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23 January 2020
Ultima Thule 1319: 23 January 2020 No Track Title Composer Artist Album Label Catalogue Dur 1 Blue In Green Bill Evans + Miles Davis Miles Davis Kind of Blue Columbia 88697680571 5.27 Mingus Ah Um (50th Anniversary 2 Goodbye Pork Pie Hat Charles Mingus Charles Mingus Columbia CL 1370 4.46 Edition) 3 A Taste Of Honey Bobby Scott, Rick Marlow Lionel Hampton You Better Know It!!! Impulse! AS-78 2.43 Anouar Brahem, Dave Holland + Jack 4 Opening Day Anouar Brahem Blue Maqams ECM Records ECM-2850 7.01 DeJohnette 5 Migration Arve Henriksen Arve Henriksen Cartography ECM Records ECM-2086 5.41 6 Dreamtime Abdullah Ibrahim Abdullah Ibrahim The Balance Gearbox Records GB1554 4.06 7 The Nothing Changes The Kilimanjaro Dark Jazz Ensemble The Kilimanjaro Dark Jazz Ensemble The Kilimanjaro Darkjazz Ensemble Planet Mu ZIQ141CD 4.54 In the Wee Small Hours Of The 8 David Mann, Bob Hilliard Bill Frisell, Thomas Morgan Epistrophy ECM Records ECM-2626 6.55 Morning 9 It's Snowing on My Piano Bugge Wesseltoft Bugge Wesseltoft It's Snowing on My Piano ACT ACT-9620-2 5.02 10 My Heart Stood Still Lorenz Hart, Richard Rogers Kenny Burell Swingin' Blue Note GXF-3070 5.15 11 Gee Baby, Ain't I Good To You Diana Krall as above Midnight Blue Blue Note BLP-4123 4.23 Sonny Rollins + the Modern Jazz Sonny Rollins with the Modern Jazz 12 In A Sentimental Mood Duke Ellington Prestige PRLP 7209 3.21 Quartet Quartet 13 Where are You? Harold Adamson, Jimmy McHugh Sonny Rollins The Bridge RCA Victor LPM-2527 5.10 Beyond the Missouri Sky (Short 14 Message To A Friend Pat Metheney Pat Metheney + Charlie Haden Verve P2-37130 6.13 Stories) 15 Conciliation Yazz Ahmed Yazz Ahmed Finding My Way Home 5.20 16 Pannonica Thelonious Monk Thelonious Monk Thelonious Alone in San Francisco Riverside Records RLP-12-312 3.48 Thelonious Monk, Bernie Hanighen + 17 Round Midnight Miles Davis Round About Midnight Columbia CL-949 5.56 Cootie Williams Programme produced and presented by Jackson Day Executive Producer, George Cruickshank . -
Les Årsrapporten 2019
ÅRSRAPPORT 2019// INNHOLD TONOS ÅRSRAPPORT 2019 TONOS REGNSKAP 2019 Adm. direktør har ordet 3 Omsetningsfordeling 36 Årsberetning 2019 4 Resultatregnskap 37 TONOs styre 6 Fradrag på inntektsområder 39 TONOs komiteer og utvalg 7 Utvikling omsetning og kostnader 39 TONOs ledelse m/organisasjonskart 8 Resultatutvikling 40 Kulturelle midler 9 Balanse 31.12 - eiendeler 41 Stipender 10 Balanse 31.12 - egenkapital og gjeld 42 EDVARD-prisen 11 Regnskapsprinsipper 43 TONOs formidlerpris 14 Noter 44 Spellemannprisen 15 Kontantstrømoppstilling 56 TONO i tall 16 Revisors beretning 57 Kort og godt fra TONO-året 2019 17 Avregninger medlemsgrupper 21 Avregninger til utlandet 23 Inntekter fra utland 27 NCB 31 NORCODE 32 Norwaco 33 Foto: Kristian Dugstad, TONO INNHOLD Foto forside: Shutterstock TONO Årsrapport 2019 // 2 KJÆRE LESER Det er en begrenset glede i å skrive om rekordresultater for Krisen i konsertmarkedet og det øvrige markedet som daglig TONOs medlemmer kan vente seg gode konsertavregninger året 2019 i en usedvanlig trist vår i 2020. bruker musikk i sin virksomhet, vil ramme TONO-medlem- høsten 2020. mene med full kraft i avregningene i 2021. I skrivende stund er det bare en måned siden TONOs med- Det er naturlig å peke på at en viktig faktor i det gode lemmer måtte oppleve at Norge var nødt til å stenge ned for I midten av mars beregnet TONO at vi i seksmåneders- året er at TONO vant i Høyesterettssaken mot RiksTV og i konserter, eventer og det meste av aktiviteter de skal leve av. perioden mars 2020 og ut august 2020 vil oppleve et omset- påfølgende forhandlinger fikk utbetalt en erstatning på ningstap på kr 107 millioner for de rettigheter vi forvalter av kr 100,5 millioner. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
La Voie Triomphale
^ Voie Triomphale The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud ^ Voie Triomphale The years before, during and after the French Revolution were a turning-point for wind ensembles The Staff Band of the Norwegian Armed Forces throughout the world. They developed from being small ensembles, with each instrument repre- sented in pairs, to being something much larger. At the same time, the repertoire moved rapidly from the chamber music for wind instruments of Mozart, Haydn and Beethoven to much larger works of almost orchestral dimensions by a new generation of composers. The Staff Band of the Norwegian Armed Forces has on this recording chosen music by composers who all made significant contributions to the evolvement of the wind orchestra and to the literature for wind orchestra that we know today. The music is an exquisite selection of French drama, romance and epic tone poems composed at times of considerable political turbulence. It could be precisely this political backdrop, combined with the wind orchestra’s hitherto unexplored potential, that goes some way towards explaining why composers like Berlioz, Bozza, Saint-Saëns, Tomasi, Dukas and Milhaud chose to write large-scale works for the wind orchestra – works that are still considered an important part of the standard wind ensemble repertoire today, a repertoire the Staff Band of the Norwegian Armed Forces performs with the elegance, virtuosity and energy the music demands; The Triumphal Way! 01-03 Hector Berlioz (1803-1869) Grande Symphonie Funèbre et Triomphale 04 Camille Saint-Saëns (1835-1921) Orient et Occident 05 Paul Dukas (1865-1935) Fanfare pour précéder La Péri 06-10 Darius Milhaud (1892-1974) Suite Française q 11-14 Henri Tomasi (1901-1971) Fanfares Liturgiques e 15 Eugène Bozza (1905-1991) Children’s Overture Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz EAN13: 7041888516729 2.0 LPCM 24/192kHz + MP3 and FLAC 86 2L-086-SABD made in Norway 20©12 Lindberg Lyd AS 7 041888 516729 Hector Berlioz (1803-1869) Grande Symphonie Funèbre et Triomphale op. -
572258Bk Mozart US 572258Bk Mozart 16/03/2011 17:38 Page 2
572258bk Mozart US_572258bk Mozart 16/03/2011 17:38 Page 2 Wolfgang Amadeus Mozart (1756–1791) two children, and he waited several years to reclaim his and lyrical Adagio, which appears less of a contrast. The time, employed by Prince Esterházy, at whose court Kraft the cello. In the same concert, the talented Prague balance of 1000 Gulden from Mozart’s widow. During four other movements are somewhat lighter. The third Joseph Haydn was Kapellmeister. In 1783 Haydn wrote singer!Josepha Duschek sang arias ‘from Figaro and Divertimento in E flat major, K. 563 • String Trio in G major, K. 562e the Napoleonic wars Puchberg lost his fortune, and he movement, a fiery and lively Minuet, is written in the his famous Cello Concerto in D major for Kraft. When Don Juan’. Wolfgang Amadeus Mozart never succeeded in autumn of 1788, a work that, unusually, was not died in poverty. manner of a Ländler, an Austrian peasant dance. The Mozart met Anton Kraft in Dresden, he was on a concert The following day Mozart played at court in obtaining the position of Kapellmeister, director of commissioned, but was a present for his friend and Mozart wrote a number of string quartets, but only fourth movement is an air, a song-like Andante, tour with his eleven-year old son Nikolaus Kraft in Dresden the piano concerto later known as the music at any court.!In Vienna the reason undoubtedly fellow-mason!Johann Michael Puchberg (1741-1822), two string trios, and a further one that was unfinished. consisting of a folk-music theme with four variations. -
Anders Sveaas' Almennyttige Fond 2017
ÅRSRAPPORT ANDERS SVEAAS’ ALMENNYTTIGE FOND 2017 ASAF ÅRSRAPPORT 2017 1 Interiør fra Kistefos Træsliberi, idag en del av Kistefos-Museet. Foto: Kistefos-Museets bildearkiv Presentasjon 4 Prosjekter vi har støttet i 2017 11 Instrumentene 13 Musikerne 19 Årsberetning 29 Resultatregnskap 34 Balanse 35 Noter 36 English summary 39 Forsiden har utsnitt av portrett av Konsul Anders Sveaas, stifteren av A/S Kistefos Træsliberi. Til høyre hans sønn Advokat Anders Sveaas, far til Christen Sveaas. 2 ASAF ÅRSRAPPORT 2017 ASAF ÅRSRAPPORT 2017 3 Fra Krepselagskonserten 2017. David Coucheron t.v. og Christopher Tun Andersen t.h. Foto: Marte Aubert Presentasjon av Anders Sveaas’ Almennyttige Fond (ASAF) Formålet med fondet er å yte bidrag til allmennyttige og veldedige formål, særlig organisasjoner uten relevant offentlig støtte, og til unge norske musikere, gjennom stipend og utlån av strykeinstrumenter. Fondet ble opp- rettet i 1990 og kunne i 2015 markere 25 års jubileum. Anders Sveaas’ Almennyttige Fond (ASAF) bærer Konsul Anders Sveaas’ navn – stifteren av AS Kistefos Træsliberi i 1889. Styret i ASAF består av Christen Sveaas (styreformann), advokat Carl J. Hambro (viseformann), Annette Vibe Gregersen (forretnings- fører), Torhild Munthe-Kaas og advokat Erik Wahlstrøm. ASAF eier en samling strykeinstrumenter som fortrinnsvis lånes ut til fremstående unge, norske talenter. SØKNADER For søknader til fondet se www.legatsiden.no Skriftlige søknader mottas kun i perioden 1.- 31. mai hvert år. Det finnes ikke eget søknadsskjema. Søknader sendes til Forretningsfører Annette Vibe Gregersen, Dorthes vei 18, 0287 Oslo. E-mail: [email protected] FOR INFORMASJON OM: ASAF, se www.asaf.no Kistefos AS, se www.kistefos.no Kistefos-Museet, se www.kistefos.museum.no Bysten av Konsul Anders Sveaas, stifteren av AS Kistefos Træsliberi AS Kistefos Træsliberi, se www.kistefos-tre.no i 1889, ble laget i 2001 av Nils Aas. -
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. -
Pdf Document
100 YEARS OF RECORDED SOUND INSIDE THE ARCTIC CIRCLE: Music Collections at the National Library of Norway, Rana Division Trond Valberg (Senior Archivist, National Library of Norway)* The National Library of Norway, Rana Division (hereafter NB Rana), was founded in 1989 when Parliament passed its latest Legal Deposit Act. The decision to choose a location 1,000 km north of the capital was a political one. In connection with the establishment of NB Rana it was decided to build a huge storage vault blasted into the mountain. The constant rock temperature of 9°C during every season makes it suitable for long-term storage of different kinds of material. There are 42,000 metres of shelves on four floors, and we have already prepared for another storage vault. The mountain vaults can resist all conventional bombs. To some extent it is important to know the origin of our institution to understand the development of the collections and associated activities. In addition to its state-of-the art storage facilities, much focus has been made on building a good technical infrastructure. We have a fully- equipped conservation laboratory and a recording studio that can handle most analogue and digital formats. Our digital mass storage system became fully operational in 2001, serving both legal deposit documents and historical material. On the subject of finance, though, I have to add that due to our budget we have barely spent any money on buying records or CDs. Since NB Rana is not open to the general public, our services can only be accessed online or by contacting the staff by phone or in other ways. -
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. -
Ultima Oslo Contemporary Music Festival on Nature
ultima oslo contemporary 10–19 september 2015 ultima music festival oslo contemporary music festival om natur 10.–19. september 2015 10.–19. on nature 1 programme THURSDAY 10 SEPTEMBER Lunchtime concert Henrik Hellstenius Ørets teater III: Ultima Academy Cecilie Ore Ultima Academy Eivind Buene Georg Friedrich Haas In Vain SATURDAY 19 SEPTEMBER Herman Vogt Om naturen (WP) Alexander Schubert in conversation Adam & Eve—A Divine Comedy Geologist Henrik H. Svensen The Norwegian Chamber Orchestra Ensemble Ernst Ultima Remake Concordia Discors, Études (WP) Oslo Sinfonietta / Dans les Arbres with rob Young 21:00 — Kulturkirken Jakob on issues in the Age of Man 19:00 — Universitetets aula 21:00 — Riksscenen Edvin Østergaard (WP) / 10:00 — Edvard Munch Secondary 12:00 — Loftet 19:30 — The Norwegian National Opera 14:00 — Kulturhuset p. 18 19:30 — Kulturhuset New music by Eivind Buene, plus the Spellbinding piece described as ‘an optical Jan Erik Mikalsen (WP) / Maja Linderoth School Piano studies with Ian Pace, piano & Ballet, (Also 12 and 13 September) p. 31 p. 35 pieces that inspired it illusion for the ear’” The Norwegian Soloists’ Choir Interactive installation created by pupils p. 19 Concert / performance Robert Ashley Perfect Lives p. 38 p. 47 13:00 — Universitetets gamle festsal p. 13 p. 16 Ultima Academy Matmos Ultima Academy p. 53 Installation opening and concert Music Professor Rolf Inge Godøy 22:00 — Vulkan Arena Musicologist Richard Taruskin on David Toop Of Leonardo da Vinci — James Hoff / Afrikan Sciences / Ultima Academy Elin Mar Øyen Vister Røster III (WP) Installation opening on sound and gesture American electronica duo perform cele- birdsong, music and the supernatural Quills / a Black Giant / Deluge (WP) Hilde Holsen Øyvind Torvund (WP) / Jon Øivind Media theorist Wolfgang Ernst 15:00 — Deichmanske Ali Paranadian Untitled I, 14:30 — Kulturhuset brated TV opera 20:30 — Kulturhuset Elaine Mitchener / David Toop 22:00 — Blå Ness (WP) / Iannis Xenakis on online culture and hovedbibliotek A Poem for Norway (WP) p. -
FESTSPILLNOTEN 2002 Sol-Hverv
FESTSPILLNOTEN 2002 Sol-hverv Igjen har Jorden gjort sin runde under stjernene, og den ruller opp med snø og vind i vintermorgenens røde lys. Og tiden møte opp på ny med liket av et drept og blodig år i sine jernkalde armer. “Hør, o, blinde skjebne, nu gir jeg deg tilbake de dyre døgn, de gylne drypp av dage, som dryppet ifra Solens skåler ned i minne frosne hender.” Og taus og stille, svøpt evighetens skygger senker gudene i grav det drepte år, – og i sin rike nåde – under røk og eld fra en verden, stedd i vé og våde – gir de livet nye dyre timer. Og den gylne drypp av dage drypper atter ifra Solens skåler ned i tidens frosne hender. – Johan Falkberget Vinterfestspill i Bergstaden blir arrangert for 4. gong i år. For første gong blir det gitt statleg tilskott, kanalisert gjennom festival- tilskottsordninga i Norsk kulturråd. Vilkåra for tilskott frå denne ordninga er mellom anna at festivalen har offentlege konsertar som sitt primære virke, at festivalen vert arrangert over minst to dagar anna kvart eller kvart år og at han har fått offentleg tilskott frå eigen region i minst tre år. Vinterfestspill har vist at dei kan oppfylla desse vilkåra. Programmet i år vitnar om kvalitet, spenn- vidde og profesjonalitet. I løpet av fire mars- dagar kan publikum høyra alt frå middel- aldermusikk og folkemusikk til musikk frå vår eiga tid framført av eit knippe utmerkte musikarar. Vinterfestspill byr på noko for alle: Eg kan nemna konsert for born, ut- stillingar, solrenningskonsert med frukost- 5 servering og kveldskonsertar. -
Masarykova Univerzita Filozofická Fakulta Ústav Germanistiky, Nordistiky a Nederlandistiky Bakalářská Diplomová Práce
Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Bakalářská diplomová práce 2016 Ivana Královcová Masarykova univerzita Filozofická fakulta Ústav germanistiky, nordistiky a nederlandistiky Skandinávská studia Ivana Královcová Specifika norské jazzové scény Bakalářská diplomová práce Vedoucí práce: Vojtěch Procházka, MA 2016 2 Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. V Brně, dne 30. 4. 2016 …………………………………………………. 3 Poděkování Na tomto místo bych ráda poděkovala svému vedoucímu Vojtěchu Procházkovi, MA za vedení a cenné připomínky, Mgr. Janu Přibilovi, DiS. za pomoc se zdroji, dále pak Milošovi Winklerovi a MgA. Vilému Spilkovi za konzultaci, sestře Mgr. Drahoslavě Kráčmarové za korekturu textu a celé své rodině za podporu při studiu. 4 Obsah 1. Úvod .................................................................................................................................... 7 2. Jazz - vymezení pojmu ........................................................................................................ 9 2.1 Co je jazz ...................................................................................................................... 9 2.1.1 Metrorytmika: princip beatu .............................................................................. 10 2.1.2 Improvizace ........................................................................................................ 11 2.2 Free-jazz: vymezení pojmu .......................................................................................