DOCSLIB.ORG

Johan Svendsen Orchestral Works VO L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johan Svendsen Orchestral Works VO L Johan Svendsen ORCHEstRAL WORKS VO L . 2 Truls Mørk cello Bergen Philharmonic Orchestra Neeme Järvi Johan Svendsen, 1870s Svendsen, Johan Lithograph by Alfred Fosterud / National Library of Norway, Picture Collection Johan Severin Svendsen (1840 – 1911) Orchestral Works, Volume 2 1 Norwegian Rhapsody No. 3, Op. 21 8:43 Allegro molto – Allegro moderato – Più vivo – Tempo I – Andante – Allegro – Più vivo – Stretto 2 Norwegian Rhapsody No. 4, Op. 22 11:47 Andante – Un poco più lento – Allegro moderato – Allegretto quasi moderato – Andante – Allegro – Presto Concerto for Cello and Orchestra, Op. 7* 19:18 in D major • in D-Dur • en ré majeur Emil Hegar gewidmet 3 Allegro – 6:54 4 Andante – 7:00 5 Tempo I 5:24 Symphony No. 2, Op. 15 31:56 3 in B flat major • in B-Dur • en si bémol majeur Herrn Consul Dr F.G. Schulz gewidmet 6 I Allegro 9:26 7 II Andante sostenuto 6:56 8 III Intermezzo. Allegro giusto 5:46 9 IV Finale. Andante – Allegro con fuoco – Stretto 9:31 TT 72:09 Truls Mørk cello* Bergen Philharmonic Orchestra Melina Mandozzi leader Neeme Järvi Johan Svendsen: Orchestral Works, Volume 2 Johan Svendsen (1840 – 1911) was the first new works earned him great success and really successful Norwegian symphonist. In respect as an up-and-coming star composer. terms of background, personality, and musical genres, he was the counterpart of his close Cello Concerto in D major, Op. 7 friend Edvard Grieg (1843 – 1907). Grieg was Svendsen continued his search for a overwhelmed by Svendsen’s first symphony, personal voice as a composer through the which may have been decisive in leading Grieg rich landscape of European art music. to dismiss his own symphony and focus on He was especially keen on the new trends more intimate genres. represented by Berlioz, Liszt, and Wagner, Svendsen grew up in the poor quarters whose music would have a great influence on of Christiania (now Oslo) as the son of a his subsequent works. After completing the musician. At the age of fourteen he enlisted Violin Concerto in A major, Op. 6 according in the military band and became a capable to the traditional three-movement scheme, performer on several wind instruments. he experimented more freely with form in the His father taught him the violin, which one-movement Cello Concerto in D major, became his primary instrument. His early Op. 7, which was completed in November capability as a performer on multiple 1870. Indeed, it follows a traditional instruments certainly had a great impact on Allegro – Andante – Allegro pattern, but the remarkable skills he was later to manifest without a break between the movements. as an orchestrator and a conductor. Furthermore, the firstAllegro consists of an By the time he graduated from the Leipzig exposition and a development section, yet Conservatory in 1867 he had completed no recapitulation, before Svendsen takes several ambitious works, among them the us into the Andante. This slow movement String Octet, Op. 3 and the Symphony in foreshadows his most performed and D major, Op. 4 – far more mature and famous work, the Romanze for violin and complex than his earlier compositions. These orchestra, Op. 26 (1882), in terms of form, 5 key, and metre and also demonstrates melodic instrument. The orchestration is more similarities. It leads in turn to the closing introvert than what we usually hear in part, which serves as the true recapitulation Svendsen’s music. The concerto as a whole of the opening Allegro. In other words, the unfolds a kind of endless melody, perhaps finale is not really an independent movement. inspired by Wagner, rather than engaging Hence, the work is on the one hand a in a cat-and-mouse game between soloist concerto in three movements, yet on the and orchestra. In this respect it demands a other, just one large sonata allegro enfolding a cellist capable of bringing out not only subtle slow intermezzo. It is likely that Liszt’s Piano lyrical details but the full expressive range of Concerto in E flat (1857) served as a model what can appear to be rather homogeneous for this formal experiment. musical material. In the concerto literature it The Concerto was dedicated to the cellist is nevertheless quite original, especially with Emil Hegar, a student friend of Svendsen’s, respect to its form. who premiered it on 16 March 1871 with the Gewandhaus Orchestra conducted by Symphony No. 2 in B flat major, Op. 15 Ferdinand David. The unconventional form Written ten years after the first symphony, and limited use of virtuoso passages drew Svendsen’s Symphony No. 2 in B flat major muted acclaim from the critics, some of was completed in May 1876 and premiered whom held the solo part to be rather boring, on 14 October that year in Christiania. It for both performers and listeners. The critic proved an immediate success, warmly received in the Musikalisches Wochenblatt, however, both by audience and critics. Svendsen was stated that compared to the abundance of thirty-six years old and at the peak of his interesting ideas in the Violin Concerto, career as a composer. The second symphony the Cello Concerto showed pleasant artistic is as optimistic and youthful in spirit as restraint. the first, yet perhaps even more organically Certainly, the Cello Concerto lacks the conceived, and less edgy. The first movement, clear-cut contrasting elements so typical especially, is calmer and more rounded, of most of Svendsen’s works. It does not characterised by a full-bodied, singing main lean on virtuosic displays, speaking rather theme that is presented in the tenor register. to the poetic, cantabile quality of the solo The second movement is one of Svendsen’s 6 most captivating and deeply felt pieces. also suggest that the most important tonal Within a free and imaginative form, the spheres of the Finale – even the excursions music moves uninterrupted through several into the most remote keys – emerged early beautiful melodies, which are later combined in the compositional process, and long contrapuntally in an intensified climax. The before the themes themselves materialised. scherzo, next, is entitled Intermezzo and So, metaphorically, we may say that the simulates the halling, a Norwegian folk dance musical drama that takes place in the in 2 / 4. Svendsen again adopts an imaginative development section, in the composer’s mind form freely based on the traditional scherzo. precedes the exposition. In other words, A study of his sketchbooks reveals the catchy melodies that Svendsen gives us significant productivity during the mid-1870s, at the beginning of the movement are the for they contain drafts of many projects results of the battles he fights in the middle simultaneously. It is generally believed and towards the end of it. Furthermore, a that Svendsen composed rather easily; thematic relationship between the first and his sketchbooks, however, suggest a more fourth movements, which to our ears is rather complicated situation. It is quite certain that subtle, the sketchbooks show to be very clear. Svendsen began composing the symphony Interestingly, after the premiere the highly in 1875, perhaps even earlier. No sketches enthusiastic reviewer in Aftenposten questioned for the first two movements have survived, only one thing: the quality of the Finale yet numerous pages for the third and fourth compared to that of the preceding movements. movements share space with sketches for Could he hear how Svendsen had fought with other projects. These sketches show that it? Svendsen experienced a struggle over the Finale. Even the exploration of the main Norwegian Rhapsodies Nos. 3 and 4 theme occupies many pages. Interestingly, Svendsen had already orchestrated Liszt’s the sketches make clear that the thematic Hungarian Rhapsodies Nos 2 and 6 when material for the Finale was directly developed he embarked on a new project in 1876: from that of the Intermezzo – a thematic four Norwegian Rhapsodies for orchestra, relationship that the ear will find it hard to which were written during the same capture in the final product. The sketches productive period as Symphony No. 2. 7 Seventeen Norwegian folksongs and fiddle By the end of his thirties Svendsen seems to tunes are presented one by one like pearls on have experienced a decline in inspiration and a string throughout the four works. Svendsen productivity as a composer. He complained picked most of the melodies from Ludvig about this in several letters to Grieg around Mathias Lindeman’s collection Ældre og 1880. In 1883 he moved to Copenhagen to nyere norske Fjeldmelodier (Older and Newer take up the post as chief conductor at the Norwegian Mountain Melodies). A significant Royal Theatre. From his early forties until compositional method adopted in all the his death in 1911 he completed only a few rhapsodies is the so-called ‘changing background occasional works. technique’, by means of which the melody © 2012 B. Morten Christophersen is repeated unchanged over an instrumental accompaniment that is constantly varied. Especially in the slow sections the diatonic The reputation of Truls Mørk as a cellist melodies are presented against a backdrop of of rare intensity and grace has been built advanced chromatic harmony – a technique also on performances throughout the world. A highly developed in Grieg’s music. celebrated artist, he performs with the most Rhapsodies Nos 1 – 3, presumably distinguished orchestras, including the Berlin completed in Christiania in 1876, were and Munich Philharmonic orchestras, Royal probably all composed rather quickly, although Concertgebouw Orchestra, Philharmonia sketches for No. 3 indicate that its composition Orchestra, Orchestre de Paris, Staatskapelle process was interrupted several times. The Dresden, and Symphonieorchester des Fourth Rhapsody was completed in 1877 in Bayerischen Rundfunks.
Load more

Recommended publications
  • Here Has Been a Steady Production of Operas Since the Season 1918/19
    ESTONIAN NATIONAL OPERA Article provided by the Estonian National Opera At a glance The roots of the Estonian National Opera go back to 1865, when the song and drama society “Estonia” was founded. In 1906, the society became the basis for a professional theatre. The ballet troupe began regular work in 1926, but the first full-length ballet, Delibes’s “Coppélia” was performed in 1922 already. Since 1998, the theatre is officially named the Estonian National Opera. Estonian National Ballet that operates under Estonian National Opera was founded in 2010. The Artistic Director and Chief Conductor is Vello Pähn, the Artistic Director of the Estonian National Ballet is Thomas Edur and the General Manager is Aivar Mäe. The theatre’s repertoire includes classical and contemporary operas, ballets, operettas and musicals. In addition, different concerts and children’s performances are delivered and compositions of Estonian origin staged. Estonian National Opera is a repertory theatre, giving 350 performances and concerts a year, being famous for its tradition of annual concert performances of rarely staged operas, such as Alfredo Catalani’s “La Wally”, Verdi’s “Simon Boccanegra”, Rossini’s “Guillaume Tell”, Bizet’s “Les pêcheurs de perles”, Bellini’s “I Capuleti e i Montecchi”, “I puritani” and “Norma”, Rimsky-Korsakov’s “The Tsar’s Bride” and “Snegurochka”, Strauss’ “Der Rosenkavalier”, etc. History of the Estonian National Opera In 1865, the song and drama society “Estonia” was founded in Tallinn. Acting was taken up in 1871. From 1895 onwards the society began to stage plays regularly, which usually included singing and dancing. In 1906, the society became the basis for a professional theatre called “Estonia Theatre” founded by the directors and actors Paul Pinna and Theodor Altermann.
    [Show full text]
  • Editing Historical Music in the Age of Digitization
    Editing Historical Music in the Age of Digitization Jørgen Langdalen The National Library of Norway Author Jørgen Langdalen is a senior researcher at The National Library of Norway, where he takes part in the preparation of the new Johan Svendsen Edition. Langdalen was trained as a music historian at The University of Oslo, where he earned his PhD with a dissertation on Gluck and Rousseau. Abstract Norwegian Musical Heritage—a program for preserving, editing and publishing historical music from Norway—benefits from digitization programs like that of The National Library of Norway. Digital media, in turn, opens new possibilities in the publication of historical music editions on the Internet. In both cases we see that digital technology draws new attention to the historical documents serving as sources of music edition. Although digitization strips them of their material form, they gain tremendously in virtual visibility. This visibility may contribute to a shift in critical edition, away from a predominant concern for the need to reach a single unequivocal reading, toward a greater interest for the real diversity of the sources. This broadened perspective may moderate the canonizing effect associated with traditional editions and open a more spacious field of interpretation and experience. In this way, more people may take part in the formation of cultural repertoires, in a media situation where such repertoires are no longer provided by traditional institutions, venues and media. 1. Introduction This paper presents a new initiative for preserving, editing and publishing historical music from Norway, called Norwegian Musical Heritage. The aim of the program is to make historical music available for performance and research in Norway and abroad.
    [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]
  • 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]
  • Estonian National Symphony Orchestra
    Estonian National Symphony Orchestra Neeme Järvi Artistic Director and Principal Conductor Garrick Ohlsson / Piano Saturday Evening, February 3, 2018 at 8:00 Hill Auditorium Ann Arbor 57th Performance of the 139th Annual Season 139th Annual Choral Union Series This evening’s performance is supported by Bank of Ann Arbor, Anne and Paul Glendon, and Dody Viola. Media partnership provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann Arbor’s 107one. The Steinway piano used in this evening’s concert is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Mr. Ohlsson and the Estonian National Symphony Orchestra appear by arrangement with Opus 3 Artists. The Estonian National Symphony Orchestra’s 2018 US tour is made possible through the support of Estonia’s centenary celebrations. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Heino Eller Five Pieces for String Orchestra (excerpt) Homeland Tune Johannes Brahms Piano Concerto No. 1 in d minor, Op. 15 Maestoso Adagio Rondo: Allegro non troppo Mr. Ohlsson Intermission Eduard Tubin Symphony No. 5 in b minor Allegro energico Andante Allegro assai 3 FIVE PIECES FOR STRING ORCHESTRA (EXCERPT) (1953) Heino Eller Born March 7, 1887 in Tartu, Estonia Died June 16, 1970 in Tallinn, Estonia UMS premiere: This piece has never been performed on a UMS concert. Snapshots of History…In 1953: • U-M alumnus Arthur Miller’s The Crucible opens on Broadway • The first Chevrolet Corvette is built in Flint, Michigan • The Korean War ends Heino Eller “was able to establish totally new standards in small Estonia, thereby laying the cornerstone of professionalism in music.” It was Eller’s most famous former pupil, Arvo Pärt, who praised his teacher (himself a student of Rimsky-Korsakov) in these words.
    [Show full text]
  • Norge Mitt Norge
    NORGE M I T T N O R G E LUFTFORSVARETS MUSIKKORPS CHRISTIANIA MANNSKOR LEIF ARNE PEDERSEN–DIRIGENT Desto hyggeligere er det å kaste lys over Komponisten maatte gjentagende frem for Marsjen hadde stor personlig betydning for NORGE dem nå og håpe at de kanskje igjen kan at modtage det begeistrede Pulikums Bifald Grieg, og mot slutten av sitt liv hadde han finne veien tilbake til konsertprogrammene. og Blomster.» Man skulle kanskje tro at dette den med seg hvor enn han reiste for han var MITT NORGE En spesiell takk til prof. Harald Bjørkøy som var et verk sangerfesten hadde bestilt, men fast bestemt på at den skulle spilles i hans gjorde oss oppmerksom på Johan Selmers kantaten var komponistens egen ide. Sel- egen begravelse, hvilket den også ble. Kombinasjonen mannskor og korps er kan- Hilsen til Nidaros og satte oss på sporet av mer reiste selv i forkant av sangerfesten til skje ikke så vanlig i dag, men var ganske ut- dette prosjektet. Trondheim for å innstudere verket med bri- En av Luftforsvarets musikkorps’ nærmeste bredt i tiden før og etter år 1900. I tillegg gademusikken. Selv rapporterer han at den naboer i Trondheim sentrum er Nidaros- til verkene på denne platen skrev blant an- OM STYKKENE: trønderske fløytist og klarinettist ikke kjente domen. Katedralen er godt synlig fra våre dre Friedrich A. Reissiger og Ole Olsen for Johan Selmer regnes som den første norske styrkegraden pianissimo, det gikk stort sett i øvingsrom der den rager opp over Midtby- korps og kor i Norge, og fra utlandet kjen- komponist av programmusikk i tradisjonen mezzoforte, men musikerne var lærenemme ens øvrige bebyggelse.
    [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]
  • EDUARD TUBIN COMPLETE WORKS Series VII
    1 EDUARD TUBIN COMPLETE WORKS Series VII Volume XXIX Barbara von Tisenhusen Opera in three acts and nine scenes Score Edited by Mart Humal & Reet Marttila RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG GE 12924 2 Supported by the Estonian Ministry of Culture, The Cultural Endowment of Estonia Editorial Board: Kerri Kotta (editor in chief), Margus Pärtlas, Toomas Velmet, Reet Marttila, Urmas Vulp, Paul Mägi ja Sigrid Kuulmann-Martin The present volume has two editors, Mart Humal and Reet Marttila, whose tasks have been different in the preparation of the volume. Mart Humal has worked out the editorial principles for the published work and realised them in the course of editing it. He has also written the preface and the commentary. Reet Marttila has edited notation of the published work to ensure its visual and logical consistency. Corrections: Lauri Sirp Music engraving: Valdo Preema, Edition 49 Layout: Tiina Sildre English language editor: Avo Sõmer General editor:Kerri Kotta Publisher: International Eduard Tubin Society / Gehrmans Musikförlag Printed in: Tallinna Raamatutrükikoda Tallinn / Stockholm 2016 © International Eduard Tubin Society / Gehrmans Musikförlag Edition number GE 12924 ISMN 979-0-54002-308-9 GE 12924 CONTENTS 3 Introduction 4 List of Characters 17 Critical Commentary 18 GE 12924 4 INTRODUCTION Barbara von Tisenhusen (ETW 112, 1967–68) is the The short story is written in an archaic style characte- first completed opera by Eduard Tubin.1 It is based on rised by the writer as follows: ‘I wrote it in the style of a short story (with the same title) by the Finnish- old chronicles, approximately in the rhythm of Russow.
    [Show full text]
  • Reading Horizons Vol. 22, No. 2
    Reading Horizons: A Journal of Literacy and Language Arts Volume 22 Issue 2 December 1981 Article 12 12-1981 Reading Horizons vol. 22, no. 2 Follow this and additional works at: https://scholarworks.wmich.edu/reading_horizons Part of the Education Commons Recommended Citation (1981). Reading Horizons vol. 22, no. 2. Reading Horizons: A Journal of Literacy and Language Arts, 22 (2). Retrieved from https://scholarworks.wmich.edu/reading_horizons/vol22/iss2/12 This Complete Issue is brought to you for free and open access by the Special Education and Literacy Studies at ScholarWorks at WMU. It has been accepted for inclusion in Reading Horizons: A Journal of Literacy and Language Arts by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. :?lleodittg ____ HORIZONS VOLUME 22 NUMBER 2 Editor - Ken VanderMeulen College of Education Western Michigan University Kalamazoo, Michigan 49008 READING HORIZONS has EDITORIAL BOARD been published quarterly since 1960 by the College Jerry L. Johns of Education, Western Northern Illinois University Michigan University, in DeKalb, Illinois Kalamazoo, Michigan. As a journal devoted to the Richard D. Robinson teaching of reading at University of Missouri all educational levels, Columbia HORIZONS provides all interested professionals Jean R. Harber with the ideas, reports, California State University and important develop­ Northridge, California ments that constitute the ever widening horizons Michael McKenna of reading. Wichita State University Wichita, Kansas Mark E. Thompson Washington, D. C. Carl Braun University of Calgary Alberta, Canada William H. Rupley Texas A & M University College Station, Texas READING HORIZONS Designed to be used by teachers, researchers, specials, and students devoted to the teaching of reading, READING HORIZONS io fJuLlishe:d fow~ Lirflf':-; :1 yf~,'-H' ()I! Ulf! C8JT1PU5 at Western MichiCdIl University.
    [Show full text]
  • Ength: Sometimes in but Not Much Is Known About Either
    THE WORLD OF DE ESTONIAN MUSIC CULTU CIVILI ESTONICO VOL IV THE WORLD OF ESTONIAN MUSIC Eesti Instituut Tallinn, 2015 The concert introducing „Arvo Pärt. Adam’s Lament“, the Grammy-winning record, is about to start in half an hour in St John’s Church. The queue meanders across Freedom Square, turns into Harju Street and continues for another few hundred metres. Everybody has a ticket, but they arrived early to get a better seat. Music is worth it! BACKGROUND3 BACKGROUND 5 Estonia is a young state and a young Access to Western music and infor- culture. In the ancient past, Estonians mation was difficult, and many devel- were a peasant nation who had their opments in Estonian music occurred own ancient way of life and culture, on their own strength: sometimes in but not much is known about either. parallel with the West and sometimes We only know about runo songs (regi- separately. Every fragment of infor- laul), which were not sung for quite a mation, book or record that found while but, having done a stint on the its way to Soviet Estonia had a huge archive shelves, they are now enjoy- impact: it was shared by many (often ing a new lease on life. Before the in secret), was discussed and offered 19th century national awakening pe- inspiration. Jaan Viljur with his fife. riod, German-language high culture Soviet music education had a prevailed on the Estonian territory. strong system and professional Estonian music education has standards. The musicians today still been connected with the Russian have a solid technical foundation school for a long time.
    [Show full text]
  • SFZ 1003 Booklet Sv Monterad
    FLUTE MUSIC Magnus Irving Båge flute Bengt-Åke Lundin piano Madeleine Barringer soprano Carl-Axel Dominique piano 16 1 agnus Irving Båge received his first died with Angelo Persichilli in Rome, Jonathan engt-Åke Lundin performs as a soloist Mflute lessons from Peter Rydström at Snowden, London, and has participated in Bwith orchestra, as a recital pianist and as the municipal school of music in Stockholm. masterclasses with Sir James Galway. a chamber musician together with other At the age of 17 he entered the Royal College Magnus Irving Båge has worked as principal musicians and singers. 1993-94 he was Artist of Music in Stockholm where he studied with in the Norrköping Symphony Orchestra as in Residence at the Swedish Broadcasting Lennart E:son Ehrenlood and Eje Kaufeldt well as assistant principal in orchestras such Corporation, and he played Ravel's piano from the Royal Stockholm Philharmonic as the Bergen Philharmonic Orchestra (Nor- concerto together with the Swedish Radio Orchestra. He graduated with a diploma 1994, way), the Royal Opera in Stockholm and the Symphony Orchestra and Esa-Pekka Salonen. after having performed the Mozart Concerto Swedish Radio Symphony Orchestra. He He has performed in the Konzerthaus in in G major with the Swedish Radio Symphony frequently tours with different chamber music Vienna, the Concertgebouw in Amsterdam, Orchestra. Magnus Irving Båge has also stu- groups and has successfully given perfor- the Alte Oper in Frankfurt, Symphony Hall in mances together with some of Birmingham and in numerous concert halls in Sweden's most famous actresses Sweden. His cooperation with Swedish com- and actors including Stina Ekblad, poser Johan Hammerth has resulted in two Anita Wall, Meg Westergren and piano concertos written for him, the first Samuel Fröler.
    [Show full text]
  • Musikkekteparet Olaus Andreas Grøndahl Og Agathe Backer Grøndahl
    Musikkekteparet Olaus Andreas Grøndahl og Agathe Backer Grøndahl En fellesbiografi Nina Steihaug Masteroppgave Institutt for arkeologi, historie, kultur- og religionsvitenskap UNIVERSITETET I BERGEN 15.05.2014 II Musikkekteparet Olaus Andreas Grøndahl (1847–1923) og Agathe Backer Grøndahl (1847–1907) En fellesbiografi III © Forfatter År 2014 Tittel: Musikkekteparet Olaus Andreas Grøndahl og Agathe Backer Grøndahl. En fellesbiografi Forfatter: Nina Steihaug https://bora.uib.no/ IV Sammendrag/Summary The title of the thesis is: A Marriage of Musicians. Agathe Backer Grøndahl and Olaus Andreas Grøndahl. A Collective Biography. The theme is the marriage of Agathe Backer Grøndahl (1847– 1907) and Olaus Andreas Grøndahl (1847–1923) (also known as O. A. Grøndahl and Olam Grøndahl) of Kristiania1 in Norway. The couple were married in 1875 and both were prominent musicians during the second half of the 19th century. Agathe was a famous pianist with an international career, a prolific composer of piano and songs and a piano teacher for a new generation of Norwegian professional pianists. Olam started his musical career as a singer, a tenor soloist, and composer, but later acted as a choir master and conductor of several male and mixed choirs and served as a music teacher at numerous schools. He also participated in the development of the music teaching in Norway, acting for the Government, at the time of the formation of the new national state. The couple lived in Kristiania, had three children and led a comparatively quiet home life, but travelled extensively at times, mostly on separate musical tours. The problem addressed is how a married woman by the end of the 19th century could be a professional musician, a public figure and earn her own money for the support of the family, take her space in the public sphere as an extremely popular concert pianist and at the same time being a conventional upper society housewife.
    [Show full text]