4679274-2B63eb-BIS-247 Booklet X
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Allan Pettersson Performances
Allan Pettersson Performances Jürgen Lange March 29, 2016 Performances [1] Torleif Lännerholm, Tore Westlund, and Tore Rönnebäck. Pettersson Fuga in E for Oboe, Clarinet and Bassoon. Stockholm, Swedish Radio, 1950-09-14:Premiere, September 1950. [2] Musical Society Fylkingen, Lars Frydén, Soldan Ridderstad, Karl-Olof Nihlman, Axel Jonsson, and Bengt Ericson. Pettersson Concerto for Violin and String Quartet. Stockholm, Fylkingen, 1951-03-10:Premiere, March 1951. [3] Carl Garaguly, Bronislav Gimpel, and Kungliga Filharmonikerna. Pet- tersson Konsert för stråkar nr 1. Stockholm, Konserthuset, Stora salen, 1952-11-19 20:00, November 1952. [4] Carl Garaguly, Bronislav Gimpel, and Kungliga Filharmonikerna. Pet- tersson Konsert för stråkar nr 1. Stockholm, Konserthuset, Stora salen, 1952-11-20 20:00, November 1952. [5] Monique Janne and Fran Onfroy. Pettersson Seven Sonatas for Two Violins No. 3 and 7. Paris, Salle de l’Ecole Normale de musique, 1952-12- 16:Premiere, December 1952. [6] Tor Mann and Sveriges Radios Symfoniorkester. Pettersson Concerto No. 1 for String Orchestra. Stockholm, Swedish Radio, 1952-04-06:Premiere, April 1952. [7] Hermann Scherchen and Das Kölner Rundfunk-Sinfonie-Orchester. Con- certo No. 1 for String Orchestra. Köln, Funkhaus, 1953-05-26 19:00, May 1953. Neues Musikfest, Orchesterkonzert. [8] Matla Temko and Andor Sagi. Pettersson Seven Sonatas for Two Violins No. 1. Stockholm, Fylkingen, 1953-03-28:Premiere, March 1953. [9] Tor Mann and Sveriges Radios Symfoniorkester. Pettersson Symphony No. 2. Stockholm, Musikaliska Akademien, 1954-05-09:Premiere, May 1954. 1 [10] Sixten Ehrling, Tore Wiberg, and Kungliga Filharmonikerna. Pettersson Symfoni nr 2. Stockholm, Konserthuset, Stora salen, 1955-04-29 20:00, April 1955. -
7318590002216.Pdf
Sibelius's first symphony (1898) begins with a long clarinet solo accompanied by distant vibrations from the tympani. The descending melodic line suggests a Karelian moumer's lament, after which one seems to hear a series of sighing motifs, separated by pauses, But the melody then rises in a broad arch and dips like a wounded btud in flight, befor€ fading and disappearing in a primeval mist. The first symphony has something mythical about it, perhaps a faint reminiscence ol the Kulleruo-symphony composed seven yeas earller. "A tragedy in music", as it was characterised by one critic after it had been performed under Felix Weingartner in Berlin. But the characters of the drama have been assimilated into the symphonic structure and the themes temain as their memorial - to bonow a metaphor coined by the anti-Sibelian Theodor W. Adorno with reference to Mahler. The apparently independent introduction contains the germ of many motifs, giving rise for example to the brilliant main theme in the violins and the twittering theme oI the flutes in paallel thirds. The dreamy second zubject is in turn related to the marn - theme another example of the constant metamorphosis of themes in Sibelius,s symph- o nles. The composer himself conducted the fi-rst performance of the work in Helsinki in April, 1899. Two months earlier, the so-called February manifesto had been proclaimed, the first stab directed by the Tsarist regime at Finland's autonomy. Sibelius had actually be" gun composing the symphony a year earlier in Berlin, and it does not appear to reflect any spirit of protest, This was not the case with the Athenians, Song to Rydberg,s text, a tribute to the hopeless struggle of heroes, which the composer created expressly for this concert of his own works. -
Download Booklet
Neeme Jdri is Principal Conductor of the Gothenburg Symphony Orchestra and Musical Director of the Scottish National Orchestra. He was botn in Tallinn, Estonia. in 1937 and studied at the Tallinn Music School and later at the Leningrad State Conseroatory with Rabinovich md Mravinsky. He made his conducting debut at the age of 18 in a concert performance of Strauss's "Eine Nacht in Venedig" md in 1963 became director of the Estonian Radio and Television Orchestra and of the Tallinn Opera. He lvon first Ijrize at the international conducting competition in Rome in 1971, which led to invita- tions to conduct major orchestras throughout the world. In 1980 Neeme Jiiwi emigrated to the U.S.A. and ever since then he has worked extensively both with the leading orchestras in the Western world and in prominent opera houses. Dudng the 1978-9 season he made his Metropolitan Opera debut with "Eugene Onegin". With the Gothenburg Symphony Orchestra he has been involved with tous to Germany and. in March 1987, to the U,S.A. and Far East. He is engaged in recording projects of the complete orchestra-l music of Sibelius, Stenhmmar and Tubin for the BIS label. Kerstin Lundin studied singing with Ingrid Maria Rappe (founder of Sweden's Vadstena Academy). She is best known as an oratorio slnger (Southern Sweden, Denmak and Norway) but is also a concert singer (Malmii Symphony Orchestra, Helsingborg Sym- phony Orchestra) and a lieder singer (Netherlmds, Sweden). Lund's Student Choral Society dates its origins from 1831 and is now one of Sweden's oldest choirs. -
BIS-CD-310 Booklet Scan.Pdf-Ece3b2.Pdf
Wilhelm Stenhamm;u's Serenqde for orchesira is considered by many to be the greatesl Swedish orchestral work. We do nor know exaclly u'hen the composer stilied to plan it, but he probably did so in 1 9O6-7 when visiting Italy. The Serenade was to be the last of his major orchesual works. In the 189Os Stenhammar achieved his first great successes bolh as pianist and as composer. When he visited Germany he was stimulated by the intense musical activity, and. inspired by Wagner. he composed his two music dramas Gildet pd Solhoug (1893) and Tirfing (1898). The latter, however, was a great disappointment for him. He ceased to compose and accepted instead more conducting commissions, and was also active as a chamber musician on tour with the famous Aulin Qudtet. Nevertheless Stenhammil had, by the eilly years of the 2oth century, completed a Symphony (in F major), a broadly-conceived u'ork of great beauty in the Germanic tradition. Tortured by self-doubt he withdrew the piece for revision - which, a ferv minor points aside, never happened. (In recent yeus this piece has been played 10 greal acclaim in its existing form by Neemc Jiirvi md it is available on BIS-LP/CD219,) Like so many other Scmdinavians of this period, Stenhammiu yeilned for the south md f or this reason travelled to Italy in 1906. Here he had the chmce to complete his Piano Concerto No.2 and also to write, among other things. the rhapsody Midwinter as well as to sketch ideas for orchestral works. -
Orchestral Works Volume Symphony No
SUPER AUDIO CD Atterberg Orchestral Works Volume Symphony No. 2 2 Symphony No. 8 Gothenburg Symphony Orchestra Neeme Järvi Private photograph courtesy of the Estate of Kurt Atterberg Kurt Atterberg, on his seventieth birthday, 12 December 1957 Kurt Atterberg (1887 – 1974) Orchestral Works, Volume 2 Symphony No. 2, Op. 6 (1911 – 13) 31:27 in F major • in F-Dur • en fa majeur 1 I Allegro con moto – Pesante – A tempo, tranquillo – Tempo I (subito) – Agitato – Tranquillo – Tempo I – Pesante – A tempo, tranquillo – Tranquillo – Maestoso – Largamente 10:06 2 II Adagio – Presto – Adagio – Presto – Tranquillo – Adagio 11:26 3 III Allegro con fuoco – Con moto – Tranquillo – Con moto – Adagio – Tempo I, furioso – Pesante – Tranquillo – Con moto – Tranquillo – A tempo, con moto – Maestoso 9:46 3 Symphony No. 8, Op. 48 (1944) 29:45 in E minor • in e-Moll • en mi mineur Composed on Swedish National Melodies 4 I Largo – Allegro 9:00 5 II Adagio 7:04 6 III Molto vivo 5:30 7 IV Con moto 7:56 TT 61:28 Gothenburg Symphony Orchestra (The National Orchestra of Sweden) Sara Trobäck Hesselink leader Neeme Järvi 4 Atterberg: Symphonies Nos 2 and 8 Background in brief the Gothenburg Orchestral Society (today’s The Swedish composer Kurt Atterberg was Gothenburg Symphony Orchestra), to take born in Gothenburg on 12 December 1887, place before lunch on New Year’s Eve. The and died in Stockholm on 15 February 1974. rehearsal proved so successful that he He studied at the Royal Swedish Academy of was asked to conduct a concert already Music in 1910 – 11, attending the composition on 10 January 1912, on which occasion he and instrumentation classes of the very performed his own First Symphony, as well conservative Andreas Hallén (1846 – 1925). -
Orchestral Works Volume 5 Symphony No
SUPER AUDIO CD Atterberg Orchestral Works Volume 5 Symphony No. 7 ‘Sinfonia romantica’ Symphony No. 9 ‘Sinfonia visionaria’ Anna Larsson mezzo-soprano Gothenburg Symphony Olle Persson baritone Chorus and Orchestra Neeme Järvi Private photograph courtesy of the Estate of Kurt Atterberg Kurt Atterberg, at work on Symphony No. 9, Guéthary, France, 1955 Kurt Atterberg (1887 – 1974) Orchestral Works, Volume 5 Symphony No. 7, Op. 45 ‘Sinfonia romantica’ (1941 – 42) 28:43 1 I Drammatico. Lento – Molto vivo – Andante – Andante molto tranquillo – Molto vivo – Cantando – Lento – Vivacissimo 12:39 2 II Semplice. Andante – Un poco più lento – A tempo I – Tranquillo 8:35 3 III Feroce. Allegro – L’istesso tempo, pesante – (Un poco meno mosso) – (Tranquillo) – (Con moto) – (Tempo I) – Animando al fine 7:22 3 Symphony No. 9, Op. 54 ‘Sinfonia visionaria’ (1955 – 56)* 34:18 in modo di rondo espansivo for Mezzo-soprano, Baritone, Chorus, and Orchestra after Völuspá (c. 950 – 1350), from the Icelandic Poetic Edda (Valans Visdom / The Wisdom [or Prophesy] of the Vala [or Seeress]) 4 Adagio – 2:16 5 Andante. Barden: ‘Heid hon hette, till vad hus hon kom’ – Tranquillo. Valan: ‘Varom frågen I mig?’ – [Andante.] Barden: ‘Härfader gav henne halsguld och ringar’ – 2:12 6 Con moto. Valan: ‘Jag jättarna minns, i urtid avlade’ – Poco tranquillo. Valan: ‘Gapande svalg fanns men gräs icke’ – [Con moto.] Valan: ‘I åldrarnas ursprung, när Ymer levde’ – Poco tranquillo. Valan: ‘stjärnorna ej var de skimra skulle’ – [Con moto.] Valan: ‘Söner till Bur då lyfte landen’ – Poco meno mosso. Kör, Valan: ‘Då drogo de mäktige till sina domaresäten’ – Tranquillo. Barden: ‘Hon såg vida och än vidare i världar alla’ – 3:38 7 Valan: ‘En ask ser jag stånda, den Yggdrasil heter’ – Molto tranquillo – Con moto. -
SCANDINAVIAN SYMPHONIES from the 19Th Century to the Present
SCANDINAVIAN SYMPHONIES From the 19th Century To the Present A Discography of CDs & LPs Prepared by Michael Herman Composers L-Z PETER ERASMUS LANGE-MÜLLER (1850-1926), DENMARK Born in Fredericksburg (suburb of Copenhagen). Ill-health only allowed him to study music formally for a brief period at the Copenhagen Conservatory, but his natural gifts, already displayed in childhood, allowed him to go on to a very productive musical career. He composed opera, orchestral, instrumental and especially vocal music. The incidental music he wrote for the play "Once Upon a Time" is his most popular work and a Danish musical icon. His other major orchestral works are a Violin Concerto and the suites: "In the Alhambra" and "Weyerburg." Symphony No. 1 in D minor, Op 17 "Autumn" (1879) Douglas Bostock/Chamber Philharmonic of Bohemia ( + Symphony No. 2) CLASSICO CLASSSCD 370 (2001) Symphony No. 2 in D minor, Op. 33 (1889, rev. 1915) Douglas Bostock/Chamber Philharmonic of Bohemia ( + Symphony No. 1) CLASSICO CLASSSCD 370 (2001) RUED LANGGAARD (1893-1952), DENMARK Born in Copenhagen, the son of composer Siegfried Langgaard (1852-1914). As a child he was taught the piano by both of his parents as well as the organ by Gustav Helsted. At the age of 12, he started to study music theory under C.F.E. Horneman and, later, Vilhelm Rosenberg and simultaneously gave recitals as an organist and began composing. Although a few of his major works were performed in his lifetime, he was basically considered an outsider by the Danish musical establishment. It is only now that his importance has been acknowledged and most of his important works including his opera "Antikrist" have been recorded. -
STENHAMMAR, WILHELM (Rb7 | -T927 )
STENHAMMAR,WILHELM (rB7 | -t927) : (l) Excelsior!Op. 13 M/s) 12'10 Symphony Nr. 2 g minor Op. 34 (Gehrmans) 42'37 (2) Allegro energico 11'02 - (3) Andante 9'02 - (4) SCHERZO. Allegro, ma non troppo presto 7'13 - (5) FINALE. Sostenuto.Allegro uiuace 14'18 The Gothenburg Symphony Orchestra/NEEMEJARVI English text - Page 4 / Suensh text - sid 9 / Deutscher Text - Seite 14 / - Texte franqias page 1 9 The two works on this record show completely different sides of the composer WILHELM STENHAMMAR. The symphonic concert-overture Excelsior! written in 1896 is one of his very first orchestral works, comp- osed by an undisciplined disciple of Wagner while the Symphony in g minor from 1915 is much more precise in its articulation; both simple in utterance and formally perfect. After training in his native city of Stockholm Stenhammar was often in Berlin in the 1890s. He studied the piano there with Heinrich Barth in 1892-93 and was later engaged as a soloist on several occasions. With Richard Strauss conducting he played, i.a., his own Piano Concerto in b minor. Stenhammar naturally came into contact with a great deal of Germanic music and himself composed musical dramas in a Wagnerian style and piano music using a Brahmsian palette. A boisterously youthful temperament pervades Excelsiorl. The main theme is introduced "Leidenschaftlich bewegt" (impassioned) by the strings to the accompaniment of insistent triplets by the woodwinds. The secondary theme is presented first by the clarinet and then by flute and bassoon. For a short time this theme gives an impression of calm. -
Del I S 1-51
Vad var det för orkester? Att Göteborgssymfonikerna håller hög standard idag, det vet vi. Men hur såg det ut för tjugo år sedan, då Neeme Järvi kom till Göteborg? Potentialen fanns där. Och traditionerna. Under uppbygg- nadstiden på Wilhelm Stenhammars tid rankades orkestern mycket högt, likaså under Tor Manns dirigentperiod. Sym- fonikerna dominerade radions musiksändningar under ett dussin år, bland annat under andra världskriget. Även -talet var en framgångens tid för orkester- och kammarmusikens konstnärliga utveckling, skrev konsertche- fen Sven Kruckenberg i tidningen Arbetet . Men skulle utvecklingen få fortsätta? Under -talet ställdes begrepp som »finkultur« och »massans behov« emot varandra. Hade symfoniorkestrar överhuvudtaget ett berättigande i ett modernt samhälle? Alla tyckte inte det, och diskussionen var het. Sven Kruckenberg citerade författaren Artur Lundkvist: »Vad rymmer egentligen de misstänkliggörande uttrycken elit och elitism? Jo kulturförakt och i sin tur folkförakt, ned- värdering av begåvning och intelligens, av skicklighet och konstnärlighet, av utvecklade behov och höjda krav … Vem som vill och är intresserad kan numera sluta sig till eliten av kulturförbrukare … Kvalificerade kulturkonsumenter före- kommer sedan länge i alla samhällsklasser.« 22 VAD VAR DET FÖR ORKESTER? VAD VAR DET FÖR ORKESTER? 23 I Konserthuset avlöste dirigenterna varandra i rask takt. När -talet inleddes hette chefdirigenten Sergiu Comis- siona. Efter honom kom Sixten Ehrling och Charles Dutoit, stora personligheter de också. Men Sixten Ehrling stannade bara en säsong och mellan Charles Dutoit och orkestern upp- stod aldrig den där magin som behövs för att det ska tända. Schweizaren Dutoit kände sig inte hemma med den nord- iska repertoaren och flyttade år till Montreal i Canada. -
Konsertmagasinet Podiet
Mitt instrument: Justyna Jara MUSIKEN SOM FÖRÄNDRADE HANNIGAN SVÄNGIGA GÄSTSPEL: VIJAY IYER TRIO OCH FRIFOT NY KONSERT AV PHILIP GLASS ÅRETS STÖRSTA KONSERT: GURRELIEDER Bästa publik! Här på insidan av Konserthuset arbetar vi ihärdig med sökandet efter vår nästa chefdirigent. Det är fyra säsonger sedan Gustavo ANSVARIG UTGIVARE Dudamel avslutade sitt chefskap hos oss och vi känner nu att tiden Urban Ward är mer än mogen för att utnämna en ny. Det är många hänsyn som REDAKTÖR Stefan Nävermyr ska tas men alla i huset är engagerade i frågan. Vi vet redan att Symfonikerna är en orkester som drar till sig de bästa dirigenterna FORMGIVNING Magdalena Nilsson i världen så vi har flera goda kandidater att välja bland. Följ oss – om vi har riktig tur kommer du få veta vem det blir innan säsongen SKRIBENTER Johan Andersson, Ulla M Andersson, Sten är över! Cranner, Peter Eötvös, Måns Per Fogelberg, Vårens vackraste äventyr är konserten den 3 juni med Kent Philip Glass, Rolf Haglund, Stig Jacobsson, Nagano då ni får möjlighet att uppleva Arnold Schönbergs Gurre- Katarina A Karlsson, Stefan Nävermyr, Gunilla Petersén, Johan Scherwin, Per Stern och Erik lieder. Verket – som är drygt en och en halv timme långt – hade Wallrup världspremiär i Wien 1913 men har aldrig (ja, det är sant!) fram- FOTO förts i Göteborg. Anledningen är enkel: verket involverar så många MADE BY SWEDEN Arnold Schönberg-centret i Wien, Bjørn Bert- musiker och korister att vi inte får plats på Konserthusets podium. heussen, Johan Björkman, Marco Borggreve, Schönberg skrev detta verk för en besättning på 150 musiker Eric Brissaud, Felix Broede, Mats Bäcker, José Campos, Stewart Cohen, Ben Ealovega/Decca, och fler än 150 i kören. -
SCANDINAVIAN SYMPHONIES from the 19Th Century to the Present
SCANDINAVIAN SYMPHONIES From the 19th Century To the Present A Discography of CDs & LPs Prepared by Michael Herman Composers A-K SVEND AAGUIST (JOHANSEN) (b. 1948, DENMARK) Sinfonia (1976) Frans Rasmussen/Danish Radio Sinfonietta ( + Norholm: Fluctuations and Holm: Cumulus and Eurydice Hesitates) PAULA 16 (LP) (1982) HANS ABRAHAMSEN (b. 1952), DENMARK Born in Copenhagen. As a child he studied the French horn but already displayed a talent for composition. His formal training began at the Royal Danish Academy of Music.where he continued his study of the French horn but also had composition lessons with Niels Viggo Bentzon. Later on he had further lessons in composiion with Per Nørgård, Pelle Gudmundsen-Holmgreen and György Ligeti. He teaches at the Royal Danish Academy of Music in Copenhagen. In addition to his Symphony his orchestral works include Stratifications, Nacht und Trompeten, Concerto for Piano and Orchestra and Four Pieces for Orchestra. Symphony No. 1 (1974) Ole Schmidt/Orchestra of the Royal Academy of Music ( + Gade: Echoes of Ossian Overture, Hornemann: Furre Suite and Nørgård: Twilight) KONTRAPUNKT 32194 (1994) HELMER ALEXANDERSSON (1886-1927), SWEDEN Born in Stockholm. He studied at the Stockholm Conservatory where Johan Lindegren was his theory teacher as well as with Jean Paul Ertel in Berlin. He worked as a violinist accompanying movies and also wrote some of the earliest Swedish film scores. His other orchestral music includes his Symphony No. 1 in G major, written as a student, as well as a Clarinet Concerto, 2 Horn Concertos, Rhapsody on Swedish Folksongs and Dances and an Olympic March. Symphony No.