A Scandinavian Evening

This post is also available in: Norwegian Bokmål

Closing concert at Festival in Elverum and tour.

Festival in Elverum, Terningen Arena, Elverum, Saturday August 11th at 6pm.

Young Euro Classic, Konzerthaus Berlin, Monday August 13th at 8pm. Read more and buy tickets here.

Musikkens hus, Aalborg, Wednesday August 16th at 7.30pm. Read more and buy tickets here.

Oslo Chamber Music Festival, Oslo Konserthus, Saturday August 18th at 6pm. Read more and buy tickets here.

 

The Norwegian National Youth Orchestra
Conductor: Johannes Gustavsson
Soloists: Ann-Helen Moen (soprano in Elverum, Berlin and Aalborg), Kari Postma (soprano in Oslo) and Håvard Stensvold (bass-baritone)

Håvard Stensvold, Foto: Studio Lasse Berre

Program:

Anders Hillborg (1954-): Eleven Gates (2005/2006)

No. 1. Drifting into D-major
No. 2. Suddenly in the Room with Chattering Mirrors
No. 3. D Major Still Life
No. 4. Confused Dialogues with Woodpecker
No. 5. Suddenly in the Room with Floating Mirrors
No. 6. Into the Great Wide Open
No. 7. Meadow of Sadsongs
No. 8. Toypianos on the Surface of the Sea
No. 9. String Quartet spiralling to the Seafloor
No. 10. Seafloor Meditation (Whispering Mirrors at the Seafloor)
No. 11. Waves, Pulse and Elastic Seabirds

Kari Postma

Edvard Grieg (1843-1907):

Solveig´s song (from op. 23)
Last Spring (from op. 33)
At Rondane (fra op. 33)
A Swan (op. 25, no. 2)
Zur Rosenzeit (op. 48, no. 5)
Ein Traum (op. 48, no. 6)

 

Carl Nielsen (1865-1931): Symphony no. 3, op. 27 (1910/1911)

Allegro espansivo
Andante pastorale
Allegretto un poco
Finale: Allegro


A SCANDINAVIAN EVENING

Johannes Gustavsson, Foto: Anna Hult

The Norwegian National Youth Orchestra and their artistic director Johannes Gustavsson invite to a Scandinavian evening with two wonderful vocal soloists.

 

The title of the Swedish composer Anders Hillborg’s work, Eleven Gates, alludes to the fact that the piece is constructed of eleven sections and to the imaginary gates that one passes through – either abruptly or seamlessly – in moving from one to another. In addition, the composer entertained him selv by giving each section a title, describing in a more or less surrealistic way what´s going on. An American critic wrote that he enjoyed listening to so many new audio pictures in the work. The work was commissioned by the Los Angeles Philharmonic under the leadership of Esa Pekka Salonen. The Norwegian National Youth Orchestra will make the German premier of the work.

Hillborg is known for his wide range in his composition, from orchestral music, choral music, chamber music, but also more commercial pop and film music. He is inspired by composers like Brian Ferneyhough and Gyorgi Ligeti.

 

Ann-Helen Moen, Foto: Jan Alsaker

We will hear the soprano Ann-Helen Moen in some of Edvard Griegs most wellknown songs. “Solveig’s song”, from Peer Gynt and with text by Henrik Ibsen, needs no further description. “The last Spring” and “At Rondane” is from a collection of songs with text by Aasmund Olavsson Vinje. This collection became known as Grieg’s first genuine Norwegian songs and his melodic character is clearly audible.

The last three songs we hear from Grieg deal with all different perspectives of romantic love. “A Swan” is written by Henrik Ibsen, while the two songs in German have text by Johann Wolfgang von Goethe (“Zur Rosenzeit”) and Friedrich Martin von Bodenstedt (“Ein Traum”).

 

Carl Nielsen started to think of his third symphony in the beginning of the year 1910. He struggled to find a good idea for the first movement and rumers say that the theme came to him when he was on the tram. In the absence of an available sheet of paper, he had to write it down on his sleeve. The symphony quickly became a success and was the most played of Nielsen’s symphonies in his time. The good reviews changed the view of Nielsen’s music, and this work was making the composer’s name well known.

Carl Nielsen’s third symphony expresses, as the title of the first movement describes, a tension (espansiva) that in the second movement has been completely replaced with an idyllic calm. He drafted two different versions of the second movement, where the final result includes two vocal soloists who sing without text. In Carl Nielsen’s own program texts, we can read that with he the textless vocal voices has attempted to portray an paradisiac state of the soul. The third movement is a contrast again and contains an ambiguous atmosphere where both major and minor, the good and the bad appears at the same time. According to the composer, the final is the apotheosis of the work. He wanted to show the healthy moral that lies in the blessing of work, an anthem to work and the healthy development of daily life.

 

The Norwegian National Youth Orchestra wish you all welcome to a Scandinavian evening!

This post is also available in: Norwegian Bokmål

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