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Behind the scenes of Carl Nielsen’s work for 4 Hand Piano. Rikke Sandberg & Kristoffer Hyldig
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Behind the scenes of Carl Nielsen’s work for 4 Hand Piano. Rikke Sandberg & Kristoffer Hyldig

When Danish composer Carl Nielsen finished his Third Symphony, he spoke of the first movement as "a gust of energy and life-affirmation blown out into the wide world," and called the finale of his Third Symphony "a hymn to work and the healthy activity of everyday life," truly a sense of optimism all-too-rare for us denizens of the 21st century! So, why a four-hand arrangement of an orchestral score you ask? In the days before mechanical recordings, four hand arrangements were both a delightful social activity and an invaluable means of making large-scale works available to gifted amateurs who might not otherwise have opportunity to hear them in concert as well as promote them to conductors and concert programmers. As pianist Rikke Sandberg and Nielsen scholar Niels Bo Foltmann describe in the booklet notes, the discovery of the manuscript of Nielsen’s OWN arrangement "Sinfonia Espansiva” was itself a tale of luck and diligent librarianship. Also included on this all WORLD PREMIERE RECORDING are 2 works from Nielsen’s Opera Saul & David arranged by Nielsen for piano duet, and another oddity recently discovered in the archives of the Tivoli Amusement Park, the original four-handed sketch for the Højby Rifle Club March composed by Nielsens’ father, and arranged by Carl Nielsen. We hope that you will enjoy this first recording of Carl Nielsen’s own four-handed piano arrangement of his orchestral works, brought brilliantly to life through the musicianship and scholarship of Rikke Sandberg and Kristoffer Hyldig.
STAIRWAY TO BACH
03:00

STAIRWAY TO BACH

The organ has been regarded as an orchestra from its earliest beginnings, and over the years many composers have transposed vocal and orchestral works for the instrument. In the 19th and early 20th centuries we find many interesting examples of organ transcriptions, such as Max Reger’s organ arrangements of the piano parts in a number of Hugo Wolff’s songs. Sigfrid Karg-Elert arranged a number of passages from Wagner’s operas for harmonium, while Charles-Marie Widor gave several Bach movements a loving organ treatment in the collection “Bach’s Memento”, demonstrating the ability of composers and other musicians to be inspired by the compositions of other masters and to “re-compose” them for their own instrument. These transcriptions and adaptations were all made at a time when music could only be experienced by hearing it in live performance. In the case of the orchestral pieces, in particular, very few people would have had the opportunity to hear all these marvellous works. Orchestral concerts were rare and costly, which is one of the reasons why orchestral works were transcribed for piano and organ. The piano transcriptions could be played at home, while the organ transcriptions could be played in churches and concert halls where organs were available. Several of the great concert hall organs of the 19th and 20th centuries were thus directly justified by the fact that they could play the orchestral repertoire when an orchestra could not be afforded. Today, we can all listen to good recordings of the great classical works, but a real concert with real musicians is still something special. That is why it still makes sense to perform selected works in transcription for smaller ensembles, so that many more can have the opportunity to experience the music in real concerts. The moreintimate and transparent expressionof the transcriptions also emphasises different nuances andelements of the music, by comparison with the original versions. As part of my work with artistic research at The Royal Danish Academy of Music, I have had the opportunity to take a closer look at organ transcriptions and the use of the organ as an orchestral substitute, both from a historical and a practical perspective. This work has resulted, amongst other things, in an elaborate practical transcription of Richard Strauss’ Vier letzte Lieder for soprano, violin and organ, as well as Ernest Chausson’s Poème for violin and organ. As a further development of this work, I have taken a stylistic leap and worked out a number of organ transcriptions of symphonic rock classics from the 1960s and 1970s. The background to this has been a long-standing musical collaboration with my good friend the violinist Jochen Brusch, with whom I have for a number of years played adaptations of rock classics on our classical instruments, violin and organ, in recognition of the fact that we like to play good music that we care about – irrespective of style, as long as it is good music! But the organ is such a large and versatile instrument that it can also cope with the task alone. The symphonic rock music of the 1960s and 1970s largely drew its inspiration from classical music, and in particular from the composer Johann Sebastian Bach, sometimes using direct Bach quotations, at other times simply using musical phrases that are reminiscent of “old Bach”. It is therefore interesting to examine what happens when you add even more Bach, and play symphonic rock classics on a classical instrument: the organ. In these arrangements, the connection between Bach and Rock is underlined by a direct interweaving of rock music with quotations from Johann Sebastian Bach, with the result that the music flows together in a patchwork of baroque organ, Bach and symphonic rock “STAIRWAY to BACH – Rock classics with a hint of Bach”. The programme will be presented on the large Marcussen organ in the Concert Hall of The Royal Danish Academy of Music.
From the recording of the EP KYIV with violinist Natalia Gordejeva, & pianist/composer Morten Jessen
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From the recording of the EP KYIV with violinist Natalia Gordejeva, & pianist/composer Morten Jessen

The ripple effects of the war in Ukraine are extending human suffering far beyond its borders, exacerbating a global crisis unseen in at least a generation. Morten Jessen began composing KYIV shortly after war began, inspired by the courage and strength of Kyiv's defenders. While he was composing his piece, he corespondent with the Ukrainian priest Viktor Marynchak who held services in the darkness of the Kharkiv subway during Russias' six-month siege of the city. The Ukrainian violinist Natalia Gordeyeva learned of Jessen’s composition and felt her own story reflected in the music and contacted the composer. Since then, the two have collaborated closely on a series of charity concerts for Ukraine, performing at venues such as the National Museum in Copenhagen, Elsinore Cathedral, Radio and Television in Denmark, - and for the Danish Prime minister, Parliament and the Danish King Frederik X and Queen Mary. The piece is also scheduled to be performed in Ukraine on a Tour in Ukraine in May, including concerts in Kyiv Philharmonic and Lviv Philharmonic Hall. Morten Jessen is a composer, multi-instrumentalist, founder of the Nordic Church Ensemble and organist at Høsterkøb Church in North Zealand. Throughout his works he has explored the effect of sacred spaces on musical sound and many of his works strive to create a dreamy and timeless expression. Born in Kyiv, violinist Natalia Gordeyeva performed her first solo recital at the age of 7. At the age of 10 she performed as a soloist with the Kyiv Camerata chamber orchestra. She would continue her meteoric rise becoming an in-demand soloist and chamber partner, and later, teacher of her own academy. Following the Invasion of Ukraine, she evacuated to Denmark and committed herself to promoting Ukrainian culture in Europe. She was quickly re-established as a brilliant musician and performed at the numerous Ukraine-supporting events and charity concerts.
Cello/piano music from 1911-1918 by 4 female composers, Janne Fredens, cello & Søren Rastogi, piano
02:44

Cello/piano music from 1911-1918 by 4 female composers, Janne Fredens, cello & Søren Rastogi, piano

Video by : Klavs Kehlet Hansen Sound Producer: Mette Due Exceptional cello/piano duo music from 1911-1918 by 4 female composers "Upheaval" is an exceptional project in several aspects. First, it presents four compositions for cello and piano written by female composers from the first part of the 20th century, challenging the cultural norms of the day and secondly, the title, "Upheaval," also refers to the tumultuous period around the First World War. The works featured on this recording are Henrietta Bosmans' Sonata for Cello and Piano (1919), Dora Pejačević's Sonata for Cello and Piano (1913), Nadia Boulanger's Trois pièces (1914), and Lili Boulanger's Nocturne (1911), were all written over an eight-year period in France, the Netherlands, and Croatia. Henriëtte Bosmans was one of Holland's greatest pianists, and a composer of great distinction as her sweeping, early Cello Sonata proves. Countess Maria Theodora Paulina (Dora) Pejačević is rightfully considered the matriarch of Croatian composers. Her Cello Sonata, Opus 35 embodies late romanticism, with influences of Mendelssohn, Brahms and Dvorak particularly evident. The program concludes with works from two amazing sisters: Nadia (1887–1979) and Lili Boulanger (1893–1918). Both were pioneers in their fields (Lili was the First Woman to win the coveted Prix de Rome, and Nadia, for teaching about every major post-war composer) and were for many years, two of the best-known women in music in the twentieth century. The artists, the husband-and-wife cello/piano duo of Janne Fredens (cello) and Søren Rastogi (piano) approach this program with a sense of profound commitment and mission, recognizing that there performances of such unfamiliar repertoire may well serve as a benchmark for future artists. Both are active soloists and artistic directors of Odsherred Chamber Music Festival. The chosen instrument for the recording is the Bechstein Concert Grand, to match the beautiful tone of Janne´s cello, and to give an impression of the periods piano sound. This is a highly recommended recording for fans of unfamiliar chamber music, advocates for women composers and those who just love to hear glorious music played by great musicians with passion and commitment.
Olivier Messiaen: The whole "Vingts Regards sur l`Enfant -Jesus". Kristoffer Hyldig, piano
02:15:13

Olivier Messiaen: The whole "Vingts Regards sur l`Enfant -Jesus". Kristoffer Hyldig, piano

Recorded live in Vor Frelsers Church, Copenhagen March 18.-2021. 00:00 l. Regard du Père (Gaze of the Father) 8:20 II. Regard de l’étoile (Gaze of the Star) 11:34 III. L’échange (The Exchange) 15:15 IV. Regard de la Vierge (Gaze of the Virgin) 20:57 V. Regard du Fils sur le Fils (Gaze of the Son on the Son) 28:58 VI. Par Lui tout a été fait (Through Him All Things Were Created) 40:40 VII. Regard de la Croix (Gaze of the Cross) 45:15 VIII. Regard des hauteurs (Gaze of the Heights) 49:46 IX. Regard du temps (Gaze of Time) 50:42 X. Regard de l’Esprit de joie (Gaze of the Joyous Spirit) 1:00:10 XI. Première communion de la Vierge (The First Communion of the Virgin) 1:08:56 XII. La parole toute puissante (The Almighty Word) 1:11:14 XIII. Noël (Christmas) 1:15:39 XIV. Regard des Anges (Gaze of the Angels) 1:20:36 XV. Le baiser de l’Enfant-Jésus (The Kiss of the Child Jesus) 1:33:04 XVI. Regard des prophètes, des bergers et des Mages(Gaze of the Prophet, the Shepherds and the Wise) 1:36:30 XVII. Regard du silence (Gaze of Silence) 1:43:00 XVIII. Regard de l’Onction terrible (Gaze of the Terrible Anointing) 1:49:50 XIX. Je dors, mais mon coeur veille (I sleep, but my Heart is awake) 2:00:55 XX. Regard de l’Eglise d’amour (Gaze of the Church of Love) Video: Klaus Kehlet Sound: Preben Iwan Steinway & Sons Grand Piano model D-274 sponsored by Juhl-Sørensen A/S Released on www.ourrecordings.com SACD catalogue number 6.220677 and 78
Exploring Hugo Distler's Christmas Narrative with Conductor Carsten Seyer-Hansen and Concert Clemens
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Exploring Hugo Distler's Christmas Narrative with Conductor Carsten Seyer-Hansen and Concert Clemens

In this video, we delve into the enchanting world of Hugo Distler's Christmas narrative, a hidden gem of sacred music. Conductor Carsten Seyer-Hansen, along with the remarkable Vocal Group Concert Clemens, takes us on a musical journey through this extraordinary composition. Hugo Distler, born in Nuremberg in 1908, was not only a talented composer but also a devoted teacher of church music. His deep religious convictions led him to create music that would later become a precursor to the New German Church Music movement of the 1930s. However, during the Nazi regime, his compositions were unfairly labeled as "degenerate art." When he received conscription papers, he tragically took his own life. To this day, Distler's music remains relatively undiscovered outside of Germany, despite its profound beauty and significance. Carsten Seyer-Hansen, the conductor extraordinaire, founded the award-winning vocal ensemble Concert Clemens in 1997. With 16 voices that have been praised for their pure and natural eloquence, this ensemble has become a leading force in Scandinavia's choral scene. Their versatility shines through in their diverse collaborations, exploring the harmonious intersection between jazz and classical music while delivering note-perfect interpretations of standard repertoire. One of Denmark's finest tenors, Adam Riis, takes on the role of the evangelist, lending his captivating voice to this musical journey. Recorded in the DXD format by the Danish "Wizard of Sound," Preben Iwan, the resonant acoustics of Skt. Markus Kirken in Århus provide the perfect backdrop for this mesmerizing performance. Throughout the narrative, you'll also hear the hauntingly beautiful choral "Es ist ein Ros entsprungen," which weaves its way through the story in ever-evolving harmonic colors. Join us as we explore the musical legacy of Hugo Distler and experience the magic of Concert Clemens, conducted by the talented Carsten Seyer-Hansen, in this enchanting Christmas narrative. Don't forget to like, subscribe, and share this video to spread the joy and knowledge of this remarkable musical journey!
MUSIC IN A LANDSCAPE OF COLOURS
12:29

MUSIC IN A LANDSCAPE OF COLOURS

What you get to hear and see in this video production is beautiful Danish contemporary music for solo clarinet, presented in the beautiful setting of a landscape of colours, namely the Carl-Henning Pedersen & Else Alfelts Museum in Herning, Denmark - www.chpeamuseum.dk The music is a world premiere recording of the Pour clarinette seule II from 1961 by Danish composer Gunnar Berg (1909-1989), played by young Danish clarinetist Jonas Frølund, who was followed around the museum by the camera and drone equipment of young Danish Klavs Kehlet. The video is in full colour with the aim of capturing in a convincing and exciting artistic way both the colourful and dynamic expression of the music itself and the vivid polychrome world of the unique ceramic walls by Danish painter Carl-Henning Pedersen (1913-2007). His monumental ceramic mural, The Play of Imagination around the Wheel of Life from 1966-68, in the inner courtyard of the former shirt factory Angligården (designed by Danish C. F. Møller Architects and based on an idea by landscape architect C. Th. Sørensen) was indirectly the reason why the City of Herning in 1976 founded a museum based on the unique collection of works of art created by Carl-Henning Pedersen and his wife, Else Alfelt (1910-1974). Originally, the museum consisted of a single circular building for exhibitions. In 1993, the museum was extended with a three-sided prism, and on the occasion of Carl-Henning Pedersen's 90th birthday in 2003, his final monumental work in Herning, the 12-meter high Obelisk, was erected in the middle of the roundabout in Birk, right next to the museum; in 2015, then, the museum was further expanded with an underground corridor so that today there is a direct connection with the old Angli factory, the inner courtyard and the Carl-Henning Pedersen & Else Alfelts Museum. Credits Jonas Frølund plays a Buffet Crampon Tradition Clarinet in Bb https://www.jonasfrolund.com Audio recordings by Mette Due at the Concert Hall of the Malmö Live Konserthus, June 7-11, 2021 Video recordings by Klavs Kehlet, July 17-18, 2021 and July 9-10, 2022 https://kehletvideo.dk Pour clarinette seule I-II is published by Edition Svitzer https://www.editionsvitzer.com/catalog/pour-clarinette-seule-i-ii/c-23/p-297 Pour clarinette seule I is released by OUR Recordings https://www.ourrecordings.com/albums/solo-alone-and-more Carl-Henning Pedersen & Else Alfelts Museum https://chpeamuseum.dk Working Group Gunnar Berg https://www.facebook.com/ArbejdsgruppeGunnarBerg
MUSIC IN A LANDSCAPE OF FORMS
15:42

MUSIC IN A LANDSCAPE OF FORMS

What you get to hear and see in this video production is beautiful Danish contemporary music for solo clarinet, presented in the beautiful and unique setting of a Danish summer landscape with contemporary architecture and modern sculptural outdoor installations around Steven Holl’s HEART - Herning Museum of Contemporary Art - in Birk Centerpark, Jutland. The music is a world premiere recording of the Pour clarinette seule I from 1957 by Danish composer Gunnar Berg (1909-1989), played by young Danish clarinetist Jonas Frølund, who was followed around at Birk by the camera and drone equipment of young Danish Klavs Kehlet. The resulting video is in black and white, with all shades of grey offering their own visual music, while the soft curves and sharp edges of the clarinet piece and those of the architectural and sculptural forms are captured in a convincing and exciting artistic way. The German poet Goethe (1749-1832) famously tried to illustrate the nature of music by referring to architecture and even sought to say something meaningful about architecture by referring to music. After Goethe, the Austrian music critic Hanslick (1825-1904) no less famously coined the phrase “tönend bewegte Formen”. As for Gunnar Berg, the much later composer featured in this production, a truly new and modern music should and could embrace a contemporary array of techniques and ways of expression in the same way that new materials had both forced and allowed architects to come up with new solutions, new structures, new forms and indeed new townscapes or the new visual music of a modern building rising in a landscape . . . just have a look at the thumbnail photo from the Birk compound, a signature work by that great Dane, Jørn Utzon (1918-2008). Credits Jonas Frølund plays a Buffet Crampon Tradition Clarinet in Bb https://www.jonasfrolund.com Audio recordings by Mette Due at the Concert Hall of the Malmö Live Konserthus, June 7-11, 2021 Video recordings by Klavs Kehlet, July 17-18, 2021 and July 9-10, 2022 https://kehletvideo.dk Pour clarinette seule I-II is published by Edition Svitzer https://www.editionsvitzer.com/catalog/pour-clarinette-seule-i-ii/c-23/p-297 Pour clarinette seule I is released by OUR Recordings https://www.ourrecordings.com/albums/solo-alone-and-more HEART – Museum of Contemporary Art, Herning https://www.heartmus.dk/en/ Working Group Gunnar Berg https://www.facebook.com/ArbejdsgruppeGunnarBerg Bjarke Ingels om Jørn Utzon https://www.youtube.com/watch?v=E1iZg9u0vM4&t=14s Stephen Holl – Spaces like Music https://www.youtube.com/watch?v=u4xoohJvNvs&t=64s
Poul Ruders' Piano Trio Teaser