Shut up and Listen! 2012
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1973-Iceland.Pdf
-----=ca=rn=-.....z:-c, wrn=-:- --. n ===N::ll:-cI - .. • ~ en Place I Monday, June 18 I Tuesday, June 19 I Wednesday, Ju'!e 20 I I Thursday, June 21 I Friday, June 22 I Saturday, June 23 1 Sunday, June 24 10.00--12.00 10.00-12.00 10.00-12.00 Hotel General Assembly General Assembly General Assembly Loftleidir (if necessary) 14.00- 16.00 14.00-16.00 General Assembly General Assembly 12.00 Lvric Arts Trio Charpentier: --- The Symphony --- Nordic 17.00 17.00 22.00 House Norwegian Wood- Harpans Kraft Nonvegian jazz Wind Quintet from Sweden Bibalo, Berge, Salmenhaara, W elin, Mortensen, Nordheim - - -·- [_____ - 20.30 20.00 17.00 14.00 14.00 14.00 Miklatun Reception Tenidis, Kopelent TapeMusic Tape Music Tape Music Tape Music T6masson, Hall- Gilboa, Schurink grlmsson, Leifs Lambrecht, 20.00 20.00 17.00 Benhamou, Kim, Lyric Arts Trio German Trio Gaudeamus Tokunaga, Ishii, Doh!, Quartet Thommesen Zender, de Leeuw I Zimmermann, Raxach I Karkoschka, I Lutoslawski Haubenstock- Ramati, Hoffmann I I ---- --- -- - ' Exhibition of scores sent in by sections daily, at Miklatun --- - ISCM --- --- -- Hask6\abi6 21.00 Iceland Symphony Orchestra ThorarinssQn, Mallnes, Stevens, Endres, Gentilucci, Lachenmann, Krauze - - - - - -- -- -- ~ -- - State 17.00 Radio Icelandic Music on Tape - - - --- - --- -- Arnes Recital: Aitken/ Haraldsson I The President of the ISCM The President of the Icelandic Section In whatever way the 1973 Music Day may enter the history of It is a great pleasure for the Icelandic Section of the ISCM the ISCM, surely it will be remembered as the most Northern to receive the delegates of the sister organisations to the General point ever reached by the Society. -
Rebuilding Efforts to Take Years News Officials Estimate All Schools in Oslo Were Evacu- Ated Oct
(Periodicals postage paid in Seattle, WA) TIME-DATED MATERIAL — DO NOT DELAY News In Your Neighborhood A Midwest Celebrating 25 welcome Se opp for dem som bare vil years of Leif leve sitt liv i fred. to the U.S. De skyr intet middel. Erikson Hall Read more on page 3 – Claes Andersson Read more on page 13 Norwegian American Weekly Vol. 122 No. 38 October 21, 2011 Established May 17, 1889 • Formerly Western Viking and Nordisk Tidende $1.50 per copy Norway.com News Find more at www.norway.com Rebuilding efforts to take years News Officials estimate All schools in Oslo were evacu- ated Oct. 12 closed due to it could take five danger of explosion in school years and NOK 6 fire extinguishers. “There has been a manufacturing defect billion to rebuild discovered in a series of fire extinguishers used in schools government in Oslo. As far as I know there buildings have not been any accidents be- cause of this,” says Ron Skaug at the Fire and Rescue Service KELSEY LARSON in Oslo. Schools in Oslo were Copy Editor either closed or had revised schedules the following day. (blog.norway.com/category/ Government officials estimate news) that it may take five years and cost NOK 6 billion (approximately Culture USD 1 billion) to rebuild the gov- American rapper Snoop Dogg ernment buildings destroyed in the was held at the Norwegian bor- aftermath of the July 22 terrorist der for having “too much cash.” attacks in Oslo. He was headed to an autograph Rigmor Aasrud, a member of signing at an Adidas store on the Labor Party and Minister of Oct. -
2005 Next Wave Festival
November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria 2005 ~ext Wave FeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Symphony No.6 (Plutonian Ode) & Symphony No.8 by Philip Glass Bruckner Orchestra Linz Approximate BAM Howard Gilman Opera House running time: Nov 2,4 & 5, 2005 at 7:30pm 1 hour, 40 minutes, one intermission Conducted by Dennis Russell Davies Soprano Lauren Flanigan Symphony No.8 - World Premiere I II III -intermission- Symphony No. 6 (Plutonian Ode) I II III BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Major support for Symphonies 6 & 8 is provided by The Robert W Wilson Foundation, with additional support from the Austrian Cultural Forum New York. Support for BAM Music is provided by The Aaron Copland Fund for Music, Inc. Yamaha is the official piano for BAM. Dennis Russell Davies, Thomas Koslowski Horns Executive Director conductor Gerda Fritzsche Robert Schnepps Dr. Thomas Konigstorfer Aniko Biro Peter KeserU First Violins Severi n Endelweber Thomas Fischer Artistic Director Dr. Heribert Schroder Heinz Haunold, Karlheinz Ertl Concertmaster Cellos Walter Pauzenberger General Secretary Mario Seriakov, Elisabeth Bauer Christian Pottinger Mag. Catharina JUrs Concertmaster Bernhard Walchshofer Erha rd Zehetner Piotr Glad ki Stefa n Tittgen Florian Madleitner Secretary Claudia Federspieler Mitsuaki Vorraber Leopold Ramerstorfer Elisabeth Winkler Vlasta Rappl Susanne Lissy Miklos Nagy Bernadett Valik Trumpets Stage Crew Peter Beer Malva Hatibi Ernst Leitner Herbert Hoglinger Jana Mooshammer Magdalena Eichmeyer Hannes Peer Andrew Wiering Reinhard Pirstinger Thomas Wall Regina Angerer- COLUMBIA ARTISTS Yuko Kana-Buchmann Philipp Preimesberger BrUndlinger MANAGEMENT LLC Gorda na Pi rsti nger Tour Direction: Gudrun Geyer Double Basses Trombones R. -
Bläserphilharmonie Mozarteum Salzburg
BLÄSERPHILHARMONIE MOZARTEUM SALZBURG DANY BONVIN GALACTIC BRASS GIOVANNI GABRIELI ERNST LUDWIG LEITNER RICHARD STRAUSS ANTON BRUCKNER WERNER PIRCHNER CD 1 WILLIAM BYRD (1543–1623) (17) Station XIII: Jesus wird vom Kreuz GALAKTISCHE MUSIK gewesen ist. In demselben ausgehenden (1) The Earl of Oxford`s March (3'35) genommen (2‘02) 16. Jahrhundert lebte und wirkte im Italien (18) Station XIV: Jesus wird ins „Galactic Brass“ – der Titel dieses Pro der Renaissance Maestro Giovanni Gabrieli GIOVANNI GABRIELI (1557–1612) Grab gelegt (1‘16) gramms könnte dazu verleiten, an „Star im Markusdom zu Venedig. Auf den einander (2) Canzon Septimi Toni a 8 (3‘19) Orgel: Bettina Leitner Wars“, „The Planets“ und ähnliche Musik gegenüber liegenden Emporen des Doms (3) Sonata Nr. XIII aus der Sterne zu denken. Er meint jedoch experimentierte Gabrieli mit Ensembles, „Canzone e Sonate” (2‘58) JOHANN SEBASTIAN BACh (1685–1750) Kom ponisten und Musik, die gleichsam ins die abwechselnd mit und gegeneinander (19) Passacaglia für Orgel cMoll, BWV 582 ERNST LUDWIG LEITNER (*1943) Universum der Zeitlosigkeit aufgestiegen musizierten. Damit war die Mehrchörigkeit in der Fassung für acht Posaunen sind, Stücke, die zum kulturellen Erbe des gefunden, die Orchestermusik des Barock Via Crucis – Übermalungen nach den XIV von Donald Hunsberger (6‘15) Stationen des Kreuzweges von Franz Liszt Planeten Erde gehören. eingeleitet und ganz nebenbei so etwas für Orgel, Pauken und zwölf Blechbläser, RICHARD STRAUSS (1864–1949) wie natürliches Stereo. Die Besetzung mit Uraufführung (20) Feierlicher Einzug der Ritter des William Byrd, der berühmteste Komponist verschiedenen Blasinstrumenten war flexibel JohanniterOrdens, AV 103 (6‘40) Englands in der Zeit William Shakespeares, und wurde den jeweiligen Räumen ange (4) Hymnus „Vexilla regis“ (1‘12) hat einen Marsch für jenen Earl of Oxford passt. -
Gubaidulina EU 572772 Bk Gubaidulina EU 26/07/2011 07:59 Page 1
572772 bk Gubaidulina EU_572772 bk Gubaidulina EU 26/07/2011 07:59 Page 1 Anders Loguin Øyvind Gimse Anders Loguin studied percussion at the Royal Øyvind Gimse is Artistic Leader of the Trondheim Soloists and a distinguished College of Music in Stockholm, and conducting in cellist and orchestral leader. After studies with Walter Nothas, Frans Helmerson Sweden, Finland and the United States. He and William Pleeth, he held the position of solo cellist in the Trondheim Sofia frequently conducts orchestras and ensembles in Symphony Orchestra for seven years. He has toured as a soloist with the Sweden and abroad. He was a founding member of Trondheim Soloists in Norway, Britain, Italy and Spain. His performances with the percussion ensemble Kroumata, and left the Anne-Sophie Mutter and the Trondheim Soloists throughout Europe and at the ensemble in 2008, co-founding the Carnegie Hall in 1999, as well as the recordings with her and the ensemble for GUBAIDULINA ensemble Glorious Percussion, which gave the DG, have received the highest critical acclaim. In addition his own work as world première of Sofia Gubaidulina’s work of the Artistic Leader of the Trondheim Soloists has resulted in the group receiving no same name for five percussionists and less than five GRAMMY® nominations for their last two recordings. In 2004 orchestra. Loguin participated in the world Gimse joined Sofia Gubaidulina as soloist in her work On the Edge of the première concerts of Fachwerk in 2009. Since 1977 Abyss at the Trondheim Chamber Music Festival and during the world Photo: Brita Carlens he has been professor and head of the percussion première concert performances of Fachwerk with Geir Draugsvoll and the department at the Royal College of Music in Stockholm. -
KSENIJA SIDOROVA Classical Accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA Classical Accordion FOREWORD
KSENIJA SIDOROVA classical accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA classical accordion FOREWORD 01 Arne Nordheim FLASHING 07’21 Music has been my passion since early childhood, and thanks to my grandmother J. S. Bach OVERTURE IN THE FRENCH STYLE, BWV.831 I learnt the accordion. Classical accordion is still a young instrument, and 02 Adagio maestoso - Allegro - Adagio 07’04 unfortunately the image of its folk roots still remains. It will probably be a while 03 Luciano Berio SEQUENZA XIII “CHANSON” 09’15 before the phrase “I play the classical accordion” doesn’t sound unusual or funny! The classical accordion is a wonderfully expressive instrument and the repertoire on Domenico Scarlatti SONATA IN D MINOR, K.77 04 Moderato e cantabile - Minuetto 05’09 this CD ranges from Baroque music to Contemporary, including works which have quickly become core repertoire pieces Domenico Scarlatti SONATA IN D MAJOR, K.33 (Berio’s Sequenza , Nordheim’s Flashing ) 05 Allegro 03’12 balanced along transcriptions of solo 06 W. A. Mozart 12 VARIATIONS “AH, VOUS DIRAIS-JE, MAMAN”, 08’45 and orchestral music. In the past six K.265/300 e years of my studies in London I was Alfred Schnittke REVIS FAIRY TALE fortunate to meet many wonderful 07 i Chichikov's Childhood 02’09 people, and to perform and record with 08 ii Officials 02’22 fantastic musicians. 09 iii Waltz 03’15 10 iv Polka 02’33 This CD recording would not have been Yuji Takahashi LIKE A WATER BUFFALO possible without David and Mary 11 i Like a Water Buffalo (poem: Wendy Poussard) 01’02 Bowerman, recording producer 12 ii Like a Water Buffalo 09’30 Alexander Van Ingen, Professor Owen Murray and the support of my family. -
CMA at Transformer Station — Norwegian Accordionist Frode Haltli by Mike Telin
Preview: CMA at Transformer Station — Norwegian accordionist Frode Haltli by Mike Telin On Sunday, April 27 beginning at 7:30 pm, CMA Concerts at Transformer Station presents Norwegian virtuoso classical accordionist Frode Haltli. The program features music by Hans Abrahamsen, Magnar Åm, Arne Nordheim and Aldo Clementi. “Even though this program is classical contemporary music, I think it reflects my interests in different kinds of music,” Haltli said during a telephone conversation from his home in Norway. “It’s not your ordinary contemporary music, it [ventures] out into many different directions.” If you’re wondering about the term “classical accordion” you’re not alone. The instrument has yet to be recognized in many parts of the world as one associated with classical music. So why is that different in Scandinavia? “It really is because of one person, Danish player Mogens Ellegaard. He was the first accordionist to introduce the instrument to real composers in Scandinavia. He really developed the accordion in a more classical way, although in my view it will never be a traditional “classical” instrument.” Perhaps not, but if you take a quick glance at Haltli’s repertoire list on his website, you will find many recognizable contemporary composers such as Berio, Lindberg, Pintscher, Gubaidulina and Zorn, all of whom have composed for the instrument. “Magnus Lindberg has written two fantastic pieces that I have played a lot. Also, Sofia Gubaibulina has written some very important works for the instrument. Now there is quite a lot of repertoire to choose from.” I ask him to talk me through his program. -
'Monumentalism' in Norway's Music 1930 –1945
Arnulf Christian Mattes ‘Monumentalism’ in Norway’s Music 1930 –1945 I. Building the Young Nation after 1905 The year 1905, when Norway eventually became a fully independent nation and a sovereign state, put an end to the uneasy political union with Sweden. Apparently, it marks the moment, when Norwegian cultural nationalism accomplished its goal. However, achieving independence in 1905 did not make the cultural nationalist movement obsolete, to the contrary: its protagonists were given the task to provide artistic expressions for cultural consensus and historical continuity of the young, Norwegian state at the turn of the 20th Century, aspiring to become a modern, economically thriving, and democratic society. This meant also to find the means of expression that suited this task. Therefore, many of the major artworks produced during the first decades of the 20. century tell a story about expressing ‘greatness’, in a specific Norwegian way. Additionally, there prevailed the strong ties to Germany in almost every aspect. German engineers helped to establish Norwegian infrastructure and industry, as well as Norwegians during most of the 19th century took advantage from the Germans’ world-leading academies and universities to educate its own cultural and academic elites. Calling this background into mind, one can understand better to which extend Norwegian artists felt ambivalent about their national responsibility: they had to acknowledge German cultural supremacy, at the same time they had to create artistic monuments which could match the standards of ‘advanced artworks’ equal to the German models, adopting the highly-developed techniques most of them had learned as students at the prestigious German institutions, the famous art- and music academies in Berlin and Leipzig. -
Norway – Music and Musical Life
Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture. -
Download Booklet
572441bk Grieg:570034bk Hasse 24/11/11 12:47 PM Page 4 Oslo Camerata Artistic Director: Stephan Barratt-Due The Oslo Camerata was established in 1998 and is much in demand in Norway and abroad. Regular tours have taken them GRIEG to prestigious festivals and concert-series in several European countries, India and South America. They have made recordings for Naxos as well as television recordings for the Norwegian National Channel. The repertoire of the ensemble spans from baroque to contemporary music, with commissioned works from both young and established composers. The String Quartets Oslo Camerata has collaborated with artists such as Mischa Maisky, Julian Rachlin, Truls Mørk, Christian Lindberg, Henning Kraggerud, Lidia Baich and Jeremy Menuhin, and is ensemble-in-residence at the renowned Barratt Due Institute of Music in Oslo. From 2008 the ensemble has, through funding by the Norwegian Ministry of Foreign Affairs, been involved in Arranged for String Orchestra Projeto Aprendiz in Niteroi, Brazil, a music project for children and young people in the favelas. The internationally renowned cellist Truls Mørk and violinist Henning Kraggerud are associated with the orchestra as principal guest leaders. www.oslocamerata.no NORDHEIM 1st violin: Stephan Barratt-Due, Camilla Kjøll, Carl Guido Gärtner, Henrik Myreng, Magnhild Skomedal Torvanger, Lina Marie Årnes • 2nd violin: Bård Monsen, Margrete Pettersen, Eleonore Darmon, Christiane Eidsten Dahl, Miriam Helms Ålien • Viola: Soon Mi Chung, Madelene Berg, Maria Syre, Eivind Holtsmark Ringstad Rendezvous Cello: Øystein Birkeland, Ole Eirik Ree, Tiril Dørum Bengtsson • Double bass: Natalie Radzik Stephan Barratt-Due Oslo Camerata • Stephan Barratt-Due Stephan Barratt-Due is a third generation violinist in a family with long musical traditions. -
Arne Nordheim Tenebrae / Magma Mp3, Flac, Wma
Arne Nordheim Tenebrae / Magma mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Tenebrae / Magma Country: Norway Released: 1991 Style: Contemporary MP3 version RAR size: 1908 mb FLAC version RAR size: 1114 mb WMA version RAR size: 1352 mb Rating: 4.9 Votes: 219 Other Formats: XM VQF DXD AA MMF MP1 DTS Tracklist 1 Tenebrae 24:50 2 Magma 22:30 Companies, etc. Recorded At – Oslo Konserthus Copyright (c) – Norsk Komponistforening Phonographic Copyright (p) – Norsk Komponistforening Made By – Disctronics (UK) Ltd. Pressed By – Disctronics S Credits Cello – Truls Mørk Composed By – Arne Nordheim Conductor – Yoav Talmi Design [Cover Design] – Gina B. Rose, Magne B. Hopp Engineer [Recording Engineer] – Charles Almås Liner Notes [Booklet Notes] – Kjell Skyllstad Liner Notes [Translation] – Sandra Hamilton Orchestra – Oslo Philharmonic Orchestra* Photography By [Booklet Photo] – Guri Dahl Producer – Pro Musica AS Producer, Engineer [Editing Engineer] – Arild Erikstad Typography [Booklet Typesetting] – Pro Musica AS Notes Recording dates: 2-4 Jan 1991 Recording venue: Oslo Concert Hall Editing and mastering equipment: Mitsubishi XE-2 CD production: Disctronics Ltd, London A Pro Musica Production Total spilletid 47:30 [CD] C & P 1991 Norwegian Society of Composers Made in UK by Disctronics Ltd [Rear] Total playing time 47:30 This compact disc has been released by the Norwegian Society of Composers with the support of the Norwegian Cultural Council © & ℗ 1991 Norwegian Society of Composers Barcode and Other Identifiers Barcode: 7 025560 -
Bruckner Symphony Cycles (Not Commercially Available As Recordings) Compiled by John F
Bruckner Symphony Cycles (not commercially available as recordings) Compiled by John F. Berky – June 3, 2020 (Updated May 20, 2021) 1910 /11 – Ferdinand Löwe – Wiener Konzertverein Orchester 1] 25.10.10 - Ferdinand Loewe 1] 24.01.11 - Ferdinand Loewe (Graz) 2] 02.11.10 - Martin Spoerr 2] 20.11.10 - Martin Spoerr 2] 29.04.11 - Martin Spoerr (Bamberg) 3] 25.11.10 - Ferdinand Loewe 3] 26.11.10 - Ferdinand Loewe 3] 08.01.11 - Gustav Gutheil 3] 26.01.11- Ferdinand Loewe (Zagreb) 3] 17.04.11 - Ferdinand Loewe (Budapest) 4] 07.01.11 - Hans Maria Wallner 4] 12.02.11 - Martin Spoerr 4] 18.02.11 - Hans Maria Wellner 4] 26.02.11 - Hans Maria Wallner 4] 02.03.11 - Hans Maria Wallner 4] 23.04.11 - Franz Schalk 5] 05.02.11 - Ferdinand Loewe 6] 21.02.11 - Ferdinand Loewe 7] 03.03.11 - Ferdinand Loewe 7] 17.03.11 - Ferdinand Loewe 7] 02.04.11 - Ferdinand Loewe 8] 23.02.11 - Oskar Nedbal 8] 12.03.11 - Ferdinand Loewe 9] 24.03.11 - Ferdinand Loewe 1910/11 – Ferdinand Löwe – Munich Philharmonic 1] 17.10.10 - Ferdinand Loewe 2] 14.11.10 - Ferdinand Loewe 3] 21.11.10 - Ferdinand Loewe (Fassung 1890) 4] 09.01.11 - Ferdinand Loewe (Fassung 1889) 5] 30.01.11 - Ferdinand Loewe 6] 13.02.11 - Ferdinand Loewe 7] 27.02.11 - Ferdinand Loewe 8] 06.03.11 - Ferdinand Loewe (with Psalm 150 -Charles Cahier) 9] 10.04.11 - Ferdinand Loewe (with Te Deum) 1919/20 – Arthur Nikisch – Leipzig Gewandhaus Orchestra 1] 09.10.19 - Artur Nikisch (1.