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Programme 2009 the Abel Prize Ceremony 19 May 2009 Procession Accompanied by the “Abel Fanfare” Music: Klaus Sandvik
Programme 2009 The Abel Prize Ceremony 19 May 2009 Procession accompanied by the “Abel Fanfare” Music: Klaus Sandvik. Performed by three musicians from the Staff Band of the Norwegian Defence Forces Their Majesties King Harald and Queen Sonja enter the hall Soroban Arve Henriksen (trumpet) (Music: Arve Henriksen) Opening by Øyvind Østerud President of the Norwegian Academy of Science and Letters Eg veit i himmerik ei borg Trio Mediæval, Arve Henriksen (Norwegian folk tune from Hallingdal, arr. Linn A. Fuglseth) The Abel Prize Award Ceremony Professor Kristian Seip Chairman of the Abel Committee The Committee’s citation His Majesty King Harald presents the Abel Prize to Mikhail Leonidovich Gromov Acceptance speech by Mikhail Leonidovich Gromov Closing remarks by Professor Øyvind Østerud President of the Norwegian Academy of Science and Letters Till, till Tove Trio Mediæval, Arve Henriksen, Birger Mistereggen (percussion) (Norwegian folk tune from Vestfold, arr. Tone Krohn) Their Majesties King Harald and Queen Sonja leave the hall Procession leaves the hall Other guests leave the hall when the procession has left to a skilled mathematics teacher in the upper secondary school is called after Abel’s own Professor Øyvind Østerud teacher, Bernt Michael Holmboe. There is every reason to remember Holmboe, who was President of the Norwegian Academy of Science and Letters Abel’s mathematics teacher at Christiania Cathedral School from when Abel was 16. Holmboe discovered Abel’s talent, inspired him, encouraged him, and took the young pupil considerably further than the curriculum demanded. He pointed him to the professional literature, helped Your Majesties, Excellencies, dear friends, him with overseas contacts and stipends and became a lifelong colleague and friend. -
Fmqautumn 2016 3 FMQ :: Autumn 2016
Olavi Louhivuori Physical and Gender equality : : p. 6 cultural in music environments – unfinished of music business? : : p. 12–43 : : p. 44–53 Finnish Music Quarterly FMQAutumn 2016 Contents :: EditorialBY ANU AHOLA Autumn 2016 3 3 Editorial 4 News :: FMQ 6 Beyond genre BY Wif Stenger on Olavi Louhivuori Aural landscapes, sonic mindscapes AUTUMN 12 The voice of freedom BY Andrew Mellor on Outi Tarkiainen 2016 14 Collective resonance BY Merja Hottinen on Nathan Riki Thomson The foundation of every culture consists of the natural environment and the customs and beliefs of the community living in it. These basic elements 18 Spaces and pigeonholes BY Hanna Isolammi shape each other constantly, sometimes in surprising ways. In this issue Jussi Puikkonen on Susanna Mälkki we explore the relationship between music and environment, both natural and cultural. What traces, influences and meanings of the environment do 20 The North in music BY Andrew Mellor the people who create, consume and study music find in it today? 24 Natural born preachers BY Janne Flinkkilä This question prompted further questions: How does a language envi- on Radiopuhelimet ronment manifest itself in music? Why does performing a concert in the natural environment seem to enhance the experience? And what about 26 10 Finnish songs about and inspired by nature BY Matti Nives the evolution of music: is music essential for human beings, biologically speaking? 28 Taking Note: Naturally good music BY Juha Torvinen Although definitive answers cannot be found for all these questions, 30 Nature’s concert halls BY Heidi Horila it is obvious that creating and experiencing music are always affected by on the force of nature in Finnish music events nature, by nurture and by the culture we live in. -
263 SELECTED BIBLIOGRAPHY Monographs
SELECTED BIBLIOGRAPHY Monographs: Adorno, Theodor. The Culture Industry. New York: Routledge, 2001. Ahokas, Jaakko. A History of Finnish Literature. Indianapolis: Indiana University Publications, 1973. Ake, David. Jazz Cultures. California: University Of California Press, 2002. Albertsson, Ólafur Vignir. Einsöngslög IV. Reykjavik: Ísalög, 1997. Almén, Byron. A Theory of Musical Narrative. Bloomington and Indianapolis: Indiana University Press, 2008. Anderson, Benedict. Imagined Communities. New York, Verso, 1983. Andersson, Greger et al. eds. Musiken i Norden. Stockholm: Kungliga Musikaliska Akademien, 1998. Apollonio, Umbro, ed. Futurist Manifestos New York: Viking Press, 1973. Atkins, E. Taylor. ed. Jazz Planet. Mississippi: University of Mississippi Press, 2003. Attali, Jacques. Noise: The Political Economy Of Music. Minneapolis: University of Minnesota Press, 1985. Austerlitz, Paul. Jazz Consciousness: Music, Race, and Humanity. Connecticut, Wesleyan University Press, 2005. Baraka, Amiri. Jazz and the White Critic. Black Music. New York: Morrow, 1960. Barthes, Roland. Image, Music, Text. London: Fontana Press, 1977. Beard, David and Kenneth Gloag. Musicology: The Key Concepts. New York: Routledge, 2005. Benjamin, Walter. Illuminations: Essays and Reflections. New York, Schocken Books, 1968. Berendt, Joachim‐Ernst and Günther Huesmann, The Jazz Book: From Ragtime to the 21st Century. Chicago: Lawrence Hill Books, 2009. Bergendal, G. (1991). New Music In Iceland. Reykjavik, Iceland Music Information Centre. Berger, Harris M. and Giovanna P. Del Negro. Identity and Everyday Life: Essays in 263 the Study of Folklore, Music, and Popular Culture. United States: Wesleyan University Press, 2004. Bergh, Johs and Jan Evensmo. Jazz Tenor Saxophone in Norway 19171959. Oslo: Norsk Jazzarkiv, 1996. Berliner, Paul. Thinking In Jazz: The Infinite Art of Improvisation. Chicago, University of Chicago, 1994. -
WP Frode Haltli List 1996-2013
Frode Haltli world premiers chronologically 1996-2013 Solo accordion PerMagnus Lindborg: Bombastic SonoSofisms, for solo accordion (Copenhagen 1996) Nils Rosing-Schow: Spiral Ladder (Paris 1997) Bent Sørensen: Looking on Darkness (Copenhagen 2000) Asbjørn Schaathun: Lament (Copenhagen 2000) Maja Solveig Kjelstrup Ratkje: Passing Images, waltz (Schwaz, Austria 2003) Rune Rebne: IIIIII (Oslo 2003) Atli Ingolfsson: Radioflakes (Paris 2004) Claudia Molitor: Even if the world is infinitely complex (London 2006) Hans Abrahamsen: Air (Copenhagen 2007) Rolf Wallin: Seven Imperatives (Bodø, Norway 2008) JeXper Holmen: Eris (Huddersfield 2009) with live electronics Ørjan Matre: Nephilim Songs (Witten 2012)) JeXper Holmen: The Prophecy (Huddersfield 2012) with live electronics Solo accordion and orchestra Joyce Bee Tuan Koh: Divergent Plates (Singapore 2003, Singapore SO/Okku Kamu) Solo accordion and ensemble Sam Hayden: emergence for accordion, live electronics and sinfonietta (Oslo 2004, Oslo Sinfonietta/Christian Eggen) Jon Balke: Kitsune for accordion and ensemble (Porto 2006, RemiX Ensemble/Rolf Gupta) Bent Sørensen ”It is Pain Flowing Down Slowly on a White Wall” for accordion and string ensemble (Oslo 2011, Telemark Chamber Orchestra) Accordion and string quartet Maja Solveig Kjelstrup Ratkje: gagaku variations (2001, with Vertavo String Quartet) Jon Øivind Ness: Spoof Spiral 2 (2001, with Cikada String Quartet) Jo Kondo: Yarrow (2005, with Cikada String Quartet) Hans Abrahamsen: Three Little Nocturnes (2005, with Cikada String Quartet) Accordion -
Kirkemusikkfestival 2.–11
OSLO INTERNASJONALE KIRKEMUSIKKFESTIVAL 2.–11. mars 2018 || PROGRAM H.K.H. Kronprinsesse Mete-Marit, Oslo Internasjonale Kirkemusikkfestivals høye beskyter 2 Foto: Jørgen Gomnæs / Det kongelige hoff 3 Kjære publikum, Årets festival byr på mange store opplevelser, men har BARN, UNGE, STUDENTER OG MESTERE også et alvorlig tema. Slaveriet – før og nå vil bli belyst Eventyret om Telemann av vår folkekjære skuespiller gjennom konsertproduksjoner, foredrag og en samtale med Minken Fosheim får sin urfremføring under årets festival. personer som til daglig arbeider med og mot dete alvorlige Med seg på laget har hun den ikke ukjente dukken ondet. Jordi Savall tar oss med, i åpningskonserten Les Rosenstjert Larsen og et ungt norsk ensemble som har routes de l’esclavage – I slavehandelens spor, på en reise spesialisert seg på Telemann, Bragernes barokk. gjennom de ulike slavekoloniene fra det 16. århundret helt frem til Martin Luther Kings tid på 1960-tallet. Vi får oppleve PIO – pilegrim i orgelsko er et prosjekt for barn og unge et gripende og vakkert program med sangtradisjoner som mellom 6 og 19 år som spiller orgel. De blir å høre både i en griot-sang fra Mali, ciranda, maracatu og samba fra Brasil konsert og i en festivalhøymesse. – en unik musikkskat sammensat av afrikansk, arabisk, tyrkisk, spansk-portugisisk og latinamerikansk musikk. J.S. Bachs Das Wohltemperierte Klavier II, BWV 870–893 Utøverne er for anledningen hentet fra alle de nevnte steder. fremføres i Oslo domkirke i en halvmaratonkonsert med Vi får også et møte med slaveriets historie i Händels Håvard Gimse og hans studenter. Dete verket, som Bach storslåte oratorium Israel i Egypt fremført av to arbeidet med store deler av sit liv, ble også svært viktig fantastiske ensembler: Det Norske Solistkor og for komponister som Mozart, Haydn og Beethoven. -
Solveig Slettahjell
SOLVEIG SLETTAHJELL Solveig Slettahjell (pronounced: Sul-vay Shlet-I-Yell) was born in Bærum near Oslo in 1971 and grew up in the small town of Orkanger near Trondheim. As her father was a pastor, she grew up in church. She sang in choirs from the age of 7 and began accompanying various youth and gospel choirs on the piano from the age of 13. She also sang and played her own versions of hymns, negro spirituals, Norwegian religious folksongs, as well as her own compositions. Studies. Solveig studied classical piano and singing at a secondary school for music in Trondheim, before going on to jazz studies at the Norwegian Academy of Music in 1992. Here she met Sidsel Endresen, who was her teacher from 1993 and until Solveig finished her ’ degree in 2000. Her final exam consisted of a thesis on the rhythmic aspects of phrasing and a concert, which was the beginning of the Slow motion concept. Musical projects. At the Academy Solveig met the pianist Håkon Hartberg. Together they formed the Slettahjell/Hartberg Duo. The ’repertoire consisted of their versions of country songs, jazz standards, Norwegian folksongs, children songs, music by Prince, Tom Waits and others. The Slettahjell/Hartberg Duo was ’most important musical project until 1996. In 1995 Solveig joined a band called Squid, which worked with their own original material based on soul, acid-jazz, and funk music. They did many concerts until the group disbanded in 1999. Squid recorded one album, “Super”, in 1998. In 1997 she joined the Norwegian experimental vocal quartet Kvitretten. -
Juliana Venter
JULIANA VENTER Born 08.10.1970 in Pretoria in South Africa. Lives and works in Oslo and internationally. Born and raised in an Afrikaans family in South Africa and Namibia, where she studied opera and piano. From 2000 she lived and worked in London, Scotland, Munich and Berlin. In 2016, she moved to Norway. Speaks and writes fluently: Afrikaans, English and German. Understands, studies and performs both as an actor and singer in Norwegian. Introduction: Juliana Venter is a different artist in that she is primarily a singer who operates in notated and free-improvised music, classical and extended vocal techniques, contemporary music, noise, jazz, baroque music, folk music expressions from Norway, Southern Africa, West Africa , Central Asia, Arabic music, Japanese and Chinese traditional musical expressions as well as rock and pop. She has a very distinctive expression. She is also an actress who operates in both film and theatre. She is a composer for large and original ensembles, and at the same time she makes music for just her own voice or the various regular collaborations she has with various musicians, from a traditional singer / songwriter tradition to modernist and conceptual contemporary music. In addition, she has done countless cross-genre performance concerts and music / theatre performances. ( NB not to be confused with musicals) Operationally trained from 1985-98. She is known for her heartfelt voice, wide palette and her groundbreaking and at times extreme expression. She has been called by the press, “the queen of South African avant-garde“ She was the frontrunner in the music and performance band The Mud Ensemble from Johannesburg, which achieved cult status as pioneers in avant-garde music theatre in South Africa in the 1990s. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on. -
(1974) Has Worked As a Musician and Composer Since 1996 and He Has Developed Into One of the Most Prominent and Authentic Musicians of the Younger Dutch Generation
Wolfert Brederode - pianist/composer Pianist Wolfert Brederode (1974) has worked as a musician and composer since 1996 and he has developed into one of the most prominent and authentic musicians of the younger Dutch generation. A refined and focused touch, concern for natural flow, openness to all kinds of music, and his relentless search for new horizons are characteristic features of his music. He debuted with ensembles such as the Wolfert Brederode Trio & Quintet, Nimbus, the Susanne Abbuehl Group and later on with a.o. Wolfert Brederode Quartet, Duo Lijbaart/Brederode, ‘April’ and the Yuri Honing Acoustic Quartet. With these groups he has recorded, toured, performed at festivals and made broadcasting recordings in the Netherlands, Belgium, Germany, UK, Ireland, France, Switzerland, Austria, Slovenia, Italy, Spain, Poland, Lithuania, Scandinavia, Canada, South Africa, Mozambique, Panama, Costa Rica, Japan and South Korea. Wolfert has worked with artists such as David Liebman, Jeanne Lee, Arve Henriksen, Ack van Rooyen, John Ruocco, Rachel Gould, Ronan Guilfoyle, Tony Lakatos, Harry Sokal, Trygve Seim, Kristina Fuchs, Michel Portal, Per Oddvar Johansen, Olavi Louhivuori, Lucas Niggli, Tore Brunborg, Tony Overwater, Gulli Gudmundsson, Jojo Mayer, Gerald Veasley, Wolfgang Puschnig, Esther Apituley, Afra Mussawisade, Eric Vloeimans, Cristina Branco and Amsterdam Sinfonietta. Ensembles of current interest are the Wolfert Brederode Quartet, Duo Lijbaart/Brederode, ‘Stories’, the Yuri Honing Acoustic Quartet, Key Figures and the new ensemble of Susanne Abbuehl with trumpet player Matthieu Michel. . -
Dominican Republic Jazz Festival @ 20
NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
PHILLIPS End to BEGINNING
MAY 2019—ISSUE 205 YOUR FREE guide TO tHe NYC JAZZ sCENE NYCJAZZRECORD.COM BARRE PHILLIPS END TO BEGINNING janis simon mulatu danny siegel nabatov astatke barker Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2019—ISSUE 205 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@nigHt 4 Laurence Donohue-Greene: interview : janis siegel 6 by jim motavalli [email protected] Andrey Henkin: artist Feature : simon nabatov 7 by john sharpe [email protected] General Inquiries: on The Cover : barre pHillips 8 by andrey henkin [email protected] Advertising: enCore : mulatu astatke 10 by mike cobb [email protected] Calendar: lest we Forget : danny barker 10 by john pietaro [email protected] VOXNews: LAbel spotligHt : pfMENTUM 11 by robert bush [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] Cd reviews 14 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, misCellany 33 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, event Calendar Tom Greenland, George Grella, 34 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mike Cobb, Pierre Crépon, George Kanzler, Steven Loewy, Franz Matzner, If jazz is inherently, wonderfully, about uncertainty, about where that next note is going to Annie Murnighan, Eric Wendell come from and how it will interact with all that happening around it, the same can be said for a career in jazz. -
Rapport 2016
RAPPORT 2016 18. - 20. MARS Vossa Jazz 2016 - RAPPORT «Når vi avslutter den 43. Vossa Jazz med å reise hjem på toget mandag kl. 13.13 mot Oslo, er det med vissheten om at vi har opplevd en av de aller beste Vossa Jazz-festivalen de siste ti årene. Programmet i år har vist en sjangermessig og publikumsmessig bredde – noe som har medført at så godt som alle konsertene vi har vært innom på fredag og lørdag har skjedd foran stinn «brakke».» JOhAN hAukNes, salt-Peanuts dave holland Trio Den 43. festivalen vart skipa til i palmehelga, 18. - 20. mars. I løpet av festivalen fann nær 60 tilskipingar stad der i alt 43 band medverka. 186 profesjonelle musikarar pluss over 100 born, gjennom deltaking i dei ulike konsertane på Badnajazz, sytte for store musikalske opplevingar frå 16 ulike scenar, både inne og ute. Tal besøkande på tilskipingane var om lag 5 000. Med godt besøk på gratiskonsertar, gjester, akkreditert presse, musikarar og medarbeidarar hadde festivalen total rundt 15 600 konsertbesøk. 216 medarbeidarar sytte for at gjennomføringa av Vossa Jazz gjekk etter planen. «Eg syns Vossa Jazz er ein veldig intim festival der ein kjem tett innpå musikk og folk. Har gjennom åra hatt mange store opplevelsar på festivalen .» Nils ØklANd Vossa Jazz 2016 - RAPPORT NYSKAPANDE Vossa Jazz sin profil omfattar «Musikken, folka, staden, jazz, folkemusikk og verds- påskestemninga, den musikk. Festivalen skal vera lange tradisjonen – ALT!» nyskapande og gje publikum nye musikalske opplevingar. For niande året på rad opna Festivalopnar festivalen med nyskriven poesi. RuTh lillegraveN i år var det Ruth lillegraven om kva som gjer Vossa som stod for opninga.