DOCSLIB.ORG

Vår/Spring 2016 Komponisthjemmene the Composers’ Homes En Del Av / a Part Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vår/Spring 2016 Komponisthjemmene the Composers’ Homes En Del Av / a Part Of VÅR/SPRING 2016 KOMPONISTHJEMMENE THE COMPOSERS’ HOMES EN DEL AV / A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN OLE BULL MUSEUM LYSØEN HARALD SÆVERUD MUSEUM SILJUSTØL Innhold / Content 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 12 Program 30 Kalender / Calendar 32 Festspillkalender / Calendar - Bergen International Festival 34 Utleie til private konserter og arrangementer / Private concerts and events Troldhaugen, Lysøen og Siljustøl er en del av KODE – Kunstmuseene i Bergen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen Nye legender New Legends Våren 1882 turnerte den den belgiske kompo- Vi ser frem til både legendarisk musikk og for- Grieg and Grieg’s violin sonatas, his first visit to nisten og fiolinvirtuosen Eugène Ysaÿe i Norge. gjengelige øyeblikk i vårens program. Vi gle- Norway became a parenthetical remark in music I slutten av april var han i Bergen, og ga tre der oss til den storslåtte festkonserten for vår history. The musical score for the ’legend’ disap- konserter i Arbeiderforeningens lokale. Bak pensjonerte kollega Eilif B. Løtveit, med tre av peared. turneen sto Ole Bulls sønn, Alexander. Dette Norges fineste musikere i Troldsalen: Ann-Helen It is a cliché that classical music is undying and var bare to år etter Bulls død, og den verdens- Moen, Atle Sponberg og Håvard Gimse. Sammen eternal. But music does die, like all other art, if it berømte fiolinistens hjemby var fremdeles full med forfatter Erlend O. Nødtvedt skal vi gjen- is not recreated and experienced in personal and av musikk, romantikk og karismatiske historie- oppdage Griegs Haugtussa, fremført av Hilde intimate contexts. The living rooms of the Grieg fortellere. Trolig møtte han også den berømte Haraldsen Sveen og Knut Christian Jansson. and the Bull families were often filled with music Edvard Grieg, som 39 år gammel var i ferd med Vi er stolte over å bidra til å løfte frem en ny and whimsical virtuosity, also with disruptions, å avslutte sine to år som dirigent for Harmoni- generasjon fremragende unge strykere fra laughter, refreshments and storytelling. This en. Den 24 år gamle belgieren må ha latt seg Bergen, tilknyttet Barratt Due musikkinstitutt. intimate, homey environment helps us under- inspirere av både musikken og landet, og han Og ikke minst har vi store forventninger til stand some of the magic of chamber music. It komponerte et helt nytt verk mens han var her. konserten med David Stewart og Jane Coop. De is also through such intimate encounters with Légende Norvégienne (Norsk legende) var tileg- fremfører nettopp Eugène Ysaÿes glemte perle: music in historical arenas that KODE’s three net Alexander Bull og ble fremført på konserten Légende Norvégienne, som på mirakuløst vis er composers’ homes distinguish themselves from i Bergen søndag 30. april. Hos Ysaÿe fantes et gjenfunnet på et arkiv i Belgia! other concert arenas. signert portrett av Grieg, datert dagen etterpå. Velkommen til nye musikalske øyeblikk. Ole Bull We look forward to both legendary music and Det må ha vært fine øyeblikk. Men ikke alle Nye legender er på vei! fleeting moments in this spring’s programme. verdifulle stunder blir husket eller tatt vare Sigurd Sandmo We have great expectations for the grand gala på. Selv om Ysaÿe etter hvert skulle få et nært In spring 1882, the Belgian composer and Direktør for Komponisthjemmene i KODE concert in Troldsalen, in honour of our now- forhold til både Grieg og hans fiolinsonater, ble violin virtuoso Eugène Ysaÿe made a tour of retired colleague Eilif B. Løtveit. The concert Ysaÿes første besøk i Norge en parentes i mu- Norway, which included Bergen. The tour’s features three of Norway’s finest musicians: sikkhistorien. Notene til legenden forsvant. organiser was Ole Bull’s son, Alexander. This Ann-Helen Moen, Atle Sponberg and Håvard was just two years after Ole Bull died, and Det er en klisjé at den klassiske musikken er Gimse. With the author Erlend O. Nødtvedt, we the world-famous violinist’s hometown was udødelig og evig. Musikken dør, som all annen will rediscover Grieg’s Haugtussa, performed still full of music, romance and charismatic kunst, om den ikke gjenskapes og oppleves i by Hilde Haraldsen Sveen and Knut Christian storytellers. During his visit, Ysaÿe most likely personlige og nære sammenhenger. Stuene til Jansson. We are proud to help promote a new met the famous Edvard Grieg, who at 39 years Grieg- og Bull-familiene var ofte fulle av musikk generation of stunning young musicians from old was on the verge of ending his two years og lekende virtuositet, og av avbrytelser, latter, Bergen, all of whom are affiliated with the as director of the orchestra ‘Harmonien’. The 24 servering og historiefortelling. I dette nære og Barratt Due Institute of Music. Not least, we year old Belgian must have drawn inspiration hjemlige ligger noe av kammermusikkens magi. eagerly anticipate the concert with David from both the music and the country, and he Det er også i disse intime møtene med musikken Stewart and Jane Coop. They will perform Eugène composed a brand new work while in Norway. på historiske arenaer at KODEs tre komponist- Ysaÿe’s forgotten pearl Légende Norvégienne, Légende Norvégienne (Norwegian Legend) was hjem skiller seg fra andre konsertarenaer. which was miraculously rediscovered in a dedicated to Alexander Bull and performed at Belgian archive! the concert in Bergen on Sunday, 30 April 1882. At Ysaÿe’s home, a signed portrait of Grieg, dated Welcome to new musical moments. the following day, was later discovered. New legends are on the way! It must have been a very happy moment. But Sigurd Sandmo not all valuable moments are remembered or Director – The Composers’ Homes preserved for posterity. Even though Ysaÿe would eventually develop a close relation to both 4 5 Foto: Dag Fosse / KODE Dag Fosse Foto: Griegs villa TROLDHAUGEN EDVARD GRIEG MUSEUM Troldhaugen er et unikt musikalsk landskap, ÅPNINGSTIDER 2016 OPENING HOURS 2016 Edvard Grieg (1843–1907) is undoubtedly mettet av opplevelser og minner om Norges 6. januar – 30. april: January 6 – April 30: Norway’s greatest composer, and his home største komponist gjennom 130 år. Helt siden 10.00–16.00 alle dager 10.00–16.00 every day Troldhaugen is one of the country’s most Nina og Edvard Grieg tilbrakte sin første som- 1. mai – 30. september: May 1 – Sept 30: renowned attractions. Ever since Nina and mer her i 1885, har den vakre lille villaen med 09.00–18.00 alle dager 09.00–18.00 every day Edvard Grieg spent their first summer there den storslåtte beliggenheten trukket til in 1885, the marvelously situated little villa seg besøkende fra hele verden. Spisestedet Troldhaugen Café Troldhaugen has drawn visitors from all over the world. søndager 11.00–16.00 Sundays 11.00–16.00 Her, i omgivelser mange forbinder med det (Fra 14. februar) (From February 14) Down by the idyllic Nordås Lake, you’ll also norskeste norske, fornyet Grieg den europeiske find the composer’s hut and the Griegs’ final BILLETTER TICKETS kunstmusikken på en måte som pekte fremover resting place. Every day during the summer, Voksen: kr. 100,- Adults: NOK 100 og langt ut over landets grenser. Troldhaugen the museum offers concerts in what is most Student / Bergenskort: kr. 50,- Students, Bergen Card: NOK 50 er både et kulturminne, en konsertarena og likely Norway’s most gorgeous chamber music Grupper: kr. 50,- per pers. Groups: NOK 50 per pers. et rekreasjonsområde – og blant Norges mest hall. Troldhaugen means unique experiences of (min 15 pers.) (min 15 pers.) berømte museer. art and nature in the close vicinity of Bergen city. Barn under 16 år: Gratis Children under 16: free KONTAKT CONTACT [email protected] [email protected] EdvardGriegMuseum tlf. 55 92 29 92 Tel: (+47) 55 92 29 92 @EGMTroldhaugen kodebergen griegmuseum.no Troldhaugveien 65, 5232 Paradis-Bergen 6 7 Ole Bulls villa LYSØEN OLE BULL MUSEUM Lysøen er et av landets mest romantiske ÅPNINGSTIDER 2016 OPENING HOURS 2016 Ole Bull (1810-1880) was a violinist, composer, steder. Øyen byr på en overflod av minner fra 18. mai – 31. august: May 18 – August 31: patriot, cosmopolite, entrepreneur, seducer et 1800-tall som lot seg forføre og begeistre av 11.00–16.00 alle dager 11.00–16.00 every day and a person of considerable charisma. He Ole Bull, tidens mest karismatiske nordmann. September: September: mesmerized audiences in country after country Her er en villa å fortape seg i, stier å følge, 11.00–Kl. 16.00 hver søndag 11.00–16.00 every Sunday on several continents, and was the most well- benker å fortelle eventyr på, gåtefulle steder travelled, famous and admired Norwegian of his å oppsøke. BILLETTER TICKETS time. Bull’s own island, Lysøen, is a cornucopia Voksne: kr. 60,- Adults: NOK 60 of memories, telling the story of the Norwegian Men Lysøen er mer enn fantasi. Barn: kr. 20,- Children: NOK 20 violinist who made the world his playground. Kunnskapsuniverset rundt Ole Bull vokser Bergenskort: Gratis Bergen Card: Free stadig. Musikere, historikere og andre forskere Grupper etter kl. 16.00: Groups after 16.00: The villa is one of the most fairytale-like artist kr. 70,- per pers. NOK 70 per pers. finner stadig nye spor etter hans forbløffende liv, homes in the world, and the sizeable island i Europa, Amerika og Afrika – som fiolinvirtuos, boasts kilometers of white trails and romantic Bestilling for grupper Booking for groups komponist, kosmopolitt, drømmer, institusjons- hideouts. Lysøen not only offers fantastic utenom ordinær åpningstid: outside opening hours: bygger og forfører. Lysøen er et fantastisk architecture and unexpected natural wonders, Tlf. 56 30 90 77 Tel (+ 47) 56 30 90 77 minne om norgeshistoriens mest eventyrlige [email protected] [email protected] but also has a café, swimming spots and kunstnerliv.
Load more

Recommended publications
  • Edvard Grieg (1843-1907) – Norwegian and European
    Edvard Grieg (1843-1907) – Norwegian and European. A critical review By Berit Holth National Library of Norway Edvard Grieg, ca. 1858 Photo: Marcus Selmer Owner: Bergen Public Library. Edvard Grieg Archives The Music Conservatory of Leipzig, Leipzig ca. 1850 Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg graduated from The Music Conservatory of Leipzig, 1862 Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg, 11 year old Alexander Grieg (1806-1875)(father) Gesine Hagerup Grieg (1814-1875)(mother) Cutout of a daguerreotype group. Responsible: Karl Anderson Owner: Bergen Public Library. Edvard Grieg Archives Edvard Grieg, ca. 1870 Photo: Hansen & Weller Owner: Bergen Public Library. Edvard Grieg Archives. Original in National Library of Norway Ole Bull (1810-1880) Henrik Ibsen (1828-1906) Bjørnstjerne Bjørnson (1832-1910) Wedding photo of Edvard & Nina Grieg (1845-1935), Copenhagen 1867 Owner: Bergen Public Library. Edvard Grieg Archives Edvard & Nina Grieg with friends in Copenhagen Owner: http://griegmuseum.no/en/about-grieg Capital of Norway from 1814: Kristiania name changed to Oslo Edvard Grieg, ca. 1870 Photo: Hansen & Weller Owner: Bergen Public Library. Edvard Grieg Archives. Original in National Library of Norway From Kvam, Hordaland Photo: Reidun Tveito Owner: National Library of Norway Owner: National Library of Norway Julius Röntgen (1855-1932), Frants Beyer (1851-1918) & Edvard Grieg at Løvstakken, June 1902 Owner: Bergen Public Library. Edvard Grieg Archives From Gudvangen, Sogn og Fjordane Photo: Berit Holth Gjendine’s lullaby by Edvard Grieg after Gjendine Slaalien (1871-1972) Owner: National Library of Norway Max Abraham (1831-1900), Oscar Meyer, Nina & Edvard Grieg, Leipzig 1889 Owner: Bergen Public Library.
    [Show full text]
  • Christianialiv
    Christianialiv Works from Norway’s Golden Age of wind music Christianialiv The Staff Band of the Norwegian Armed Forces The second half of the 19th century is often called the “Golden Age” of Norwegian music. The reason lies partly in the international reputations established by Johan Svendsen and Edvard Grieg, but it also lies in the fact that musical life in Norway, at a time of population growth and economic expansion, enjoyed a period of huge vitality and creativity, responding to a growing demand for music in every genre. The Staff Band of the Norwegian Armed Forces (to use its modern name) played a key role in this burgeoning musical life not just by performing music for all sections of society, but also by discovering and fostering musical talent in performers and composers. Johan Svendsen, Adolf Hansen, Ole Olsen and Alfred Evensen, whose music we hear on this album, can therefore be called part of the band’s history. Siste del av 1800-tallet er ofte blitt kalt «gullalderen» i norsk musikk. Det skyldes ikke bare Svendsens og Griegs internasjonale posisjon, men også det faktum at musikklivet i takt med befolkningsøkning og økonomiske oppgangstider gikk inn i en glansperiode med et sterkt behov for musikk i alle sjangre. I denne utviklingen spilte Forsvarets stabsmusikkorps en sentral rolle, ikke bare som formidler av musikkopplevelser til alle lag av befolkningen, men også som talentskole for utøvere og komponister. Johan Svendsen, Adolf Hansen, Ole Olsen og Alfred Evensen er derfor en del av korpsets egen musikkhistorie. The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz 2.0 LPCM 24/192kHz + MP3 and FLAC EAN13: 7041888519027 q e 101 2L-101-SABD made in Norway 20©14 Lindberg Lyd AS 7 041888 519027 Johan Svendsen (1840-1911) Symfoni nr.
    [Show full text]
  • GRIEG, Edvard Hagerup (1843-1907)
    BIS-CD-637STEREO DDD".l Total playing timer 69'22 GRIEG,Edvard Hagerup(1843-1907) SeksDigte,Op,4 rwn l1'08 tr I. Die Waise(Text: Adelbert uon Chatnisso) 2',28 E II. Morgenthat (Text:Adelbert uon Chamisso) l'21 tr IIL Abschied.(Text: Heinrich Heine) ,.,r.4 E IV. Jiigerlied.(Text: J. Ludwig Uhland) 0'41 tr V. Das alte Lied (Text:Heinrich Heine) 2',17 tr VI. Wo sind sie hin? (Text:Heinrich Heine) r'32 Hjertets Melodie4 Op,EOexts: Hans Christian And.ersen) Nn) 5'53 tr I. Tobrune Ojne 1'05 E II. Du fatter ej Bglgernesevige Gang 7',41 tr III. Jegelsker dig r'34 @ IV. Min Tankeer et mregtigFjeld r'17 Sex Digte af Ibsen, Op.25 (Texts:Henrik lbsen) (wH) l1'40 E I. Spillemend 2'07 @ II. En Svane 2'00 tr III. Stambogsrim r'32 tr IV. Meden Vandlilje 1'52 tr V.Borte! I'28 @ VI. En Fuglevise 2',14 2 Barnlige Sange. Fra Nordahl Rolfsens"Lrcsebog", Op.6l 13'15 tr I. Havet (Text:J. NordahlRolfsen) eet",') l'02 @ IL Sangtil Juletreet (Text:J. Krohn) NorehMusikforlag) 2',26 E iIL Lok (Text:Bjgrnstjerne Bjgrnson) eetersl 0'46 @ IV. Fiskevise(Text: P. Dass) rchristiania.Brddrere Hals's Musihforlag) 1'07 E V. Kveld-Sangfor Blakken 2',34 (Text:J. Nordahl Rolfsen) Ghristiania,Brdilrene Hals's Musihforlng) @ VL De norskeFjelde }',29 (Text:J. NordahlRoLfsen) rchristiania. Brdilrene Hak's MusihforW) tr VII. Faedrelands-Salme r'26 (Text:J. NordahlRolfsen, after Johan Luduig Runeberg) Norsh Musihfortns) Haugtussa, Op.67 (Text:Arne Garborg) rwn) 25',47 tr I.
    [Show full text]
  • Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
    EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies.
    [Show full text]
  • Konsert Med Arve Tellefsen, Knut Buen Og Geir Botnen
    NO I ENG SUMMER 2016 KOMPONISTHJEMMENE THE COMPOSERS’ HOMES A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN OLE BULL MUSEUM LYSØEN HARALD SÆVERUD MUSEUM SILJUSTØL Troldhaugen, Lysøen og Siljustøl er en Innhold / Contents del av KODE – Kunstmuseene i Bergen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 12 Program Siljustøl 14 Program Lysøen 24 Program Troldhaugen 44 The International Edvard Grieg Piano Competition 46 Lyttekurs Musikalske landskap Musical landscapes Etter at Edvard Grieg døde i 1907 fortsatte Nina Ved alle de tre komponisthjemmene fortaper After Edvard Grieg died in 1907, his wife Nina Nina and Edvard Grieg å bo på Troldhaugen i sommerhalvåret, slik de musikkhistorien seg i naturen. På Lysøen le- continued living at Troldhaugen during the to hadde gjort i alle år. Nina hadde et hjerte der kilometervis med stier deg direkte inn i Ole summer months, just as she and her husband their rootedness in stories that live on, in the for alt det stedet hadde betydd for dem mens Bulls romantiske verden. Det er et møte med had always done. Nina cherished the memory of music that is still being played, and in a nature Edvard levde, og hun var opptatt av hva Trold- den vestnorske naturen Bull fremdeles har re- what Troldhaugen had meant to them, and she that changes from day to day. haugen skulle bli når hun selv ikke lenger kunne gien på. På Siljustøl venter et annet stort natur- was concerned about what would become of it ta vare på det.
    [Show full text]
  • Vadim Repin, Violin, with Andrei Korobeinikov, Piano Program Notes
    Vadim Repin, violin, with Andrei Korobeinikov, piano Program Notes Part: Fratres Born in Paide, September 11, 1935 In 1960, while still a student at the Talinn Conservatory, Arvo Pärt won national attention for his Nekrolog, dedicated to the victims of the Holocaust. It was the first work by an Estonian composer to use Schoenberg’s twelve-tone system so it created something of a scandal. The notoriety had its rewards, however, as it brought Pärt commissions from state sources and from cellist Rostropovich. Soon tired of his serial phase, Pärt began a series of alternations between creative output and withdrawal to search for a new style. One of his explorations came up with the collage technique, resulting in such compositions as his Collage on the Theme B-A-C-H (1964) and Second Symphony (1966). During the 1970s Pärt supported himself by writing some 50 film scores. His third symphony (1971) followed one of his “withdrawal” periods, in which he studied 14th – 15th century polyphony, from Machaut to Josquin. He followed another of his “creative silences” with For Alina (1976), a small piano piece of high and low extremes. Pärt said he reached a “new plateau” with this piece: “It was here that I discovered the triad series, which I made my simple, little guiding rule.” He has written in this triadic style, which he calls “tintinnabuli” (after the bell-like resemblance of notes in the triad), ever since, with only slight modifications. From 1982, when he moved to Berlin, he has composed primarily religious works for chorus or small vocal ensembles.
    [Show full text]
  • Tessa Lark, Violin Andrew Armstrong, Piano
    Streaming Premiere – Thursday, October 1, 2020, 7pm Tessa Lark, violin Andrew Armstrong, piano Filmed exclusively for Cal Performances on location at Merkin Hall, Kaufman Music Center, New York City, on August 17, 2020. Major support for this program provided by The Bernard Osher Foundation. Patron Sponsors: Nadine Tang and Bruce Smith 1 PROGRAM Béla Bartók (arr. Székely) Romanian Folk Dances, Sz. 56, BB 68 Jocul cu bâtă (Dance with Sticks) Brâul (Sash Dance) Pe loc (Stamping Dance) Buciumeana (Hornpipe Dance) Poarca Românească (Romanian Polka) Mănuntelul (Fast Dance) Eugène Ysaÿe Sonata No. 5 for Solo Violin in G major, Op. 27, Mathieu Crickboom L’Aurore Danse rustique Franz Schubert Fantasy in C major, D. 934 Andante molto Allegretto Andantino (Theme and Variations on “Sei mir gegrüßt”) Allegro vivace INTERMISSION Edvard Grieg Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato Maurice Ravel Tzigane – rapsodie de concert Tessa Lark plays a ca.1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. Tessa Lark is represented worldwide by Manhattan-based Sciolino Artist Management (www.samnyc.us). Note: following its premiere, the video recording of this concert will be available on demand through December 30, 2020. 3 PROGRAM NOTES Musical Passports Béla Bartók (1881–1945) “The only true voyage of discovery,” Marcel Romanian Folk Dances, Sz. 56, BB 68 Proust famously wrote, “would be not to visit Béla Bartók’s efforts to bring a scientific rigor to foreign lands but… to behold the universe the study of folk music helped pave the way for through the eyes of another”—through the a new way of thinking about the relationship perceptions, that is, provided by artists.
    [Show full text]
  • DMA Document-Bergan -21-05-2020
    EDVARD GRIEG Recognizing the Importance of the Nationalist Composer on the International Stage IPA Transliteration of Three Song Cycles D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Caroline Patricia Bergan, M.M., A.D. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Scott McCoy, Advisor Dr. Youkyung Bae Prof. Edward Bak Prof. Loretta Robinson Copyright by Caroline Patricia Bergan 2020 Abstract In North American colleges, universities, and conservatories it is not uncommon to find the main languages required of music students to be French, Italian, German, and English. Beyond the scope of these four most common languages, Russian, Spanish, and Czech are sung by more advanced or native singers of the languages; however, many other languages seem to be ignored in academia in both solo performance as well as in choral settings. It is a disservice to limit the scope of languages and repertoire when there exists a plethora of rarely performed compositions; moreover, it is not reasonable for these institutions to limit student's learning because of this “tradition.” Among the overlooked are the Scandinavian languages. This document will specifically address the repertoire of the most renowned Norwegian composer of the nineteenth century, Edvard Grieg (1843-1907). There exist but two published works that provide a singer with the resources to learn the pronunciation of curated Grieg selections. Neither of these resources was written by native Norwegian speakers; therefore, utilizing my linguistic skills as a native speaker and singer I intend this document to be a contribution toward the goal of providing near-native, accurate International Phonetic Alphabet (IPA) transliterations of three song cycles representing Grieg's early, middle, and late writing.
    [Show full text]
  • Program No / Eng Sommer / Summer 2014 Komponisthjemmene / the Composers’ Homes
    PROGRAM NO / ENG SOMMER / SUMMER 2014 KOMPONISTHJEMMENE / THE COMPOSERS’ HOMES LYSØEN OLE BULL MUSEUM TROLDHAUGEN EDVARD GRIEG MUSEUM SILJUSTØL HARALD SÆVERUD MUSEUM Innhold Velkommen 3 Velkommen / Velcome Troldhaugen, Lysøen og Siljustøl er Norges mest betydningsfulle musikkhistoriske kulturminner. De er også noen av Vestlandets 4 Lysøen Ole Bull Museum mest naturskjønne og inspirerende eiendommer. Ole Bull, Edvard 6 Troldhaugen Edvard Grieg Museum Grieg og Harald Sæverud skapte hjem der kunsten, naturen og fantasien kunne møtes. I dag representerer Lysøen, Troldhaugen 8 Siljustøl Harald Sæverud Museum og Siljustøl et unikt musikalsk landskap med til sammen nesten 10 Program Lysøen sommer /summer 2014 1000 mål norsk natur, fascinerende arkitektur og minner om musikerne som erobret verden. 14 Fødselsdagskonsert og hagefest / Birtday concert and garden party at Troldhaugen 16 Konserter på Troldhaugen 2014 / Concerts at Troldhaugen 2014 Velkommen! 18 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts Sigurd Sandmo 20 Program Troldhaugen: Ukens pianist / Pianist of the week Direktør 33 Grieg in a nutshell – Talks on Grieg Welcome Troldhaugen, Lysøen and Siljustøl are the most significant cultu- ral heritage sites in the history of Norwegian music. They are also perhaps Western Norway’s most scenic and inspirational esta- tes. Ole Bull, Edvard Grieg and Harald Sæverud created homes where art, nature and fantasy came together. Today, Troldhaugen, Lysøen and Siljustøl represent a unique musical landscape with a grand total
    [Show full text]
  • Program Conference 2007
    THE INTERNATIONAL GRIEG SOCIETY – IGS CONFERENCE Bergen, Norway 30 May - 2 June 2007 Theme: ”BEYOND GRIEG – Edvard Grieg and his Diverse Influences on Music of the 20th and 21st Centuries”. PROGRAM Wednesday 30 May: Bergen Art Museum - Lysverket, ”Tårnsalen”, Rasmus Meyers Allé 9 12.00 -14.00: Registration 14.00: Opening of the Conference with the Mayor of Bergen and the Leader of IGS 14.10: Opening speech by President of the IGS, Arvid Vollsnes (Norway) 14.30: Keynote speakers: Malcolm Gillies and David Pear (Australia): ”Percy Grainger: Grieg’s Interpreter and Propagator” 15.15 – 15.30: Coffee/tea/snacks 15.30: Grieg’s Contemporary Relations and Influences Jorma Daniel Lünenbürger (Germany): “Grieg as the ‘Father of Finnish Music’? Notes on Grieg and Sibelius with Special Attention to the F major Violin Sonatas” Ohran Noh (Canada): “Edvard Grieg’s Influence on American Music: The Case of the Piano Concertos in A minor from the Pen of Edvard Grieg and Edward MacDowell” Helena Kopchick (USA): “Coding the Supernatural ‘other’ in Three Musical Settings of Henrik Ibsen’s Spillemænd” Asbjørn Ø. Eriksen (Norway): ”Griegian Fingerprints in the Music of Frederick Delius (1862-1934)” Yvonne Wasserloos (Germany): “Hearing through Eyes, Seeing through Ears". Music, Nation and Landscapes within the Works of Niels W.Gade, Edvard Grieg and Carl Nielsen” 17.30: Presentation of Grieg 07 17.45: End of Session 9.30: Bergen International Festival arranges a Grieg-galla in the Grieg Hall. Tickets are reserved for the conference participants. Thursday 31 May: The Grieg Academy, University of Bergen, Gunnar Sævigs Sal, Nina Griegs Allé.
    [Show full text]
  • Program Summer 2015 the Composers’ Homes
    NO / ENG PROGRAM SUMMER 2015 THE COMPOSERS’ HOMES A PART OF EDVARD GRIEG MUSEUM TROLDHAUGEN HARALD SÆVERUD MUSEUM SILJUSTØL OLE BULL MUSEUM LYSØEN Index 4 Velkommen / Welcome 6 Edvard Grieg Museum Troldhaugen 8 Ole Bull Museum Lysøen 10 Harald Sæverud Museum Siljustøl 14 Program Lysøen 16 Fødselsdagskonsert og hagefest / Birthday concert and garden party at Troldhaugen 18 Konserter / Concerts Troldhaugen 20 Konsertbuss til lunsjkonsertene / Concert bus to the lunchtime concerts 22 Program Troldhaugen 37 My favorite Grieg Troldhaugen, Lysøen og Siljustøl er en del av KODE – Kunstmuseene i Bergen Lysøen Troldhaugen, Lysøen and Siljustøl is part of KODE – Art Museums of Bergen Sigurd Sandmo Siljustøl Museum Velkommen Welcome Bergen er en by full av musikkhistorie, og kunstnerhjemmene til Edvard Grieg, Ole Bull og Bergen is a city steeped in music history, and the homes of the composers Edvard Grieg, Harald Sæverud er en viktig del av byens kunst- og kulturliv. De er også historiske monumenter Ole Bull and Harald Sæverud are a vital part of the city’s artistic and cultural scenes. They are med fascinerende arkitektur og natur. Hagene og skogsområdene har historiske dimensjoner also historical monuments with their fascinating architecture and nature. The gardens and og byr på rike opplevelser for alle som tar seg tid. surrounding woods have historical dimensions that offer a wealth of nature experiences for those who take the time to explore them. I mai gjenåpnet vi Troldsalen, konsertsalen på Troldhaugen, etter en storstilt oppgradering. Beliggenheten, lyset og nærheten til Griegs eget landskap får mange til å mene at Troldsalen er In May we reopened Troldsalen, the concert hall at Troldhaugen, after comprehensive reno- verdens vakreste kammermusikksal.
    [Show full text]
  • Asbjørn Ø. Eriksen: Edvard Grieg's Song Cycles Reiseminder Fra Fjeld
    Asbjørn Ø. Eriksen: Edvard Grieg’s Song Cycles Reiseminder fra Fjeld og Fjord (Op. 44) and Elegiske Digte (Op. 59). Attempt at a revaluation. Edvard Grieg’s Reiseminder fra Fjeld og Fjord [Reminiscenses from Mountain and Fjord] Op. 44 set to texts by Holger Drachmann was written in 1886 – the same year as the successful third album Lyric Pieces Op. 43 and the brilliant Third Violin Sonata. Elegiske Digte [Elegiac Songs] Op. 59 – settings of six poems by John Paulsen – were realized in 1893/94, at the same time as the highly esteemed Krag Songs Op. 60. We may then assume that Grieg wrote these songs in periods of creative inspiration. However, leading Norwegian Grieg specialists Monrad Johansen, Finn Benestad and Dag Schjelderup-Ebbe have regarded Reiseminder fra Fjeld og Fjord and Elegiske Digte as two of the weakest works by Grieg within the song genre. An opinion also shared, seemingly, by Beryl Foster and Sandra Jarrett in their books on Grieg’s songs. Russian musicologists and Grieg specialists have presented quite different views on these songs: Boris Asafev, Olga Levasheva and Ruth Leytes regard Elegiske Digte as outstanding, and Asafev and Leytes also praise Reiseminder fra Fjeld og Fjord. In my paper I shall point out some qualities in Reiseminder fra Fjeld og Fjord and Elegiske Digte which have escaped the attention of most critics, and discuss a few of the songs more thoroughly. Moreover, I will suggest possible reasons for the striking discrepancy between the Norwegian and Russian evaluation of these two works. In the summer of 1886 Grieg and the Danish poet Holger Drachmann (1846-1908) made a tour in Hardanger and the Jotunheimen mountains.
    [Show full text]