; the spirit of the music counts for all. By the dilettante contrariwise; he enjoys all that simply sounds, shouts constantly for melody … . The artist understands and appreciates music, whereby is understood instrumental music, as such; the musical action is for him enough. … Dilettantish is called that within the creative arts which is theoretically and technically inapt and unskilled … .’ (Rubenson, 1855, p. 26f.; see also Volgsten, 2014). Svensk tidskrift för musikforskning vol. 97 2015 – Swedish Journal of Music Research Vol. 2 2015, pp. 1-26. © The Author 2015. Published by Svenska samfundet för musikforskning. All rights reserved. Svensk tidskrift för musikforskning vol. 97-2015 1 Volgsten_2015_print.indd 1 2016-04-27 14:20 Between critic and public A perhaps more elaborated concern with the audience can be seen in an article in Stockholms musik-tidning, written by Rubenson’s colleague Per Conrad Boman.
Load more

Recommended publications
  • Sofia Kyrka Sofia Church
    NORDIC EDITION • SEPTEMBER 6–9, 2018 • NORDIC EDITION Svend-Ove Møller Orgel- Te Deum (1949) Sofia kyrka 1903-1949 Sofia Church J. P. E. Hartmann Sonate i g-mol, op. 58 (1855) 1805-1900 1. Allegro marcato 2. Andantino Torsdag 6 september kl 19.30 3. Allegro poco agitato Thursday September 6th, 7.30 p.m. César Franck Prière, op. 20 (1860) 1822-1890 Denmark Christian Præstholm 3 koralforspil til Den Danske Salmebog: 1972- • Alt hvad som fuglevinger fik Kristian Krogsøe, orgel (Mel: Th. Laub) • Min Jesus, lad mit hjerte få (Mel: Carl Nielsen) • Denne er dagen, som Herren har gjort (Mel: Melchior Vulpius/Laub) Maurice Duruflé Scherzo, op. 2 (1926) 1902-1986 Jeanne Demessieux Te Deum, op. 11 (1957-58) 1921-1986 Mingel efter konserten, ingen föranmälan behövs. Welcome to a mingle after the concert. 2 ORGANSPACE |2018 Kristian Krogsøe Kristian Krogsøe (b. 1982) has been the Spring 2012 his first CD was released with Aarhus Cathedral organist since 2007 and the complete organ works by Duruflé and teaches the organ at the Royal Academy of his Requiem and Motets together with Music in Aarhus. Aarhus Cathedral Choir and featuring Bo Skovhus and Randi Stene. The recording He studied with prof. Ulrik Spang-Hanssen has recently won the german critics’ award at the Royal Academy of Music in Aarhus “Preis der deutschen Schallplattenkritik”. and later on, he studied with prof. Leo van Doeselaar and Erwin Wiersinga at the Kristian has also appeared as a soloist with Soloists Class at the University of Arts in orchestras. In the year 2008 he played the Berlin, Germany.
    [Show full text]
  • Texts and Translations
    SWEDEN FEBRUARY 23 | 3PM Mother Sweden Texts and Translations A Note from the Conductor Sweden has one of the world’s most eloquent and sophisticated choral voices, which emerged with the nationalist romantic era of the late nineteenth century. Composers like Jacob Axel Josephson flourished writing for men’s choruses in the popular Germanic style. A more individual national tradition developed thanks to Wilhelm Stenhammar, embracing the poetry of Verner von Heidenstam and the Dane Jens Peter Jacobsen. Meanwhile, Otto Olsson reigned supreme as a church organist and composer of florid, complex polyphony worthy of the great academies and conservatories in more southern lands. And the great tradition of men’s choral singing was championed by the great conductor Hugo Alfvén. Beginning in the 1920s, Swedish composers began stretching their wings. Note, for example, the impressionism of Hildor Lundvik, the almost orchestral writing of David Wikander, and the sumptuous harmonies of Oskar Lindberg. Other composers ensured that folksongs and folk-styles survived, including the redoubtable Alfvén, the lyrical Åke Malmfors, and Jan Håkan Åberg, whose work on today’s concert is a folksong from Sweden’s central Dalarna region. Yet folksong is never far from the internationalists, and more advanced harmonies sprinkle through the more traditional composers. By the late twentieth century, Sweden had emerged as an international powerhouse of classical music, especially for choir. Among the results of that global connection was a broader outlook in composers’ choices of text. A minimalistic handling of silences, sparse texture, and repeating motives is heard in the works of Lars Johan Werle, Jan Sandström, and (no relation) Sven-David Sandström.
    [Show full text]
  • Spread the Word • Promote the Show • Support Public Radio
    Program No. 1313 4/1/2013 Diptyque I; Procession II) –Johan Hedin, CHARLES ZEUNER: Voluntary in G “Before Earning the Prize…in Miami (FL), Syracuse nyckelharpa; Gunnar Idenstam (1973 Grönlunds/ Service”. ROBERT SIROTA: Festival Prelude (NY), and Appleton (WI), young performers show Teg’s Church, Umeå) Caprice 21807 (Now thank we all our God) –Victoria Sirota how their special talents won them special notice. HARALD FRYKLÖF: Symphonic Piece –Claes (Metropolitan Museum) Holmgren (1892 Åkerman & Lund/St. Mary CESAR FRANCK: Choral No. 2 in b –Pierre GEORG MUFFAT: Toccata No. 1, fr Apparatus Cathedral, Visby) Organic OR01-2 Pincemaille (Cincinnati, r. 2/13/06) musico-organisticus –Pawel Wróbel (3rd Prize) GUNNAR LUNDÉN: Högtidsmarsch, Op. 6 – FRANCIS LINLEY: Trumpet Voluntary in A – J. S. BACH: Vivace, fr Trio Sonata No. 6 in G, BWV Claes Holmgren (1892 Åkerman & Lund/St. Victoria Sirota (Metropolitan Museum) 530. JEANNE DEMESSIEUX: Attende Domine, Mary Cathedral, Visby) Organic OR01-2 GUSTAV MAHLER: Ihrlicht, fr Symphony No. 2 Opus 8, no. 3. MARCEL DUPRÉ: Prelude & ANDREAS DÜBEN: Wo Gott der Herr nicht –Stacey Rishoi, mezzo-soprano; Jean-Baptiste Fugue in B, Op. 7, no. 3 –Anne Lam (2nd Prize) bei uns hält –Lars Hagström1964 Andersen/ Robin (Cincinnati, r. 5/2/11) BACH: Vivace, fr Trio Sonata No. 2 in c, BWV Cathedral Church, Skara) Fusion 103 RICHARD WAGNER: Wotan’s Farewell and 526. YUANKAI BAO (trans. Weicheng Zhao): STAFFAN BJÖRKLUND: 3 Chorale-preludes Magic Fire Music, fr Die Walküre –Peter Conte Young girl carrying water on a shoulder pole. (Det går ett tyst och tåligt lamm; Vad ljus over (Cincinnati, r.
    [Show full text]
  • Sven-David Sandstrã¶Mâ•Žs Five Pictures from the Bible
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Sven-David Sandström's Five Pictures from the Bible: Historical Precedents, Development, and Analysis Joshua Bronfman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SVEN-DAVID SANDSTRÖM’S FIVE PICTURES FROM THE BIBLE: HISTORICAL PRECEDENTS, DEVELOPMENT, AND ANALYSIS By JOSHUA BRONFMAN A Dissertation submitted to the College Of Music in partial fulfillment of the requirements for the degree of Doctor Of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Joshua Bronfman, defended on June 14, 2010. _________________________________________ André J. Thomas Professor Directing Dissertation _________________________________________ Evan Jones University Representative _________________________________________ Judy Bowers Committee Member _________________________________________ Kevin Fenton Committee Member The Graduate School has verified and approved the above-named committee members. ii To Niki, Lucia, and Leah. iii ACKNOWLEDGEMENTS I am very grateful to my supportive and helpful committee, including Dr. Andre Thomas, chair, and Drs. Judy Bowers, Kevin Fenton, and Evan Jones. I owe debt of gratitude to the administration, faculty, and staff at the University of North Dakota. Without their support and assistance, this document would never have happened. Specifically, Chris Gable, Mike Wittgraf, James Popejoy, Janice Hoffarth for transcription and cheerleading, and Dean Martha Potvin for encouraging me to continue. Thank you to Philip and Carolyn Brunelle, who opened up their home to me while I was researching this document. Additionally, Philip and the staff at VocalEssence were especially welcoming and accommodating, and made my visit to Minneapolis both fruitful and enjoyable.
    [Show full text]
  • THE JVEDIS. ART SONG Presented to the Graduate Council of the North
    110,2 THE JVEDIS. ART SONG THESIS Presented to the Graduate Council of the North Texas State College in Partial ifillment of the requirements For the Degree of MAST ER OF MUSIC by 223569 Alfred R. Skoog, B. Mus. Borger, Texas August, 1953 223569 PREFACE The aim of this thesis is to present a survey of Swedish vocal music, a subject upon which nothing in English exists and very little in Swedish. Because of this lack of material the writer, who has spent a year (195152) of research in music in Sweden, through the generosity of Mrs. Alice M. Roberts, the Texas Wesleyan Academy, and the Texas Swedish Cultural Foundation, has been forced to rely for much of his information on oral communication from numerous critics, composers, and per- formers in and around Stockholm. This accounts for the paucity of bibliographical citations. Chief among the authorities consulted was Gsta Percy, Redaktionssekreterare (secretary to the editor), of Sohlmans Jusiklexikon, who gave unstintedly, not only of his vast knowledge, but of his patience and enthusiasm. Without his kindly interest this work would have been impossible, iii TABLE OF CONTENTS Page . 1.F. .:.A . !. !. ! .! . .! ! PREFACE.! . ! .0 01 ! OF LIST ITLISTRATITONS. - - - . a- . a . V FORH4ORD . .* . .- . * .* . * * * * * * * . vii Chapter I. EARLYSEDIS0H SONG. I The Uppsala School II. NINETEENTH CENTURY NATIONALISTS . 23 The Influence of Mid-Nineteenth Century German Romanticism (Mendelssohn, Schumann, Liszt and Wagner) The French Influence III. LATE NINETEENTH CENTURY ND EARLY TWENTIETH CENTURY COMPOSERS . 52 Minor Vocal Composers of the Late Nine- teenth Century and Early Twentieth Century IV. THE MODERN SCHOOL OF S7E)ISl COMPOSERS.
    [Show full text]
  • CHURCH ORGANS Been Restored by Thomas-Pierce, Ltd., of a Guide to Selection & Purchase Palm Beach, FL, and Installed in the Music Room of Thomas R
    Members may join any number of chapters. Chapters, Newsletter, Editor, Mempi,rship Founding Date & Annual Dues Inquiries Boston Organ Club Newsletter, $7.50 AlanLaufman 1965, '76 OHS ����lie , NH 034;0 Charter Central New York, TheCoupler, $5 Phil Williams BoxF 1976 Remsen,NY 13438 Chicago Midwest, TheStopt Diapason, Julie Stephens 1980 Susan R. Friesen, $12 520W. 47t h St., West ern Spring s, IL 60558 Eastern Iowa, 1982 Newsletter, August Knoll Box486 The Organ Historical Society MarkNemmers, $7.50 Wheatland,IA 52777 Post Office Box 26811, Greater New York The Keraulophon, Alan Laufman (as 23261 City, 1969 John Ogasapian, $5 above) Richmond, Virginia Greater St.Louis, TheCypher, Eliza­ John D. Phillippe FAX(804)353-9266 (804)353-9226 1975 beth Schmitt, $5 4336DuPage Dr, Bridg et on, MO 63044 The National Council Hilbus (Washington­ Where the Tracker Ruth Charters Baltimore), 1970 Action Is, Carolyn 6617Brawner St Officers and Councillors (terms expire 1993) Mclean, VA Roy Redman .......................................President Fix, $5 22102 6812Robinhood Ln.,Fort Wo rth,TX 76112 Kentuckiana Quarter Notes, Lynn Ropke Pratt James J.Hammann .............................Vice President 2419 Carolina Ave, (Kentucky-S.Indiana), Philip T.Hines, Jr., Louisville,KY 40205 4113Tchou p itoulasSt., New Orleans, LA 70115 1990 $10 MaryAnn Crugher Balduf ............................Secretary • Mid-Hudson (New The Whistlebox, June Marvel 1046Coleman, Yp silanti, MI 48198 York), 1978 Robert Guenther, $5 Crown HillRd_ David M. Barnett .................................. Treasurer Wappingers Falls, NY 423N. StaffordAve ., Richmond,VA 23220 12590 Kristin Gronning Farmer ........................... Councillor New Orleans, 1983 TheSwell Shoe, Rachelen Lien 3060Frat e rnity ChurchRd., Wi nston-Salem,NC 27127 Russel Deroche, $10 1010 Nashville Avenue Culver L.Mowers .................................
    [Show full text]
  • Cameron Carpenter, Innovative Spirit of the Twenty-First the Instruments Are Very Different but Complementary
    The Festival history The International Organ Festival “Città di Bergamo” was born at the beginning of the Nineties as a gamble among friends. Convinced of the need to bring to the town an international top circuit of concerts, especially considering the quality and variety of its organs, in 1992 the association Vecchia Bergamo organized a ‘test’ concert. Jean Guillou, one of the most famous contemporary players in the world and titular of the great organs at St. Eustache in Paris, was invited with a special mission: to introduce the improvisation on themes given by the audience in his program. As a matter of fact, this art which is considered as a fundamental pillar by all northern European organ Schools had practically disappeared from the Italian churches in the last fifty years. The clear goal was to show and consequently to measure the reactions of the public, on how much the interpreter’s capability in communicating his own unique feeling is of basic importance to create a larger popular interest around organ music, which up to that time was considered a specialists’ niche. The success was so great and enthusiastic that the year after the International Organ Festival started officially on the big Serassi organ at S.Alessandro della Croce in Pignolo: a perfect instrument, just restored, for portraying a wide range of music and, at the same time, for representing worthily the important organ builders’ tradition of our land. The guidelines and contents of the Festival were, and still are, the following: to focalize on the real actor
    [Show full text]
  • SUMMER Dora Chatzigeorgiou and Alexander Binns ORGAN FESTIVAL Thursday 26 August, 2021 7.30Pm
    SAPOLLON DUO SUMMER Dora Chatzigeorgiou and Alexander Binns ORGAN FESTIVAL Thursday 26 August, 2021 7.30pm BIOGRAPHIES The Apollon Duo was founded in 2015 by violinist Dora Chatzigeorgiou and organist Alexander Binns. Their aim is to perform and promote works for this seldom heard combination of instruments. Together they have performed across the UK in venues which include St Paul’s Cathedral, Peterborough Cathedral, St Edmundsbury Cathedral, Derby Cathedral, Southwark Cathedral and Waltham Abbey. Greek violinist Dora Chatzigeorgiou is a professional freelance violinist and holds teaching posts at the prestigious Repton School, Repton Prep School, Trent College and with the European String Tutors. In 2015 Dora graduated from the Orchestral Artistry programme at the Guildhall School of Music and Drama in London, where she studied with Jacqueline Ross. At the Guildhall she has played in many prestigious concerts and projects including performances with the London Symphony Orchestra at the Barbican Hall under the baton of Sir Simon Rattle, at Milton Court under the direction of Edward Gardner, and performances as concertmaster for the Guildhall Opera Orchestra. Dora graduated from the Oberlin College Conservatory of Music in the USA in June 2013 where she studied with Milan Vitek. At Oberlin she was the recipient of the Danenberg Chamber Music Prize. Dora was a member of the Oberlin Orchestra with whom she has toured Asia and the USA (including a performance in New York’s Carnegie Hall), and was concertmaster for the Oberlin Opera Orchestra. Prior to her studies in the USA, Dora graduated with the Greek National Diploma in Violin Performance from the Kodaly Conservatory of Music in Athens, winning the First Prize and Gold Medal, having studied with Georgios Demertzis and Apollon Grammatikopoulos.
    [Show full text]
  • Oct 2014 Nat.Pdf
    Program No. 1440 10/6/2014 Pipedreams Archive (r. 5/10/13) Recordings by audio engineer William F. Lund were Some Anniversaries . a selective collection J. S. BACH: Fantasy and Fugue in c, BWV 537 –Virgil made over a period of years, featuring the Cathedral of organ works by composers with significant Fox (Aeolian-Skinner/Riverside Church, New York instruments in their original condition and following birthdays observed during this year. City) Organ Arts 4 the recent expansion of the gallery organ by Quimby CYRIL JENKINS: Dawn –John Balka (1971 Pipe Organs, Inc. RICHARD STRAUSS: Festliches Präludium Ruffatti/St. Mary’s Cathedral, San Francisco, CA) for Organ and Orchestra, Op. 61 –Philadelphia Reference 98 Program No. 1443 10/27/2014 Orchestra/Wolfgang Sawallisch, conductor; MAURICE RAVEL (trans. Idenstam): Daybreak, Verizon Hall Spotlight . select solos and Michael Stairs (1986 Rieger/Suntory Hall, fr Daphnis et Chloé –Gunnar Idenstam (1812 works for organ and orchestra, featuring the Fred Tokyo, Japan) EMI Classics 55185 Stahlhuth-2002 Jann/St. Martin’s Church, J. Cooper Memorial Pipe Organ (by Dobson) at FRANZ TUNDER: In dich hab ich gehoffet, Dudelange, Luxembourg) BIS 2049 Philadelphia’s Kimmel Center. Herr –Christopher Marks (1950 Holtkamp/ THÉDORE DUBOIS: Verset de procession – HANDEL: Organ Concerto in g, Op. 4, no. 1 –Matt Setnor Auditorium, Crouse College, Syracuse Ursina Caflish (1872 Kuhn/Neumünster, Zurich, University, NY) Raven 790. Glandorff, organist Switzerland) Guild 7340 JOSEPH JONGEN: Priere, Op. 37, no. 3 –Alan Morrison, TUNDER: Praeludium in G –Pamela Ruiter- CESAR FRANCK: Cantabile & Piece heroique Feenstra (2001 GoArt North German Organ/ organist –Simon Johnson (Willis-Mander/St.
    [Show full text]
  • SVENSKA ORGELSÄLLSKAPETS ÅRSMÖTE 2019 SKÅNEORGEL Orgelfestival I Malmö Och Sydvästra Skåne 10–12 Maj
    SVENSKA ORGELSÄLLSKAPETS ÅRSMÖTE 2019 SKÅNEORGEL Orgelfestival i Malmö och sydvästra Skåne 10–12 maj PROGRAM Huvudarrangör: Svenska Orgelsällskapet i samarbete med Svenska kyrkan i Malmö och samverkande församlingar samt med ekonomiskt bidrag från Crafoordstiftelsen och Musik i Syd. PROGRAM Kursiverade programpunkter gäller endast för Svenska Orgelsällskapets deltagare. FREDAG 10 MAJ 15.30 Malmö S:t Petri kyrka. Introduktion om orgeln med Carl Adam Landström. 16.00 S:t Petri kyrka. Öppningskonsert. Carl Adam Landström, orgel. 17.10 Bussavgång mot Falsterbo 18.00 Falsterbo kyrka. Lisa Hesselbom och Jesper Glans, orgel. 19.00 Middag i Höllvikens församlingshem 20.00 Stora Hammars kyrka. Anders Johnsson, orgel. Martin Haksten, sång. 21.30 Bussavgång tillbaka till Malmö LÖRDAG 11 MAJ 09.15 Bussavgång från Teaterhotellet 10.00 Börringe kyrka. Ton Koopman, orgel. 11.30 Lyngby kyrka. Hans Nordenborg, orgel. 12.30/13.30 Brågarps kyrka, Staffanstorp. Hans Fagius, orgel. 12.30/13.30 Lunch på Staffanstorps Gästgiveri 14.30 Bussavgång mot Lomma 15.00 Lomma kyrka. Robert Bennesh, orgel. 17.00 Höörs kyrka. Ton Koopman, orgel. 18.30 Festmiddag på Höörs Gästgiveri 21.00 Bussavgång tillbaka till Malmö SÖNDAG 12 MAJ 09.00 Svenska Orgelsällskapets årsmöte i S:t Johannes församlingshem. 10.00 Föredrag om orgelinventeringen i Lunds stift. Kaffe och smörgås. 11.00 S:t Johannes kyrka, Malmö. Festhögmässa. Mats Hultkvist, orgel. Kyrkans körer under ledning av Christian Schulze. 12.30 Bussavgång mot Limhamn 13.00 Limhamns kyrka. Maria och Thomas Wallin, orgel. Margareta Haksten, flöjt. 14.00 Bussavgång mot Tygelsjö. 14.30 Lunch i Tygelsjö församlingshem 15.30 Tygelsjö kyrka. Avslutningskonsert. Maja Malmström, orgel.
    [Show full text]
  • Fapl Total Playing Time: 67'30 OLSSON, Otto (187E-1E64)
    BIS-CD.85 STEREO FApl Total playing time: 67'30 OLSSON, Otto (187e-1e64) Sonata in E major for organ, Op.38 (Aueener) 20'23 tr I. Allegro moderato 9'47 tr II. Meditation-Fuga.Andante lento 6',04 tr III. Finale. Allegro con brio 4',26 Three Etudes, Op.45 (Ausener) rl'29 E Fantasia cromatica tt z.-t E Sestetto .1 Z+D tr Berceuse 4',05 tr l0Variations on Ave maris stella', Op.42 rn"in"t 16'01 E Prelude and Fugue in D sharp minor, Op.56 rwut Ll'22 lrr.'pA;ilPrelude 5'08 - lINoExtFusue 6',74 E Prelude and Fugue in F sharp minor, Op.52 rwnt 7'02 [HoExl Prelude 3'04 - fiNpExr'lFugue 3'58 Hans Fagius, organ tr-tr; tr TheAkerman & Lund Organof the KatarinaChurch, Stockholm, Sweden E The Gttinhnd Organof Nederlule6Church, Gammelstad, Sweden. E Registrants:Karin KAgstr<im,Inger Nordebo /\ tto Olsson (1879-1964) belongs to the late-romantic generation rn I lswedish music, the same generation as Emil Sjiigren, Wilhelm \-/ Stenhammar and Hugo Alfv6n. That Otto Olsson was overshadowed by these three may perhaps be a result of an early decision to devote himself to church music. He quickly made a name for himself as an organist and as a composer of choral and organ music. But it was not as easy for him to win attention in that capacity as it was for Alfv6n and Stenhammar, who principally composed orchestral music. The two were also both conductors who often performed their own music, thereby winning favour with the public.
    [Show full text]
  • Compact Discs
    The Romantic Label Compact Discs 2008 Dear musical friends, Looking back on the catalogue from 2004 I can now see that we have developed the catalogue further with a number of Roman - tics. Some of the composers are nearly completely unknown today. They may merely serve as examples of the absolutely astounding amount of Romantic orchestral music, both unperformed and un - recorded. We are happy to say that this developement has brought us new distributors. The agents somehow do an ungrateful task: everybody expects CDs to be available everywhere, but somebody must import them and distribute them. I wish to thank the distributors for all the hard and enthusastic work they do and my praise also goes to stores and shops, with hardworking staff. We have also seen the developement of download. It is up to the computer industry to provide the public with good quality com - puters so that the music could be heard properly. The future: Again, I wish to thank all Sterling enthusiasts for providing me with a number of interesting ideas for recordings also in the future. Hopefully, we will be able to get the scores and parts necessary. That has not always been an easy and inexpensive task! Artist series: Apart from the Romantics we have developed a special series fo - cusing on gifted and interesting artists. The repertoire on these discs is often more well-known and, the performances are ab - solutely competitive in the CD market! Please as before, on e-mail, do provide me with more ideas and in - teresting projects for the future.
    [Show full text]