Gretchen Hull – Pianist Gretchen Hull – Pianist

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presents presents Gretchen Hull – Pianist Gretchen Hull – Pianist Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Sonata in A Minor, K 310 Sonata in A Minor, K 310 I. Allegro maestoso IV. Allegro maestoso II. Andante cantaBile con espressione V. Andante cantaBile con espressione III. Presto VI. Presto Frédéric Chopin Frédéric Chopin Barcarolle, Op. 60 Barcarolle, Op. 60 Edvard Grieg Edvard Grieg Selections from Lyriske Stykker (Lyric Pieces) Selections from Lyriske Stykker (Lyric Pieces) I. Arietta, Book I, Op. 12, No. 1 I. Arietta, Book I, Op. 12, No. 1 II. Alfedans (Elf dance), Book I, Op. 12, No.4 II. Alfedans (Elf dance), Book I, Op. 12, No.4 III. Norsk (Norwegian melody), Book I, Op. 12, No. 6 III. Norsk (Norwegian melody), Book I, Op. 12, No. 6 IV. Halling (Dance), Book II, Op. 38, No. 4 IV. Halling (Dance), Book II, Op. 38, No. 4 V. Liten Fugl (Little Bird), Book III, Op. 43, No. 4 V. Liten Fugl (Little Bird), Book III, Op. 43, No. 4 VI. Notturno (Nocturne), Book V, Op. 54, No. 4 VI. Notturno (Nocturne), Book V, Op. 54, No. 4 VII. Fra ungdomsdagene (From early years), Book VIII, Op. 65, No. 1 VII. Fra ungdomsdagene (From early years), VIII. Trolltog (Troll Train), Book V, Op. 54, No. 3 Book VIII, Op. 65, No. 1 VIII. Trolltog (Troll Train), Book V, Op. 54, No. 3 Christian Sinding Christian Sinding Frühlingsrauschen Op. 32, No. 3 Frühlingsrauschen Op. 32, No. 3 Geirr Tveitt Geirr Tveitt Selections from Femti Folkatonar frao Hardanger Selections from Femti Folkatonar frao Hardanger Vél komne med æra (Welcome with honour) Vél komne med æra (Welcome with honour) David Monrad Johansen David Monrad Johansen To Portrætter fra Middelalderen, Op. 8 To Portrætter fra Middelalderen, Op. 8 Fruga Ermelin Fruga Ermelin Steinfinn Fefinnson Steinfinn Fefinnson Fartein Valen Fartein Valen Prelude, Op. 29 No. 1 Prelude, Op. 29 No. 1 Geirr Tveitt Geirr Tveitt Selections from Femti Folkatonar frao Hardanger Selections from Femti Folkatonar frao Hardanger I. Hardingfelesong (Hardanger fiddle song) I. Hardingfelesong (Hardanger fiddle song) II. Folgafodne fortel ingjenting (The glacier is silent) II. Folgafodne fortel ingjenting (The glacier is silent) III. Dan långje långje vettranåttæ (The long, long winter night) III. Dan långje långje vettranåttæ (The long, long winter night) IV. Krune-brurè (The crown bride) V. Hardingfela utan streng (The stringless hardanger-fiddle) IV. Krune-brurè (The crown bride) VI. Hardingøl (Home brew) V. Hardingfela utan streng (The stringless hardanger-fiddle) VI. Hardingøl (Home brew) .

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572095 Bk Tveitt 13/10/08 12:19 Page 12
572095 bk Tveitt 13/10/08 12:19 Page 12 WIND BAND CLASSICS Geirr TVEITT Sinfonia di Soffiatori • Sinfonietta di Soffiatori Selections from A Hundred Hardanger Tunes The Royal Norwegian Navy Band • Bjarte Engeset Geirr Tveitt on camel, Sahara Desert, 1953 Photo © Gyri and Haoko Tveitt 8.572095 12 572095 bk Tveitt 13/10/08 12:19 Page 2 Geirr TVEITT (1908-1981) Music for Wind Instruments Sinfonia di Soffiatori 16:01 Hundrad Hardingtonar 1 I. Moderato 4:43 (A Hundred Hardanger Tunes), 2 II. Alla marcia 3:56 3 III. Andante 7:22 Op. 151 (transcriptions by Stig Nordhagen) 4 Prinds Christian Frederiks Honnørmarch Suite No. 2: Femtan Fjelltonar (15 Mountain Songs) 5:45 (Prince Christian Fredrick’s @ No. 20: Med sterkt Øl te Fjells March of Honour) 3:19 (Bringing strong Ale into the Mountains) 1:23 # No. 23: Rjupo pao Folgafodne 5 Det gamle Kvernhuset (The Song of the Snow Grouse (The Old Mill on the Brook), on the Folgafodne Glacier) 3:04 Op. 204 3:03 $ No. 29: Fjedlmansjento upp i Lid (The Mountain Girl skiing Downhill) 1:18 6 Hymne til Fridomen Suite No. 4: Brudlaupssuiten (Hymn to Freedom) 3:05 (Wedding Suite) 6:30 % No. 47: Friarføter (Going a-wooing) 1:32 Sinfonietta di Soffiatori, Op. 203 12:40 ^ No. 52: Graot og Laott aot ain Baot 7 I. Intonazione d’autunno: Lento – (Tears and Laughter for a Boat) 1:37 Poco più mosso – Tempo I 4:00 & No. 60: Haringøl (Hardanger Ale) 3:20 8 II. Ricordi d’estate: Tempo moderato di springar 2:13 9 III.
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Persecution, Collaboration, Resistance
Münsteraner Schriften zur zeitgenössischen Musik 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ›Reichskommissariat Norwegen‹ (1940–45) Münsteraner Schrift en zur zeitgenössischen Musik Edited by Michael Custodis Volume 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ‘Reichskommissariat Norwegen’ (1940–45) Waxmann 2020 Münster x New York The publication was supported by the Deutsche Forschungsgemeinschaft , the Grieg Research Centre and the Westfälische Wilhelms-Universität Münster as well as the Open Access Publication Fund of the University of Münster. Bibliographic information published by the Deutsche Nationalbibliothek Th e Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografi e; detailed bibliographic data are available in the Internet at http://dnb.dnb.de Münsteraner Schrift en zur zeitgenössischen Musik, Volume 5 Print-ISBN 978-3-8309-4130-9 E-Book-ISBN 978-3-8309-9130-4 DOI: https://doi.org/10.31244/9783830991304 CC BY-NC-SA 4.0 Waxmann Verlag GmbH, 2020 Steinfurter Straße 555, 48159 Münster www.waxmann.com [email protected] Cover design: Pleßmann Design, Ascheberg Cover pictures: © Hjemmefrontarkivet, HA HHI DK DECA_0001_44, saddle of sources regarding the Norwegian resistance; Riksarkivet, Oslo, RA/RAFA-3309/U 39A/ 4/4-7, img 197, Atlantic Presse- bilderdienst 12. February 1942: Th e newly appointed Norwegian NS prime minister Vidkun Quisling (on the right) and Reichskomissar Josef Terboven (on the left ) walking along the front of an honorary
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Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
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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.
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Nils Henrik Asheim Organ of Stavanger Concert Hall Edvard Grieg–Ballade Geirr Tveitt–Hundrad Hardingtonar
EDVARD GRIEG–BALLADE GEIRR TVEITT–HUNDRAD HARDINGTONAR NILS HENRIK ASHEIM ORGAN OF STAVANGER CONCERT HALL GRIEG & TVEITT i dette med mine spillende fingre. for en samling som både inneholder som primært er hans egen TI L ORGELET Transkripsjon og innspilling blir folketoner, egne komposisjoner og komposisjon, sa Tveitt en gang i et personlige statements fra oversetter hybrider, Geirr Tveitts personlige radioprogram: «...hinsides menneskelig Å dele musikk og utøver. versjon av folkekunsten. oppfatning og evne, dypt nede fra Før i tida transkriberte man De hardangerske folketonene underbevisstheten, symbolisert ved orkestermusikk til orgel eller piano Et orgel, men i en konsertsal er ofte korte og upretensiøse. På én de underjordiskes musikk, kommer de for at den skulle nå ut til de tusen Denne plata er den første fra orgelet i linje eller to kommenterer de konkrete virkelige toner, sannhetens toner...» hjem. Nå er situasjonen en annen: Stavanger konserthus. Jeg har ønsket hendelser i dagliglivet med ironi og Vi har tilgang på alle verk i form av å finne musikk som kler instrumentets brodd. Hver for seg bygger Tveitts Stedet og det private innspillinger. Hvorfor tiltrekkes vi egenart. Dette orgelet har en mørk, Hardingtonar på ganske enkelt Flere av Hardingtonane er knyttet likevel av å skape nye versjoner? varm klang. Akustikken i Fartein Valen- materiale, men til sammen danner de til hjemsted og berører det private Kanskje det er fordi vi ikke liker salen gjør den levende og organisk. en kompleks og sammensatt helhet, et området og familien. Vélkomne med tanken på at det skal finnes en endelig At vi er i en konsertsal og ikke en fasettert selvportrett.
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Geirr Tveitt Concertos for Hardanger Fiddle Nykken, Symphonic Painting
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Nov6 Knut Vaage Valen Trio
Artist Series Knut Vaage & the Valen Piano Trio Wednesday, November 6, 2019 at 8pm Scandinavian Cultural Center, Anderson University Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Knut Vaage & the Valen Piano Trio Ricardo Odriozola, violin John Ehde, cello Einar Røttingen, piano Wednesday, November 6, 2019 at 8pm Scandinavian Cultural Center, Anderson University Center Welcome to the Scandinavian Cultural Center. Please disable the audible signal on all watches and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the performance space. PROGRAM All works presented this evening are United States premieres. Svev for Piano Trio ............................................................................................................................. Knut Vaage (b. 1961) Valen Trio Rabalder for Solo Piano ..................................................................................................................................... Knut Vaage Einar Røttingen, piano INTERMISSION Night Song 2 for Solo Cello and Electronics .................................................................................................... Knut Vaage John Ehde, cello Violin Solo II ...................................................................................................................................... Ketil Hvoslef (b. 1939) Ricardo Odriozola, violin Incidental Music to Isen’s Peer Gynt ...................................................................................
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Geirr Tveitt Was Born in Bergen in 1908, but Spent Most of His Childhood in Drammen South of Oslo. He Was Baptized Nils Tve
Hallgjerd Aksnes, University of Oslo [email protected] IAML Congress, Oslo, Aug. 2004 Geirr Tveitt Geirr Tveitt was born in Bergen in 1908, but spent most of his childhood in Drammen south of Oslo. He was baptized Nils Tveit, but changed his name a number of times during the interwar period, and it was only after World War II that he started operating with the spelling by which he is known today. Tveitt’s parents were from Hardanger in Western Norway, where Tveitt spent his childhood summers, and where he finally established himself on the farm of his ancestors in 1941, after five years of music studies abroad, followed by a number of years in Oslo. In the mid 1950’s Tveitt started commuting between Hardanger and Oslo, and moved permanently to Oslo in 1967, where he lived until his death in 1981. Tveitt was among the best educated composers of his generation in Norway, and his diverse background is reflected in his music. With very little formal musical training he was admitted to the renowned Leipzig Conservatory in 1928, studying composition with Hermann Grabner and Leopold Weninger and piano with Otto Weinreich until 1932. Tveitt’s progress both as a composer and pianist was extraordinary, and he made quite a stir with works like 12 zweistimmige Vorstudien in lydisch, dorisch und phrygisch, which was published by Breitkopf & Härtel in 1930, and Piano Concerto no. 1, which was premiered by the Leipzig Radio Symphony Orchestra in 1931. Between 1932 and 1933 Tveitt also lived in Paris and Vienna, and claimed to have consulted a number of influential composers and teachers in these cities.
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Bergen Filharmoniske Ungdomsorkester
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GEIRR TVEITTS FØRSTE KLAVERKONSERT OP.5 – ANALYSE OG HISTORISK KONTEKST av ARIA SENEMAR Institutt for musikkvitenskap Universitetet i Oslo Våren 2011 Forord Jeg vil benytte anledningen til å takke Bjarte Engeset, Reidar Storaas og Hallgjerd Aksnes, som alle har hjulpet meg gjennom denne avhandlingen. Sist, men ikke minst, vil jeg også gi en stor takk til min veileder Asbjørn Eriksen for verdifull støtte og hjelp. 2 Innhold: 1. Innledning…………………………………………………………………………………...1 1.1 Presentasjon av oppgaven………………………………………………………….1 1.2 Verkets historie…………………………………………………………………….1 1.3 Oppgavens disposisjon……………………………………………………….…….2 2.Analyse……………………………………………………………………………………….4 2.1. Første sats………………………………………………………………………….4 2.1.1. Generelt………………………………………………………...………..4 2.1.2. Detaljert analyse…………………………………………………..……..6 2.2 Andre sats…………………………………………………………………….…..16 2.2.1 Generelt………………………………………………………………....16 2.2.3 Detaljert analyse………………………………………………………..17 2.3 Tredje sats………………………………………………………………….……..29 2.3.1 Generelt……………………………………………………………..…..29 2.3.2 Detaljert analyse…………………………………………………….…..31 2.4 Oppsummering…………………………………….………….…………………..42 2.4.1 Form…………………………………….………….………….………..42 2.4.2 Harmonikk…………………………………….………….……………..43 2.4.3 Tematikk…………………………………….………….……………….48 3. Orksetrasjon…………………………………….………….………….…………………...50 3.1 Metode…………………………………….………….………….……………….50 3.2 Orkestrasjonsanalyse av Geirr Tveitts første klaverkonsert……………………....53 3.2.1 Generelt om verkets orkestrasjon……………………………………….53 3.2.2 Klaverets rolle og folkloristisk orkestrasjon…………………………….54
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Gs Lutheran Summer Music Ee
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