DOCSLIB.ORG

Vaughn Roste, Conductor Candidate for the Master of Music Degree in Choral Conducting Narrator: Rev

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vaughn Roste, Conductor Candidate for the Master of Music Degree in Choral Conducting Narrator: Rev Vaughn Roste, Conductor Candidate for the Master of Music degree in Choral Conducting Narrator: Rev. Richard Reimer with Sine Nomine The University of Alberta Graduate Recital Choir The Hallelujah Chorus Instrumentalists The Haydn Festival Chamber Orchestra I Sunday, January 26,2003 at 8:00 pm McDougall United Church Edmonton, Alberta University of Alberta Department of Music - <»o3 ^ Program Christ and Anti-Christ ^ Counterpoint of Theological Music and Musical Theology Part One; Christ Egil Hovland The Glory of the Father (1974) Sine Nomine (b. 1924) (Franz) Joseph Haydn Missa Brevis in F Major(Hob 22:1)(1749) (1732-1809) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei The University of Alberta Graduate Recital Choir Soloists: Karen Nell and Jessica Heine,soprano The Haydn Festival Chamber Orchestra Morten Lauridsen O Magnum Mysterium (1994) (b. 1943) The University of Alberta Graduate Recital Choir Antonio Lotti Crucifixus a 8 (c. 1718) (1666-1740) Sine Nomine The University of Alberta Graduate Recital Choir George Friderich Handel From Messiah (22 August- 14 September 1741) (1685-1759) Hallelujah! (1992) Arr: Mervyn Warren, Michael O Jackson and Mark Kibble Sine Nomine The University of Alberta Graduate Recital Choir Soloist: Jessica Heine, soprano Intermission Part Two: Anti-Christ Sing Me to Heaven (1991) Daniel Gawthrop (b. 1949) Behold, the Tabernacle of God (June, 1933) (James) Healey Willan (1880-1968) Sine Nomine Reincarnations Samuel Barber Mary Hynes(August 8, 1937) (1910-1986) Anthony O Daly(December 17, 1940) The Coolin(November 10, 1940) The University of Alberta Gradnate Recital Choir Motet #6 from Lagrime d'amante al sepolcro dell'amata (1614) Claudio Monteverdi "Dunque, amate reliquie" (1567-1643) If Music be the Food of Love (1988) Jean Belmont (b. 1939) The University of Alberta Graduate Recital Choir This recital is presented in partial fulfilment of the requirements for the Master of Music degree for Mr Roste. Please join the singers and instrumentalists for a reception immediately following tonight's concert in the fellowship hall downstairs. Texts and Translations The Glory of the Father The Word was made flesh, and dwelt among us. We beheld the glory of the Father, full of grace and truth. In the beginning was the Word. The Word was with God. In Him was life, and the life was the light of all. He came to his own,and his own received him not. Missa Brevis in F Major Kyrie Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy. Gloria Gloria in excelsis Deo Glory to God in the highest Et in terra pax and on earth peace hominibus bonae voluntatis. to all people of good will. Laudamus te, Bendicimus te, We praise thee, we bless thee. Adoramus te, Glorificamus te. We worship thee, we glorify thee. Gratias agimus tibi We give thanks to thee propter magnam gloriam tuam. according to thy great glory. Domine Deus, Rex coelestis Lord God, Heavenly King Deus Pater omnipotens God the Father almighty. Domine Fili unigenite Lord Jesus Christ, Jesu Christe, The only begotten son. Domine Deus, Agnus Dei, Son of God, Lamb of God, Filius Patris. Son of the Father. Qui tollis peccata mundi, You who takes away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who takes away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, You who sits at the right hand of the Father, miserere nobis. have mercy on us. Quoniam tu solus sanctus. For you alone are holy. Tu solus Dominus. You alone are the Lord. Tu solus Altissimus Jesu Christe. You alone are the most high, Jesus Christ. Cum S£mcto Spiritu With the Holy Spirit in gloria Dei Patris. in the glory of God the Father. Amen. Amen. Credo Credo in unum Deum. I believe in one God, Patrem omnipotentem, The Father Almighty, factorem coeli et terrae Maker of heaven and earth, visibilium omnium and of all things visible et invisibilium. and invisible. Et in unum Dominum And I believe in one Lord Jesum Christum Jesus Christ Filium Dei unigenitum. the only begotten Son of God, Et ex Patre natum ante omnia saecula. bom of the Father before all ages. Deum de deo, lumen de lumine, God from God, light from light, Deum verum de deo vero. Tme God from True God. Genitum non factum Begotten, not made, consubstantialem Patri: of one substance with the Father: per quem omnia facta sunt. by whom all things were made. Qui propter nos homines, \^o for us(humanity) et propter nostram salutem and for our salvation descendit de coelis. came down from heaven. Et incamatus est de Spiritu Sancto And was incamate by the Holy Spirit ex Maria Virgine. of the Virgin Mary Et homo factus est. and was made man. Crucifuxus, etiam pro nobis Cmcified also for us sub Pontio Pilato: under Pontius Pilate, passus et sepultus est. he suffered, and was buried. Et resurrexit tertia Die And on the third day he rose again, secundum scripturas. according to the Scriptures. Et ascendit in caelum, He ascended into heaven sedet ad dexteram Patris. and sits at the right hand of the Father. Et iterum venturus est cum gloria, He shall come again in glory judicare vivos et mortuos, to judge the living and the dead, cujus regni non erit finis. and his kingdom will have no end. Et in Spiritum Sanctum And I believe in the Holy Spirit Dominum et vivificantem the Lord and Giver of Life, qui ex Patre, Filioque procedit. who proceeds from the Father and the Son. Qui cum Patre et Filio Together with the Father and Son simul adoratur et glorificatur; he is worshipped and glorified. qui locutus est per Prophetas. He has spoken through the prophets. Et unam Sanctam catholicam And I believe in one holy catholic et apostolicam Ecclesiam. and apostolic church. Confiteor unum baptisma I confess one baptism in remissionem peccatorum. for the forgiveness of sins. Et expecto resurrectionem mortuorum. and I await the resurrection of the dead Et vitam venturi saeculi. and the life of the world to come. Amen. Amen. Sing Me To Heaven Anthony O Daly In my heart's sequestered chambers Since your limbs were laid out the stars do not shine! lie truths stripped of poet's gloss. The fish leap not out in the waves! Words alone are vain and vacant On our meadows the dew does not fall in the mom. and my heart is mute. For O Daly is dead! In response to aching silence Not a flower can be bom! Not a word can be said! memory summons half-heard voices, Not a tree have a leaf! For O Daly is dead! and my soul finds primal eloquence and wraps me in song. Anthony! After you there is nothing to do! There is nothing but grief! If you would comfort me,sing me a lullaby. If you would win my heart, sing me a love song. The Coolin' If you would moum me and bring me to God, Come with me, under my coat. Sing me a requiem, sing me to heaven. And we will drink our fill of the milk of the white goat. Or wine, if it be thy will. Touch in me all love and passion, pain and pleasure. And we will talk, until Talk is a trouble, too. Touch in me grief and comfort, love and passion, pain Out on the side of the hill; and pleasure. And nothing is left to do Sing me a lullaby, a love song, a requiem. but an eye to look into an eye; Love me, comfort me, bring me to God: and a hand in a hand to slip; Sing me a love song. and a sigh to answer a sigh, Sing me to heaven. and a lip to find out a lip! Behold,the Tabernacle of God What if the night be black! Behold, the tabernacle of God is with men, And the air on the mountain chill! and the Spirit of God dwelleth within you: Where the goat lies down in her track, for the temple of God is holy. and all but the fem is still! Which temple are ye: for the love of whom ye do this day celebrate the joys Stay with me, under my coat! of the temple with a season of festivity. And we will drink our fill of the milk of the white goat. O how dreadful is this place. Out on the side of the hill. This is the house of God, and this is the gate of heav'n. Reincarnations Mary Hynes She is the sky of the sun! She is the dart of love! She is the love of my heart! She is a rune! She is above the women of the race of Eve as the sun is above the moon! Lovely and airy the view from the hill that looks down on Ballylea! But no good sight is good until by great good luck you see Tbe Blossom of Branches walking towards you, airily. Santus Sanctus, sanctus, sanctus, Holy, holy, holy. Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra Heaven and earth Gloria tua. are full of your glory. Osanna in excelsis. Hosanna in excelsis. Benedictus Benedictus qui venit Blessed is He who comes in nomine Domine. in the name of the Lord. Osanna in excelsis. Hosanna in the highest. Agnus Dei Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, Lamb of God, qui tollis peccata mundi, who takes away the sins of the world, miserere nobis.
Load more

Recommended publications
  • A Conductor's Perspective of Selected Unaccompanied Works for Mixed
    A Conductor’s Perspective of Selected Unaccompanied Works for Mixed Choir by Egil Hovland A RESEARCH PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY JEREMY D. FLOCK DR. DUANE KARNA - ADVISOR BALL STATE UNIVERSITY MUNCIE, IN NOVEMBER 2009 A Conductor’s Perspective of Selected Unaccompanied Works for Mixed Choir by Egil Hovland Egil Hovland is a contemporary Norwegian composer about whom very little is written in English and whose published materials are mostly in the Swedish language. However, Raymond Arnold Olien has written a dissertation on the larger choral/orchestral works of Hovland. Olien chose four of Hovland’s works to analyze; each is representative of different periods of Hovland’s compositional style evolution. Hovland’s has composed works for different combinations of instruments, organ, and accompanied mixed choir. Because he is church organist, many of his compositions are for liturgical use and based on scripture. Hovland was born in 1924 in Fredrikstad, Norway, where he would eventually serve as organist for the Glemmen Church. His compositional studies began at the Oslo Conservatory in 1944. In 1949 he was appointed to the organist position at Glemmen, and he remained there until 1994. After attending the Conservatory, he continued his compositional studies with Bjarne Brustad, Vagn Holmboe, Aaron Copland, and Luigi Dallapiccola. Hovland also spent some time in France with the Benedictine Monks of Solesmes. His compositional style has evolved through the years beginning with late-Romantic nationalism, which was influenced by Hindemith, Stravinsky, and Bartók. This period was followed by neo-classicism and eventually led to experimentation with electronic and aleatoric techniques.
    [Show full text]
  • 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.
    [Show full text]
  • J\Ihq [Aj0j{6^~- Major Professor X
    A RECITAL MJS Acr NEAL E. A LLSUP ( B- M- E-i Wartburg College, 1985 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music KANSAS STATE UNIVERSITY Manhattan, Kansas 1988 Approved by: j\ihQ [aJ0J{6^~- Major Professor X p TABLE OF CONTENTS PROGRAM 1 FELICE ANERIO: CHRI5TUS FACTU5 EST 3 JOHANN GEORG REUTTER: JESU, JESU DULCISSIME 9 THOMAS MORLEY: FIRE, FIRE MY HEART 14 SERGEI RACHMANINOFF: AVE MARIA 20 WOLFGANG AMADEUS MOZART: AVE VERUM 22 JOHANN SEBASTIAN BACH: MOTET VI 24 EGIL HOVLAND: SAUL 34 BENJAMIN BRITTEN: CHORAL DANCES FROM GLORIANA 37 ROBERT H. YOUNG: TWO LOVESONGS 40 JESTER HAIRSTON: HOLD ON 44 JAMES FRITSCHEL: IN PEACE AND JOY 49 APPENDI 53 BIBLIOGRAPHY 61 ) icsur Department of Music KANSAS STATE Graduate Series UNIVERSITY Season 198^-88 presents NEAL E. ALLSUP, Conductor B.M.E. Wartburg College, 1985 and the GRADUATE RECITAL CHORALE Don Livingston. Accompanist Wednesday, March 23. 1988 All Faiths Chapel Auditorium 8:00 p.m. PROGRAM Christus factus est Felice Anerio (1560-1614) Jesu, Jesu Dulcissime Johann Georg Reutter (1709-1772) Fire, Fire Mv Heart Thomas Morlex (1557-1603) Ave Maria Sergei Rachmaninoff (1873-1943) Ave Verum Wolfgang Amadeus Mozart (1756-1791) Lobet den Herrn- Motet VI BWV 230 Johann Sebastian Bach (1685-1750) INTERMISSION Saul Egil Hovland Narrator, Col. Joe Armistead (b. 1924) Choral Dances from Gloriana Benjamin Britten Time (1913-1976) Concord Time and Concord Two Love Songs Robert H. Young For Thy Sweet Love (b . 1 923 Sequel Hold On arr. Jester Hairston In Peace and Joy James Fritschel (b.
    [Show full text]
  • Mindekirken COMMUNICATOR No
    Mindekirken COMMUNICATOR No. 156 January 2017 Newsletter of the Norwegian Lutheran Memorial Church - ELCA Norwegian Children’s Bible Musical Play on February 26 Children are invited to come learn and sing together for a order to give children the opportunity to en- performance on Feb. 26, the Sunday before Lent —Fastelavns joy singing together while learning Norwe- Sunday. We will do a Bible play written by popular hymn- gian traditions, hymns and music through Bi- writers Egil Hovland and Britt G. Hallqvist, featuring the sto- ble stories. ry of the Prodigal Son. Hovland, one of Norway's foremost The Sunday afternoon rehearsals will composers of the last generation and Hallqvist, one begin on Jan. 29 from 1-3 p.m. of Sweden's most popular poets and hymnwriters, with a performance during the collaborated on the much loved hymn, Måne og 11 a.m. Norwegian worship Sol (Moon and Sun). They continued working service on Sun., Feb. 26 together to write small musical plays followed by a fastlavns lunch featuring bible stories for children. They used in the church Fellowship Hall. hymns which the congregation and choir can All are welcome. Please con- sing together, and other songs expressing a child's tact the church office to partici- view of life, such as Alle har hast, (Everyone's Rushed). pate. The scripts will be Included is a hymn about the prodigal son which is acted out provided in advance. during the singing of the hymn, as well as short poems and pantomimes. Mindekirken’s deacons sponsor this event. They hope to Annual Meeting Jan.
    [Show full text]
  • 2019 Programme Bergen International Festival
    BERGEN BERGEN 22 MAY—05 JUNE INTERNATIONAL 2019 FESTIVAL 2019 PROGRAMME BERGEN INTERNATIONAL FESTIVAL WWW.FIB.NO/EN PREFACE BERGEN INTERNATIONAL 003 FESTIVAL 2019 Art as Collective Dreaming For almost seven decades, the Bergen Welcome to the 2019 Bergen International International Festival has set human minds in Festival! motion with art's wild and sprawling dream- We are such stuff Together we scapes. Art is the way in which society dreams. As dreams are made on; and our little life Through music, theatre and dance, the Festival Is rounded with a sleep. create good has celebrated and rattled the city, and sought – From THE TEMPEST new answers to old questions. by William Shakespeare, customer When Bergen is dressed in the green delight of May, the best artists from Norway and experiences abroad arrive, standing shoulder to shoulder to celebrate spring and the blossoming life of festive-minded locals and international guests. The Festival and Bergen are situated in the most Anders Beyer dynamic region of the country, with incredible Festival Director nature as a dramatic and beautiful backdrop for all activities. The Festival wishes to make a mark on the city and create lasting experi- ences by letting daily life take a break, instead offering adventurous dream rooms where one can breathe fresh air and think new thoughts. The Bergen International Festival is proud evidence of the social power and transforma- We hope you will have a great cultural experience tive potential of being able to dream together, at the Bergen International Festival. publicly and consciously. We expand horizons and inspire strong emotional unfolding.
    [Show full text]
  • Information to Users
    Significant Norwegian choral music since World War II: A study of the compositional styles of Knut Nystedt and Egil Hovland. Item Type text; Dissertation-Reproduction (electronic) Authors Vangerud, James Karl. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 15:59:42 Link to Item http://hdl.handle.net/10150/185291 INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfIlm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Trombone Music of Scandinavia: a Study of Trombone Solo and Chamber Works from Sweden, Norway, and Denmark
    ABSTRACT Title of Dissertation: TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK Zenas Kim-Banther, Doctor of Musical Arts, 2016 Dissertation directed by: Professor Chris Gekker, Wind and Percussion Division This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities.
    [Show full text]
  • Neoklassisisme Og Modernisme I Norsk Etterkrigsmusikk
    NEOKLASSISISME OG MODERNISME I NORSK ETTERKRIGSMUSIKK - en fordypning i verk av Edvard Fliflet Bræin og Egil Hovland Astrid Giæver Marvik Våren 2012 Mastergradsstudiet i anvendt musikkteori, studieretning musikkhistorie ii Forord Denne masteroppgaven tar sikte på å belyse norsk klassisk musikk. I Norge var 1950–60- årene viktige år for utviklingen i norsk musikkliv, selv om mye av den musikken som da ble skapt, er glemt og i liten grad blir fremført i dag. Oppgaven vil ta utgangspunkt i begrepene neoklassisisme og modernisme. Videre vil oppgavens fordypning være analyser av verk av Edvard Fliflet Bræin og Egil Hovland. Jeg ønsker å se på verkene som selvstendige kunst- verk, på samme tid som musikken vil plasseres i en historisk kontekst. Gjennom å belyse komponistenes komposisjonsteknikk og estetiske holdninger i de utvalgte verkene, er det et ønske at oppgaven vil bidra til økt innsikt i norsk musikkhistorisk utvikling. Min interesse og nysgjerrighet for norsk musikkhistorie, bunner i at dette var et lite omtalt tema både på musikklinja på videregående skole og på bachelorstudiet i faglærer i musikk (fordypning i klassisk klarinett), om man ser bort fra de største komponistene. I løpet av vide- reutdanningen i anvendt musikkteori hadde vi flere forelesninger som omhandlet norsk musikkhistorie, noe som gjorde meg mer oppmerksom på norsk klassisk musikk. Oppgavens emne springer også ut fra et ønske om å fordype meg i noen av hovedretningene i den klassis- ke musikkens utvikling i det 20. århundre. Først og fremst vil jeg rette en stor takk til min veileder, Elef Nesheim, for faglig dyktighet og god støtte og oppfølging gjennom hele prosessen.
    [Show full text]
  • Ola Nordal Dal "Between Poetry and Catastrophe"
    Doctoral theses at NTNU, 2018:131 al thesis Ola Nor Ola Nordal dal "Between Poetry and Catastrophe" A Study on the Electroacoustic Music Doctor of Arne Nordheim ISBN 978-82-326-3052-3 (printed ver.) ISBN 978-82-326-3053-0 (electronic ver.) ISSN 1503-8181 Doctoral theses at NTNU, 2018:131 NTNU Philosophiae Doctor Philosophiae Department of Music Faculty of Humanities Faculty Thesis for the Degree of the Degree Thesis for ersity of Science and Technology of Science ersity Norwegian Univ Norwegian Ola Nordal "Between Poetry and Catastrophe" A Study on the Electroacoustic Music of Arne Nordheim Thesis for the Degree of Philosophiae Doctor Trondheim, June 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Music NTNU Norwegian University of Science and Technology Thesis for the Degree of Philosophiae Doctor Faculty of Humanities Department of Music © Ola Nordal ISBN 978-82-326-3052-3 (printed ver.) ISBN 978-82-326-3053-0 (electronic ver.) ISSN 1503-8181 Doctoral theses at NTNU, 2018:131 Printed by NTNU Grafisk senter Abstract Arne Nordheim (1931–2010) was Norway’s most prolific composer of electroacoustic music in the second half of the 20th century. His catalogue, which is gathered for the first time in this PhD dissertation, includes 197 compositions in a wide range of styles and instrumental combinations. More than half of these have some sort of electronic component. While Nordheim’s orchestral music has received some musicological commentary, little has been written about his electroacoustic works. This study is the first comprehensive examination of this vital part of his output.
    [Show full text]
  • SCANDINAVIAN, FINNISH & BALTIC CONCERTOS from the 19Th
    SCANDINAVIAN, FINNISH & BALTIC CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers A-H TORSTEIN AAGARD-NILSON (b.1964, NORWAY) Born in Oslo. He studied at the Bergen Conservatory and then taught contemporary classical music at this school. He has also worked as a conductor and director of music festivals. He has written works for orchestra, chamber ensemble, choir, wind and brass band. His catalogue also includes the following: Concerto for Cello and Orchestra (1995-6), Concerto for Trumpet and String Orchestra "Hommage" (1996), Trombone Concerto No. 1 (1998), Concerto for Euphonium and Orchestra "Pierrot´s Lament" (2000) and The Fourth Angel for Trumpet and Sinfonietta (1992-2000). Trombone Concerto No. 2 "Fanfares and Fairytales" (2003-5) Per Kristian Svensen (trombone)/Terje Boye Hansen/Malmö Symphony Orchestra ( + Hovland: Trombone Concerto, Amdahl: Elegy for Trombone, Piano and Orchestra and Plagge: Trombone Concerto) TWO-I 35 (2007) Tuba Concerto "The Cry of Fenrir" (1997, rev. 2003) Eirk Gjerdevik (tuba)/Bjorn Breistein/Pleven Philharmonic Orchestra ( + Koch: Tuba Concerto and Vaughan Williams: Tuba Concerto) LAWO CLASSICS LWC 1039 (2012) HANS ABRAHAMSEN (b. 1952, DENMARK) Born in Copenhagen. He played the French horn at school and had his first lessons in composition with Niels Viggo Bentzon. Then he went on to study music theory at The Royal Danish Academy of Music where his composition teachers included Per Nørgård and Pelle Gudmundsen-Holmgreen. Later on, he had further composition studies with György Ligeti. In 1995, he was appointed assistant professor in composition and orchestration at The Royal Danish Academy of Music, Copenhagen.
    [Show full text]
  • An Introduction to Twentieth-‐Century Flute Music by Norwegian Composers
    An Introduction to Twentieth-Century Flute Music by Norwegian Composers: With Emphasis on Øistein Sommerfeldt and Publications by Norsk Musikforlag D.M.A. Document Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rachel E. Haug, M.M., B.A. Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: Katherine Borst Jones, advisor Dr. Charles Atkinson Dr. Russel Mikkelson Karen Pierson Copyright by Rachel E. Haug 2015 Abstract When we think of Norwegian composers, the name Edvard Grieg readily comes to mind, yet we can seldom name others, let alone more contemporary composers. This document explores the twentieth-century flute compositions of Norway, emphasizing Øistein Sommerfeldt, publications by Norsk Musikforlag, and several other Norwegian composers, including Johan Kvandal, Egil Hovland, Carl Gustav Sparre Olsen, and Finn Mortensen. A brief history of Norway with specific emphasis on the country’s musical development is included to gain understanding of the events and characteristics that define Norway’s musical voice. In addition to a chapter entirely focused on Norway’s musical history in the twentieth century, we will examine Norwegian folk music and its resulting impact on several twentieth- century composers. Through an examination of twentieth-century flute music by Norwegian composers, we discover works outside our normal scope, yielding a more comprehensive and globally encompassing standard flute repertoire library. ii To musicians everywhere who have the courage to forge their own paths and follow their dreams. iii Acknowledgements Many individuals deserve special recognition for their contributions to this project.
    [Show full text]
  • Concertos & Fairytales
    PK SVENSEN trombone MALMÖ SYMFONIORKESTER conductors Terje Boye Hansen and Christoph König CONCERTOS & FAIRYTALES ”Jeg fant, jeg fant!” sier Askeladden og tar vare Wolfgang Plagge på alt det andre overser. Han er i besittelse av en Concerto op. 138 kreativ intuisjon som overvinner alle negative krefter; han overgår det rasjonelle og oppnår sine Egil Hovland målsettinger, som vanligvis består i Prinsessen Concerto op. 76 og halve Kongeriket. Nettopp den Askeladd’ske Magne Amdahl intuisjonen har vært underliggende drivkraft når Elegi PK Svensen, en av landets fremste trombonister, gir til beste fire norske funn av noen verker for Torstein Aagaard-Nilsen trombone og orkester. Fanfares and Fairytales ”I found! I found!” says Askeladden, the hero of countless Norwegian folk tales as he picks up numerous strange and seemingly worthless objects from the road, objects everybody else would go by without noticing. Askeladden possesses this uncanny creative intuition which outwits any sinister force, and helps him in his quest to achieve his aims - most frequently being marrying the Princess and ruling half the Kingdom. The Askeladden creativity has been the underlying power source when one of Norway’s most prominent trombonists, PK Svensen, gives away four Norwegian treats for trombone and orchestra. eHybridq *!0E1I8I-fbbccj! 35 5.1 surround + STEREO 2L35SACD Made in Norway 20©06 Lindberg Lyd AS CONCERTOS & FAIRYTALES CONCERTOS and FAIRYTALES PK Svensen trombone ”...jeg fant, jeg fant...” sier Espen Askeladd, og tar vare på ting han finner på veien som andre overser. Espen har en kreativ intuisjon som gjør ham i stand til å overvinne de negative kreftene han møter.
    [Show full text]