Harpestudenter holder konsert

Musikklassene

  • Tirsdag 18. mars 2014
  • 19.00
  • Levinsalen

Medvirkende

Katri Tikka, harpe
Uno Alexander Vesje, harpe
Jasmin-Isabel Khüne, harpe
Joana Daunyte, harpe

Mari Halvorsen, fiolin
Hilde Huse, fiolin
Marit Johansen, cello

Program

Katri TIKKA

JS Bach suite 996 (1685-1750) (Prelude, Allemande, Sarabande, Bourrée)

The Suite in E minor BWV 996 dates from Bach's years in Weimar and was written "fürs Lautenwerck". Bach composed very little for the lute, most of the works written on the initiative of one if his friends Johann Christian Weyrauch who was a lawyer and lutenist. The E minor Suite, by contrast, is something of an exception among the composers' works for the lute, and it is more than likely that by "Lautenwerck" he meant a lute-harpsichord, the sound of which is very similar to that of a lute. 

Marcel Tournier (1879-1951) Vers la source dans le bois (1922)

A French composer, harpist, and an educator, Tournier was born in Paris on 5 January 1879 as a child among five brothers plus two sisters. His father was a string instruments maker at the near of Paris Conservatory. Then under his will, all of five sons started to play different string instruments from early childhood. Marcel indicated a significant ability, and could enter Paris Conservatory to study harp under A. Hasselmans (he is said the frontier of the modern harp playing technique) and R. Martenot when he was 16 years old. In 1899, he obtained the first prize in harp class. Then, he continued to learn harmony with C.Lenepvu, counterpoint with G. Caussade, composition with C-M. Widor. In 1909, he was awarded the second Prix de Rome with his cantata 'La Roussalka'. Also he obtained Rossini Prize with his stage work 'Laura et Petrarch'. After working as a harpist of Concert Lamoureux Association, he was appointed a professor of the harp department in Paris Conservatory as the successor of Hasselmans in 1912. His compositional diction can be characterized by the strong influence of impressionism with romantic melodies, which inherit latter romantic idiom. 

Toshio Hosokawa (1955-) Gésine 
Toshio Hosokawa, Japan's preeminent living composer, constantly explores the boundaries between cultures. His distinctive compositions examine the relationship between Western avant-garde art and traditional Japanese culture, and are influenced by the static structures of the Gagaku music of the Japanese court. Nature and its inherent transience also greatly influence his compositions. "Transience is beautiful", says Hosokawa, who uses the Buddhist notion of balance between life and death to describe his musical language: "The tone comes from silence, it lives, it returns to silence."

Uno Alexander VESJE 

Uno Alexander Vesje (1989-) Suite (2012-2013)
I. The Awakening of the City
II. Please don´t…
III. Blue eyed flirt
IV. A Midnight Walk
V. Skyline
Uno Alexander Vesje har som ambisjon å ta harpen opp fra orkestergraven og inn i rampelyset. Han vil utforske harpens uendelige muligheter som soloinstrument i det 21. århundre. Som utøver av egenkomponert musikk har han hatt suksessfulle konserter ved alt fra Det kongelige slottet i Oslo til The Mikowsky Recital Hall i New York City. Uno har blitt invitert til å ha urfremføringer av sine egne komposisjoner på diverse festivaler rundt om i landet, der i blant; Den internasjonale Griegfestivalen i Oslo, i Olavshallen under ISFiT festivalen 2013 i Trondheim, Ad Astras sommerkonserter på Oscarsborgfestning, Kammermusikkfestivalen i Stavern og Domkirkefestivalen i Tønsberg. Han har vunnet diverse priser og stipender for sitt utøvende virke som harpist, der i blant Arve Tellefsens ærespris i 2010, også som komponist, der i blant 3. plass i The International Grieg Composition Competition i 2013
og Tono-prisen Unge talenter i 2011.

Jasmin-Isabel KHÜNE

Alessandro Scarlatti (1685-1757) K466 and K531 
Scarlatti's 555 keyboard sonatas are single movements, mostly in binary form, and mostly written for the harpsichord or the earliest pianofortes. (There are four for organ, and a few for small instrumental group). Some of them display harmonic audacity in their use of discords, and also unconventional modulations to remote keys.

Nino Rota (1911-1979) Sarabande and Toccata (1945)
Giovanni "Nino" Rota was an Italian composer, pianist, conductor and academic who is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti. He also composed the music for two of Franco Zeffirelli's Shakespeare films, and for the first two films of Francis Ford Coppola's Godfather trilogy, receiving the Academy Award for Best Original Score for The Godfather Part II (1974).

Mikhail Mchedelov (1903-1974) Variations on a theme of Paganini
Russian harpist and teacher

Joana DAUNYTE

François Joseph Dizi (1780-1840) Grande Sonate (1837)
Dizi, although born in Belgium, was French in culture. He moved to London at the age of sixteen, where, after a series of mishaps, Erard, the harp manufacturer, who lent him a harp and helped him obtain a theatre post and some pupils, finally befriended him. At one time, Dizi led a band of twelve harps at Covent Garden, under the direction of Sir Henry Bishop. Dizi eventually went to Paris where he ran a harp factory with Pleyel. He was quite a clever inventor and endeavored to improve the mechanism, tone and volume of the early nineteenth-century harp. His compositions include forty-eight Etudes and he also wrote a book on harp technique. Dizi died in 1840 in Paris.


Marcel Tournier Féerie (1879-1951) Prélude et Danse for harpe og strykekvartett (1920)
A French composer, harpist, and an educator, Tournier was born in Paris on 5 January 1879 as a child among five brothers plus two sisters. His father was a string instruments maker at the near of Paris Conservatory. Then under his will, all of five sons started to play different string instruments from early childhood. Marcel indicated a significant ability, and could enter Paris Conservatory to study harp under A. Hasselmans (he is said the frontier of the modern harp playing technique) and R. Martenot when he was 16 years old. In 1899, he obtained the first prize in harp class. Then, he continued to learn harmony with C.Lenepvu, counterpoint with G. Caussade, composition with C-M. Widor. In 1909, he was awarded the second Prix de Rome with his cantata 'La Roussalka'. Also he obtained Rossini Prize with his stage work 'Laura et Petrarch'. After working as a harpist of Concert Lamoureux Association, he was appointed a professor of the harp department in Paris Conservatory as the successor of Hasselmans in 1912. His compositional diction can be characterized by the strong influence of impressionism with romantic melodies, which inherit latter romantic idiom.