A Romantic Concert at Tungenes Lighthouse

Tungenes Fyr (map)

PROGRAM:

Astor Piazolla (1921-1986)
Histoire du Tango ( 1986):
Bordello 1900
Cafè 1930

Enrique Granados (1867-1916)
Love and Death', from 'Goyescas' Suite
Liszt Rhapsody nr 12

Astor Piazolla (1921-1986)
Nightclub 1960


Manuel de Falla (1876-1946)
“Siete canciones populares espanol”
Asturiana, El Pano Moruno og Nana

Sarasate, Pablo (1844-1908)
Romanza andaluza

George Gershwin (1898-1937)
Fascinating rhythm
Summertime


GUITAR: TORMUND BLIKRA VEA
VIOLIN: LAURENS WEINHOLD
PIANO: ANTONIO MORANT ALBELDA
FLUTE: SOFYA DUDAEVA
MEZZO-SOPRAN: IZABELA LOVISKOVA

Concert in Sokndal

Bømessa Sokndal (map)

PROGRAM

Mozart, Wolfgang (1756-1751) : Ah, vous dirai-je Maman variations K.265 (13’)

Liszt, Franz (1811-1886):Romance oubliée (3)

Piazolla,Astor (1921-1986): le Grand Tango (11’)

Chopin, Frédéric (1810-1849): Nocturne op. 27 nr 2 (6’)

Sarasate, Pablo (1844-1908): Romanza andaluza (5’)

Grieg, Edvard: ( 1843-1907):Violin Sonata No.2, Op.13 (20)

Gerhwin, Georg (1898-1937): Rhapsody in Blue (14’)

VIVIAN LOUISE TSUI, PIANO

CLARA LINDENBAUM, CELLO

LAURENS WEINHOLD, VIOLIN

MÉLODIE ZHAO, PIANO

ANTONIO MORANT ALBELDA, PIANO

1820s: The Dawn of Romanticism

Bru Kulturbruk 44 (map)

The 1820s marked the most crucial years for Beethoven’s music, often characterized as his “Late Period.” During this period, Beethoven penned some of his most visionary works that left many audiences baffled. Living in the shadow of Beethoven, Schubert created some of his most expressive works, stretching the rules of Classical harmony and structure. Meanwhile in Leipzig, a young teenage prodigy, Mendelssohn, created vivacious chamber music works, eagerly looking into the future for expressive possibilities without sacrificing the respect for musical traditions of the past.

PROGRAM:

Schubert, Franz (1797-1828): Fantasy in f minor for piano four-hands, D. 940 (1828)

Schubert, Franz (1797-1828): Nocturne in E-flat Major op. 148

Schubert, Franz (1797-1828: Ave Maria

van Beethoven, Ludwig (1770-1827): Sonata No. 32 for piano in c minor, Op. 111 (1821-22)

Chopin Frédéric (1810-1849): Nocturne Op. 9/1-2

Mendelssohn Bartholdy, Felix (1809-47): Piano Sextet in D Major, Op. 110 (1824)

PIANO: MÉLODIE ZHAO, VIVIAN LOUISE TSUI, ANTONIO MORANT ALBELDA

VIOLIN: ASHLEY TONG VIOLA: ELINOR DAVID- LARSEN, ELIN KLEPPA MICHAELSEN

CELLO: CLARA LINDENBAUM, RAINER CROSETT

MEZZO-SOPRAN: MARIE-ELISE HERREDSVELA

MEZZO-SOPRAN: IZABELA LOVISKA

1920s: The Roaring Twenties

St. Petri Church (map)

In the 1920s, jazz took off, sexuality was loose, drugs and alcohol flowed like water, and the rich became even more hedonistic than ever. Life was so colorful that it inspired a whole generation of artistic movements like Bauhaus, Art Deco, Cubism, and Expressionism. This was truly the Jazz Age. While Ravel was writing his famous Sonata for Violin and Piano with the iconic Blues movement, Webern was stretching the limits of tonal expression into the realms of atonality, and Korngold was writing ultra-Romantic music fit for Hollywood. Meanwhile, halfway across the globe, Prokofiev wrote music inspired by Jewish folk-themes while he was in New York, and Gershwin penned some of the most iconic 1920s jazz songs that are still enjoyed to this day. In October 1929, all the glitz came crashing down as the economy took a downward spiral into the abyss.

PROGRAM:

Webern, Anton (1883-1945)
String Trio, Op. 20 (1926-27) 12’
Gershwin, George (1898-1937) 3’
Fascinating Rhythm (1924)
For Girls Medley: Someone to Watch over me/ The man I love/ I've got a
crush on you, Arr: Teena Chinn 6’
Ravel, Maurice (1875-1937)
Sonate for fiolin og klaver i G-dur , M. 77 (1923-27) 17 ‘
pause

________________________________________
Bloch, Ernest (1880-1959)
Nigun 6’
Korngold, Erich Wolfgang (1897-1957)
Klaverkvintett i E-dur op. 15 (1920-1922)




FIOLIN: LUKE HSU, ASHLEY TONG, LAURENS WEINHOLD
BRATSJ: XIAOTI GUO
CELLO: RAINER CROSETT, CLARA LINDENBAUM
KLAVER: MÉLODIE ZHAO
GITAR: TORMUND BLIKRA VEA
MEZZO-SOPRAN: IZABELA LOVISKOVA
STAVANGER KULTURSKOLES UNGDOMSKOR
UNDER LEDELSE AV KJERSTI BJØRK BRU
PIANO: ØYSTEIN BRU FRANTZEN

MED STØTTE AV STAVANGER KOMMUNE, ROGALAND FYLKESKOMMUNE OG ST. PETRI MENIGHET

Schubert and today: Sounding Philosophy by Composer-in-residence, Dániel Péter Biró

Atelieret Kjell Pahr-Iversen (map)

In 1826, Schubert stretched the limits of Classicism in his last String Quartet, a work inspired by emotional spontaneity rather than rigid forms. The first movement alone stands longer than an entire Haydn or Mozart string quartet. With its gossamer textures, foggy tonality, soaring lines, and incredible fantasy, this string quartet surely will not leave anyone indifferent to its epic proportions.

Influenced by Schubert’s monumental work, Sounding Philosophy explores concepts of “space and place,” dealing with questions of one’s place in the global world and how the arts inform and influence our perception of our place in this world. Integrating music composition, dance and painting, the project will exist as an analogy to the movement of the immigrant, who discovers, remembers, forgets and rediscovers places on his voyage, thereby investigating relationships to space: historical space, space of immigration and disembodied space. The performance will be presented at the atelier of painter Kjell Pahr-Iversen, one of Norway’s most celebrated visual artists.

PROGRAM:

Biró, Dániel Péter (b. 1969): Dei attributorum for voices and strings (2019) with choreography by Hagit Yakira

Schubert, Franz (1797-1828): String Quartet in G Major, D. 887 (1826)

COMPOSER-IN-RESIDENCE: DANIEL PETER BIRO

CHOREOGRAPHER: HAGIT YAKIRA

PAINTER: KJELL PAHR-IVERSEN

VIOLINS: LUKE HSU AND LAURENS WEINHOLD

VIOLA: XIAOTI GUO

CELLOS: RAINER CROSETT AND CLARA LINDENBAUM

VOCALISTS: NEUE VOCALSOLISTEN

DANCERS: HAGIT YAKIRA DANCE COMPANY

From Leipzig to Ålgård: Bach and Grieg

Ålgård Church (map)

Leipzig had a major role in the development of classical music, thanks to its most famous resident, Johann Sebastian Bach. The earlier half of the 1720s marked Bach’s final years in Köthen where he composed some of his most famous instrumental works. Following his appointment as the Thomaskantor in Leipzig, Bach settled there in 1724. In Leipzig, Bach continued to write instrumental music while expanding his harmonic language and structural construction. Following in the footsteps of Bach, musicians in the 19th century such as Mendelssohn and Schumann settled in Leipzig, paving a path for a young Norwegian to find his own voice. A native of Bergen, Edvard Grieg went to Leipzig to study at the conservatory. After his graduation in 1862, Grieg penned some of his most beloved songs and chamber music works. Undoubtedly influenced by his homeland, Grieg’s works showcase a strong affinity for Norwegian folklore while maintaining the classical structure and harmonies he had learnt from Leipzig.

PROGRAM:

Edvard Grieg (1843-1907)

Blåbær Li op.67, nr.3 (Haugtussa)
Elsk op.67, nr.5 (Haugtussa)
Jeg elsker deg op.5, nr.3

Sonate for cello og klaver op. 36

Zur Rosenzeit op.48, nr.5 (Sechs Lieder)
Svane op.25, nr.2

Bach, Johann Sebastian (1685-1750):
From solo sonatas for violin
Bach, Johann Sebastian: Concerto for harpsichord and strings in d minor, BWV 1052 (latter half of 1720s, manuscript from 1738)

 

Kersti Ala- Murr, sopran
Erling Ragnar Eriksen, piano
Milkica Radovanovic, piano
Luke Hsu, violin
Ashley Tong, violin
Gabriella Papp, violin
Elin Kleppa Michalsen, viola
Rainer Crosett: cello
Markus Weinhold, double bass