Arne Nordheim, 1931-2010, has gained wide recognition as Norway"s leading contemporary composer and as a major creative force in European modern music since his debut with the first String Quartet (1956) and the performance of the orchestral work Canzona in Amsterdam (1963). Nordheim"s varied output comprises almost all genres: orchestral symphonic works, a violin concerto, a cello concerto (Tenebrae), chamber music, vocal music - choral music and music for solo singers, incidental music for the stage, the large-scale oratorio Nidaros (1996), electroacoustic works, radio productions, and the famous score to the ballet Stormen (The Tempest). He has been awarded all the prizes and distinctions available to Norwegian composers, as well as the Nordic Council"s Music Prize (1972) and prestigious prizes in other countries. In 2006 he was appointed Honorary Doctor of the Norwegian Academy of Music.
In recognition of his outstanding artistic achievements the Norwegian government granted him lifetime residency at the "Grotten" state residence, where he lived with his wife Rannveig Getz, situated in the grounds of the royal palace in Oslo. In 1997 Nordheim was appointed Honorary Member of the ISCM (International Society of Contemporary Music).
Peter Herresthal has made the new music for violin his arena, with significant success. Nordheim adds a new dimension to the baroque partita form in Partita for Paul, written for a Paul Klee exhibition in 1985. Thommessens Please Accept my Ears allows the violin to blend with the sustained sound of the piano to create a natural dynamic balance as the two instruments accompany each other.
In 2011 Arne Nordheim would have been 80 years. Oslo Philharmonic Orchestra celebrate the leading composer of Scandinavia with a fantastic recording of his earliest and last orchestral works. The emotional and terrifying beauty of Arne Nordheim's orchestral music have never been more captivating than in these new recordings.
Arne Nordheim (1931-2010) himself stressed that he was seeking to 'recall forgotten experiences, to evoke forgotten images' in his music. Tenebrae (Darkness) (1982) for cello and orchestra was written for and premiered by Rostropovich. It receives its ultimate realization in this recording with fellow Norwegian Truls Mørk and the Oslo Philharmonic Orchestra. With its tension between the poetic and the catastrophic - the polarities in Nordheim's works - the concerto is a re-examination of the relationship between man and nature. Magma (1988) was commissioned by the Amsterdam Concertgebouw Orchestra for its 100th year anniversary. Of all the experiences that have etched themselves into the memory of mankind throughout human history, earthquakes, volcanic eruptions and avalanches are among the most basic. Norwegian nature too can seem menacing at times. Shocking, unpredictable encounters with the abyss above which our existence is poised.
Einar Steen-Nøkleberg creates a meeting of masters outside the trodden path: Arne Nordheim probes into and behind the sound of the piano - meeting ideas and processes from the last sonata of Beethoven.
Arne Nordheim"s electronic pioneer works released for the first time
With this recording Truls Mørk immediately established himself as among the top performers of the world. The recording is done in Ris church June 1986, and is still held as one of the best recordings of a string instrument ever. A fantastic album with exemplary interpretations of the best modern repertoar for cello there is - performed by Truls Mørk.
Epitaffio for orchestra an magnetic tape (1963, revised 1977) is dedicated in memoriam to the brilliant Norwegian flautist Alf Andersen (1928-62). It is an unusually heartfelt and moving work and it is completeley based on sound and sound modulations between the extremes of descant and bass, or, as Nordheim puts it, "light and dark at the same time". Central to the orchestra are four percussionists, using mainly metal instruments; triangles, tam-tams, bells, cymbals, chimes, vibraphone, etc. Towards the end of the work the tape presents an electronically processed version of the poem Ed è subito sera (And suddenly it`s evening) by Salvatore Quasimodo, for voices. Nordheim says: "Three solitary words; solo, terra, sera (alone, earth, evening) from Quasimodos poem occupied my thoughts from time to time. Their function is that of sound and of emotional signals, which initiate more profound phases in the composition. These words stand out clearly from the sonic world of the tape, which gives the work both a new dimension of sound and an extended, almost cosmic perspective."
Doria for tenor and ochestra is an example of the moderation and rapprochement with tonal music which took place with Nordheim in the 70`s. The work is written for - and dedicated to - the tenor, Peter Pears. Nordheim makes the following comment on it: "As a particular admirer of the early poems of Ezra Pound´s production, I selected the poem Doria from the collection Ripostes, published in 1912. The poem contains images that can be said to be only partially developed. Ever-changing sceneries of great atmosphere roll by, at time possessing an almost geographical quality while at other times appearing more like distant notions or shadows. The tonal realisation is based on a small-sized orchestra, and the whole of the ensemble conveys a dark, bell-like timbre."
Technically the work is an extension of Nordheim`s orchestral style of the 60`s inspired by the "endless" technique seen in, for instance, Lux et tenebrae, a concert version of the Osaka music. To a great extent Greening consists of tapestries of melodic lines in the divisi strings (ut to 48 parts) with ostinato motifs of varying length.
Re-mastered in 24bit technology
"Momentum" presents the outstanding cellist Jakob Kullberg; a driving force within modern music today. The release also marks the 80th anniversary of a giant in contemporary music; his fellow countryman Per Nørgård.
In his music to The Dream Ballad composer Arne Nordheim draws on sources of text and music dating back to mediaeval times. Nordheim re-interprets the visionary dream of the ballad, fusing the traditional Dream Ballad with his own acoustic and electric musical idiom. The apocalyptic vision Olav Åsteson had in his long sleep is brought almost frighteningly near us by Arne Nordheim. This release also marks the 75th anniversary of a major creative force in European modern music.
Accordionist Frode Haltli is held in the highest regard world wide for his innovative work over the past 10 years, including several successful albums in the ECM catalogue. On his new release Frode Haltli presents the first recording ever of the complete works for accordion by his fellow countryman and musical explorer: Arne Nordheim. Through his music he redefined what the accordion can be, evoking both the organic as well as the near-electronic soundscape that this instrument is capable of.
Very strong works for organ on this release from four most interesting Norwegian composers. Nystedt and Nordheim of course well known to an international audience, but also Hovland and Baden have captivating writing for the organ. Professor Harald Herresthal has collected his finest recordings over the years for this new release - which marks his 70th birthday January 2014.
Accordionist Frode Haltli is a musician we have admired tremendously for a long time, and we are proud to be releasing an album of his on the HUBRO label. Haltli has a unique ability to communicate, and seems to have a natural talent for swinging between a wide variety of musical styles. He can give life to "black page" music at contemporary music festivals one evening, and play with a bluegrass band the next - without stepping outside his musical comfort zone.
"Of all the works of Shakespeare that I know, there is none in which music is so often mentioned and plays such a great role as in The Tempest. Each person can be characterized musically, even Caliban the captive slave; he has eyes and ears for the stuff dreams are made on. For months, years, I devoted myself to Shakespeare's The Tempest, read it again and again in many countries and cities and in every season of the year, through all changes in weather and mood. I have frequently read it alone, filled with despair, then studied it again systematically together with Glen Tetley. I remember how I went walking over the aqueduct at Spoleto - the masterpiece of the great architect Gattapone - Shakespeare under my arm and the ballet in my heart, without knowing at the time that this magnificent structure had already been admired by Goethe, and painted by Turner.
The task: to put The Tempest in a new musical setting. It would have been impossible to carry out without the stimulating collaboration of Glen Tetley. It was he who brought me to understand his singular concept that music can be compared to a time machine that propels forward both men and action; it is the driving mechanism which keeps everything moving - like Prospero his universe." Arne Nordheim
What in the world is going on in Sverre Riise's kitchen? Trombone music by Norwegian composers Arne Nordheim, Jon Øivind Ness and Ørjan Matre.
The Voice of the City. Here is the first CD with the new pride of Oslo; the great carillon of Oslo City Hall.
The 1960s was a period in time in Norway characterized by a cultural struggle between «high culture» and the «champions of folk culture». During this time several composers, writers and musicians got together to create an art-political manifest in the form of an album which should show how «mass art» could be created, an art form that took into account the needs of the mass culture while still retaining a high level of quality. On this side of the struggle were Arne Nordheim, Gunnar Sønstevold, Jan Garbarek and Terje Rypdal.
«Popofoni» collects six compositions by the musicians and composers Gunnar Sønstevold, Arne Nordheim, Alfred Janson, Kåre Kolberg and Terje Rypdal. In many ways the album is closely releated to the experimentalism so evident in much of the pop music of its era - especially some of the best attempts by The Beatles from this period - a period where the musical genres in many ways fragmented and where new styles and new technologies were born.
«Popofoni» is undoubtedly experimental and most definitely challenges genre conventions. It is a musical-political document, with the music as a weapon, from a time where one presumed this was possible. Perhaps, it is still equally relevant today.
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