Scandinavian choral composers

scandinavian choral composers

Search MusicWeb Here. You can also use this FreeFind but it is not so comprehensive. International mailing. Renate Eggbrecht has recorded all 3 violin Sonatas. Haydn Scottish Songs. Choral Music. Liszt Sonata. Renaissance Bohemia. Cyril Scott piano music. Hahn Complete Songs. Piano Sonatas 6,7,8 Osborne. Symphony for solo piano. Before even discussing the musical contents and structure of this work, it is necessary to define its geographical limits. The term "Scandinavian" herein refers to the peoples and cultures of three Northern European nations and an island nation and a small chain of islands in the North Atlantic Ocean, namely Denmark, Norway, Sweden, Iceland and the Faroe Islands, that speak related North Germanic or Nordic languages and share a common historical background.

A broader definition, not used here, would include Finland, a nation with strong cultural ties to Scandinavia but linguistically distinct from it. Finnish composers are covered along with their colleagues from the three Baltic nations Estonia, Latvia and Lithuania in a seperate discography now in perparation.

The composers included in this discography are those born in or who came to live in these countries and wrote symphonies from the beginning of the 19th century to the present that have been recorded. It will be noticed that many composers have more than one country listed in the heading for his or her entry.

This reflects the fluidity often seen in the music world where some leave a smaller place in order to create in a larger artistic milieu while others go in the opposite direction often to seek refuge in a less turbulent environment. Unlike the previous discographies in this series, an alphabetical arrangement is utilized here because we are dealing with composers of different nationalities and the idea of educational continuity is less meaningful. A single alphabet is used for the all the composers from the various nations and a composer index is placed first so the reader can immediately go via links to any particular composer.AN icy December wind chills Sweden's temporarily sunless capital.

But inside the torchlit portals of Berwaldhallen, a concert hall carved into a granite hillside in Stockholm's green Djurgarden district, the 34 members of the Swedish Radio Choir are working up a sweat. They bray incantations from ''Curse Upon Iron'' by the Estonian composer Veljo Tormis: ''You flesh eater, gnawer of bones, spiller of innocent blood!

Is this any way for good Lutherans to behave? Forgive them: they're celebrating the 75th anniversary of their elite squad. Their hearty encore piece capped a gala program including a gospel-style ''Hallelujah,'' folksy numbers by the native sons Alfven and Stenhammar, blockbusters by Schubert and Poulenc, and premieres of specially commissioned works by Sven-David Sandstrom and Esa-Pekka Salonen.

It's all in a day's work for this incarnation of the ''Swedish choral miracle. On Friday, it will team up with the Eric Ericson Chamber Choir, conducted by its namesake, for a program of 20th-century a cappella works presented by Lincoln Center's Great Performers series at the Church of St. On close scrutiny, the Swedish choral miracle turns out to be less mysterious than methodical.

In the last century, Sweden has produced a prodigious quantity of first-rate choral music and the stellar choirs to perform it, an achievement that has much to do with hospitable soil: a small, largely homogeneous population of 9 million, one-sixth of which is clustered around Stockholm; periodic upsurges of nationalism, expressed notably in choral singing; the legendary Swedish team mentality; and what Mr.

Sandstrom, since a professor of composition at Indiana University in Bloomington, calls ''the melody of the Swedish language. It also has to do with fertile seeds, embodied in a group of gifted, zealous individuals whose rise to leadership positions in Sweden's musical life transformed the nation's musical tastes and standards.

Inthe Monday Group, a gaggle of young Stockholm Conservatory students fed up with the National Romanticism of Alfven and Stenhammar, began studying privately with the modernist Hilding Rosenberg and meeting to discuss and study the music of Bartok, Hindemith, Schoenberg, Stravinsky and others. The group comprised two instrumentalists, three musicologists, five composers and a choral conductor, Mr.

InMr. Ericson enlisted 16 conservatory friends to sing through Renaissance madrigals and motets, music they had read about but never heard. Though their plans had not included performing, they ended up presenting a meticulously prepared program, billing themselves as the Stockholm Chamber Choir later, the Ericson Chamber Choir.

Once they had developed a blooming sound and technical proficiency, they proceeded to tackle the heady works of Brahms, Reger and the Swedish Romantics, eventually moving on to Bartok, Martin, Milhaud, Schoenberg and Stravinsky. Ericson insists that it is a choir's repertory that shapes its technique and sound. This is how we really learned to read notes and rhythms. When you come out on the other side of such pieces, you're a better musician, a better singer, maybe even a better person.

By the 's, Mr. Ericson's efforts had spawned a new breed in Sweden: the professional choir, musically confident and vocally secure. Swedish composers were inspired to write for this unique, flexible instrument, ready and able to brave new choral techniques and harmonic languages. The ensuing flood of commissions and premieres yielded, to Mr. Ericson's mind, 10 or 15 true classics, including several works by Ingvar Lidholm and Mr. Swedish composers so eagerly embraced choral music because most of them were enthusiastic choral singers themselves.

Ericson's choirs, and Mr. Sandstrom was a tenor in the Hagersten Motet Choir for two decades. But there has been no closer connection between conductor and composer than the fruitful alliance of Mr. Ericson and Mr. Lidholm, another member of the Monday Group. Lidholm's ''Laudi,'' evoking both Palestrina and Stravinsky, was given its premiere in by Mr. Ericson's choir. The first masterwork of modern Swedish choral music, it is one of many repertory staples by Mr. His heavily chromatic, chant-infused ''Libera Me'' will highlight the choirs' program on Friday.

The choir and its sister orchestra were spinoffs of the post-World War II orchestras and choruses established in Western Europe to bolster the cultural programming of national broadcasting corporations. Blessed with far-reaching airwaves, luxurious rehearsal periods, a mandate to nurture native and contemporary music and ample subsidies from the arts-friendly Social Democratic government, the radio orchestra and choir would revolutionize Swedish music.Herman Palm was born into an educated and musically interested family.

Both would go on to write music for the middle-class salon culture in which they had been raised. From until Palm served as a stand-in cathedral organist in Uppsala, and from until as a teacher of liturgical singing at the university.

Scandanavian Choral Music

InPalme took his Divinity degree, with ordination and appointment to assistant priest at Uppsala Cathedral that same year. In he married Edith Stuart. Music remained an important part of his life at this time, during which he directed a choir, composed songs for both adults and children, and published collections of songs for schools and churches. After his retirement inHerman Palm spent the last years of his life with his daughter in Kungsbacka.

A large collection of his papers, autographs and sketches is kept at the Musik- och teaterbiblioteket the Music and Theatre Library of Sweden. Palm would never develop his technical skills with a formal music education, and the labours of his teenage years spent on the quartet form possibly constitute the most successful marriage of inspiration and craft that he ever achieved. In other quartets from the same period, his textual recitation is not always smooth, but the miniatures evidence a wealth of diversity of harmony, rhythm and overall form.

Besides the male quartets, Palm would set lyrics by popular poets to music, composing solo songs for piano accompaniment that although typical for their time lacked any real originality. Given his dual interest in music and theology, it was natural for Palm to join the nascent church song movement with its historically inspired ambition to reform the Lutheran liturgy and its music. Although this historiography clearly provided input to the debate on church song reform, Palm would never exert any real influence on such matters.

Lipsius, Richard Adelbert : Schleiermacher och romantikentrans. Herman Palm, Uppsala, Holm, Anna Lena: [ Register of score material and papers in the Herman Palm collection at Musik- och teaterbiblioteket ], Musik- och teaterbiblioteket, Musica sacra.

Choral songs for church and school, vol. Till Sverige E. Oterdahl Hos mor Malena. Visan om lilla Gull. Beskow Hos lingonmor. Mammas namnsdagsbord. Roos Under lindarnes sus. Bo och lilla Ninny. Songs for solo voice and piano Aprilnarri Z. Separate part for harmonium.

Notturno E. Three ballads A. Vaggvisa Z. Male quartet choir : En liten tid, publ. Male choir and piano. Topeliuspubl.His abundant output mainly comprises virtuoso orchestral music, romantic solo songs and choral songs in folk idiom.

His unflinching aim was to create living, substantial parts both for the melodic foreground and for the surrounding strata of the accompaniment. The solidity and saturation of his scores is also partly the result of an extensive knowledge of instrumentation.

Franz Berwald belongs to the foremost Swedish composers of all times. Not least in his symphonies and in his chamber music he stands out as a prominent figure in Scandinavian 19th century music. A vivid personality, he worked energetically in a variety of fields. The purely instrumental works, with their solid workmanship and an atmosphere ranging from stimulating freshness to introspective intensity, complete the range of his artistry. Although the rhythm is an important component in Tobias' music โ€” he is a percussionist himself โ€” he is also a pronounced composer of harmonies.

He was a strong force in twentieth-century Swedish art music with a broad network of contacts, many collaborations and a considerable and original production as a composer.

Together with legendary conductor Eric Ericson he researched and renewed choral music, above all in the sacred sphere. As an arranger and composer, primarily of music for children and youth, Anna Cederberg-Orreteg has become very much appreciated by choir leaders and fellow music teachers. Within a year Veils was performed at four well-attended concerts, first by the Swedish Radio Symphony Orchestra and then by the Gothenburg Symphony Orchestra.

Eklund's artistic temperament is made up of aggressive power and a plaintive introversion. His humour is equally obvious, but also equally ambivalent, oscillating between the exuberantly burlesque and more complicated, grotesque eruptions.

Suzi Digby- Advice for young aspiring choral composers

His music grips the heart and reaches inside the soul โ€” the soul of the music. His personal path leads inwards, towards the core of the divine, and outwards, towards the universal.

Ulrika Emanuelsson is a Swedish composer, singer and conductor. They include various idioms of folk music and numerous elements of traditional art music, e. The piano plays a prominent part in his creativity, and his output includes a long succession of works such as sonatas, suites and works for piano and orchestra. Gabriella Gullin is a versatile composer with works that span from choral to solo songs, chamber and organ music, cantatas and music for large orchestra.

Her unique and colorful style, and her ability to integrate both emotions and intellect, has generated many commissions. Her music is often performed both internationally and in Sweden. In his way Haglund is a romantic, but his music lacks vanity and is well beyond the insouciant use of effects that typifies neo-romanticism. Bo Hansson is one of the most versatile Swedish composers and his rich output is widely spread.

He is also an experienced guitarist and teacher and has been a tutor for many students in the young generation of Swedish guitarists. He is an entertainer of considerable depth, with an ability to musically turn an orchestra on its head or wring unexpected sounds from an instrument or orchestral section. With humour and creativity and an ear for tender tonal sensualism and wild terpsichorean frenzy, Anders Hillborg demonstrates that originality can permeate range.

Johan Hugosson is one of Swedens up and coming young pianists. He performs regularly in Sweden and England in recitals and as a chamber musician. Gunnar Idenstam, born in in the far north of Sweden, is a concert organist, composer, arranger and folk musician. Inhe was awarded 1:st prize in the prestigious improvisation competition "Grand Prix de Chartres" and since then his career has taken him to many parts of the world.

For it just so happens that this Swedish composer of choral music, operas, orchestral works and chamber music must always hear an inner voice โ€” with or without intelligible words, in a poetical text of his own or others โ€” to be able to create his music, be it vocal or instrumental.

His great capacity for form and constructions has also helped, rather than hindered, his natural sensitivity for the impulsive and spontaneously powerful. After she completed her studies, Anna-Karin moved to Rome, where she worked for 25 years in classical, folk, and commercial music genres. She has taught piano, organ, and cello, and has conducted choirs in both Italy and Sweden. I aim for a simple, clear, melodic style, often with elements of folk tone and with a definite rhythmic profile.

I want the harmonies to be uncomplicated. The older you get, the more clearly you become aware of the importance of melody. In his constant striving for the greatest possible simplicity in musical style, Lars-Erik Larsson exploited his remarkable technical and formal skill.As a composer of chamber music and symphonic works, she was a female pioneer in Sweden, and the same goes for her activity as an orchestral conductor.

She did so as an extramural student privatistwomen being ineligible for admission to the academy. Inwhen she was 20, she and her father helped, through correspondence and discussions with MPs, to bring about a change in the law, enabling women to apply for and hold organist appointments.

Two years later she helped engineer another legislative change whereby women could be employed as telegraph operators. Two years later, inshe became organist of Gothenburg Cathedral, the first woman in Europe to hold such an appointment. Her first symphony was performed in Stockholm inand two years later she herself conducted an orchestra in Gothenburg.

Pioneering achievements followed in rapid succession, and it was a long and unusual life that ended in At her birth inwomen had practically no rights.

Bythe year of her death, their financial and legal position had been radically changed, a wider range of employment was open to them and they now had the vote. His politics were liberal and he was very much aware of the situation for girls in Sweden. Fredrika had a good singing voice and later became an opera singer at the Kungliga Teatern the Royal Opera in Stockholm. Their father had chosen another, dual career for Elfrida, the reason being that in he had visited the Great Exhibition in London and met young women who both played the organ and managed telegraph stations.

Scandinavian Choral Music

In Elfrida moved to Stockholm. She took private organ and singing lessons and in graduated as an organist. She did so as an extramural student privatistby special dispensation, women being ineligible for admission to regular studies of this kind.

She re-took her exam and during her final year studied composition at the Musikkonservatoriet the Royal Conservatory of Music under the composer Ludvig Norman. After qualifying she requested, as a woman, special permission from the government to apply for and hold an organist appointment, but her request was turned down by Archbishop Henrik Reuterdahl, a Conservative MP. Elfrida wrote to her father in Visby:.

So we girls are to be oppressed in every way. Apart from becoming seamstresses or teachers, the stage is the only occupation open to us. I want to work for and pursue an objective, but what is one to do when there is such a small field to work in? Papa, can you not find something elseโ€ฆ.Forum Rules. Remember Me?

scandinavian choral composers

What's New? Voters You may not vote on this poll. Last Jump to page: Results 1 to 15 of Thread: Scandinavian Composers. Thread Tools Show Printable Version. Scandinavian Composers So who are your favorite Scandinavian Composers? Those of Sweden, Norway, Denmark and Finland. Then Choose your most favorite from the poll. Geirr Tveitt should really be on that list. Sometimes, I write things on the Internet. Art RockAzolSloe and 1 others liked this post. Poll limit, It always slow us down!

At least I'm courageous enough to make polls I must vote Sibelius but in this poll Grieg gets my vote.

scandinavian choral composers

I don't know many of them their worksso in a year from now my chosen one will change possibly. Art Rocksuperhorn liked this post. I was going to vote for Grieg until I saw Larsson being called a "minor" composer If the answer is yes, what more do you want? Sloe liked this post. Originally Posted by Aksel. We are talking about Scandinavian composers here, so no Finns allowed. Larsson was one of the most imporant Swedish composers of the mid 20th century. And Svendsen, along with Halvorsen, were second only to Grieg!

His output is admittedly rather small, but Svendsen's symphonies are really really great. This is a matter of debate. Some will include Finland in Scandinavia.

Originally Posted by BurningDesire. Lately, I have been listening to a great deal of music by 20th century Danish composer Vagn Holmboe, who wrote more or less in a neo-classical sort of style. He didn't embrace pure tone. I thought his symphonies were reasonably enjoyable. He was quite talented as a composer, who at age 16 "began formal music training at the Royal Danish Academy of Music in Copenhagen on the recommendation of Carl Nielsen".Scandinavian music is barely associated with the golden age of symphonies and smaller classical compositions for various musical instruments.

Despite this, there are a lot of Scandinavian composers. Being influenced by the local nature and the constantly changing weather, community micro-climate and religious beliefs, Scandinavian symphony acquired a mood of sound simplicity, minimalism, calmness, meditation, and even kind of detachment from the world. This can be found in the works of Jean Sibelius, one of the most favorite classical composers in Finland.

According to some of the online pollsSibelius is one of the most famous and favorite symphonic composers in Scandinavian countries. He is well known in the world of classical arena due to such classical compositions as seven symphonies, FinlandiaValse Triste, the Karelia Suite, The Swan of Tuonela, and many other. Tragedy in music pieces often comes from the tragedy of life. The same happened to Sibelius. His father, who was a doctor, died of typhoid when Jean was only two years old.

The first musical influence was caused by his uncle, Pehr Ferdinand Sibelius. The boy was found in nature. He loved to spend time on the seaside in sun and happiness. As a child, he used to perform with his sister and brother and started to compose when he was After quitting Imperial Alexander University in Finland where he tried to study law and history, he studied music in modern Sibelius Academy.

The material is interesting and rich enough with classical music for studying to write a dissertation about it. Carl Nielsen โ€” This is another famous and talented composer from Denmark. If comparing the music of two the most famous Scandinavian composers in history, it is reasonable to say, that the motives and the overall mood are alike, but instruments and melodies are different. The composer was born in a harmonious family with the mother as a singer and father as a violinist.

His first compositions were written at the age of eight, which were simple lullabies. He was playing violin since he was six years old and learned brass instruments later to play in an orchestra. Carl performed a lot and earned money by playing for local celebrities. Later on, he won a scholarship which he spent for traveling around the Europe where he had met his wife Anne Marie Brodersen, a Danish sculptor.

They remained together until death and had three children. In contrast to Sibelius, Carl Nielsen was looking for inspiration inside himself listening to his own reflection to the surrounding world, relationships, political situation, and other.

For example, such pieces as Second Symphony, Saul and David, and a few other were written during the period of marriage crisis and divorce consideration.

Carl sublimated his feelings. The pieces of this period are rich with a sound and remind a fight both internal and external. When compared to the sound of Hymnus amorous, which was written during the honeymoon in Italy, it is calmer, lighter, more romantic and transparent. This classical composer had four generations of musicians before he was born.

He started playing violin from early years, which was very popular during this period. Later he played in an orchestra and traveled during summer to Russia and Scandinavia. Franz wanted to study in Berlin after the death of his father, but the financial situation made him run a clinic, which became profitable when he was


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