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Leipzig!  Music for Wind Octet
Various composers

Oslo Kammerakademi

Leipzig! Music for Wind Octet

Price: € 19.95
Format: SACD
Label: Lawo Classics
UPC: 7090020180601
Catnr: LWC 1058
Release date: 25 April 2014
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Label
Lawo Classics
UPC
7090020180601
Catalogue number
LWC 1058
Release date
25 April 2014
Album
Artist(s)
Composer(s)
EN
DE

About the album

This charming disc offers the works of Grieg, Svendsen, Hartmann and Reinecke's compositions for Wind Octet.

Peformed by the Oslo Chamber Academy musicians.
Werke für Bläserensemble europäischer Komponisten mit enger Verbindung nach Leipzig.

Edward Grieg ging auf Anraten des Geigers Ole Bull mit 15 Jahren ans Leipziger Konservatorium, das schon bald nach seiner Gründung durch Felix Mendelssohn großen Ruhm erlangte. Die Hochbegabten Europas gingen nach Leipzig zum Studieren, darunter auch ein weiterer Norweger, Johan Svendsen sowie der Däne Emil Hartmann und die später erfolgreichen Komponisten Leos Janacek und Carl Reinecke.
Aus dieser historischen Sicht spielt die Oslo Kammerakademi Werke dieser Komponisten für Bläser. Unter der Leitung des Oboisten David Friedemann Strunck wurde die Oslo Kammerakadmi aus Mitgliedern der Osloer Philharmoniker seit 2009 zu einem renommierten Bläserensemble, das in unterschiedlicher Besetzungsgröße auftritt.

Artist(s)

Oslo Kammerakademi

OSLO KAMMERAKADEMI performs chamber music for winds based on the historical Harmoniemusik instrumentation. Founded by artistic director David Friedemann Strunck, the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and invitations to prestigious festivals such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival, Summerwinds Holzbläserfestival Münsterland, Glogerfestspillene, the Fartein Valen Festival, Trondheim Kammermusikkfest, Stavanger Chamber Music Festival, Valdres Sommersymfoni and Nordic Wind Festival among others.   Oslo Kammerakademi utilises historical brass instruments in repertoire from the Baroque, Classical and Romantic periods. This contributes to the ensemble’s authentic sound and historically oriented performances.   Since it was founded in 2009, Oslo Kammerakademi’s ambition has been to embrace the full range of literature for the Harmonie ensemble – from...
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OSLO KAMMERAKADEMI performs chamber music for winds based on the historical Harmoniemusik instrumentation. Founded by artistic director David Friedemann Strunck, the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and invitations to prestigious festivals such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival, Summerwinds Holzbläserfestival Münsterland, Glogerfestspillene, the Fartein Valen Festival, Trondheim Kammermusikkfest, Stavanger Chamber Music Festival, Valdres Sommersymfoni and Nordic Wind Festival among others.
Oslo Kammerakademi utilises historical brass instruments in repertoire from the Baroque, Classical and Romantic periods. This contributes to the ensemble’s authentic sound and historically oriented performances.
Since it was founded in 2009, Oslo Kammerakademi’s ambition has been to embrace the full range of literature for the Harmonie ensemble – from its origin in Vienna in the 1780s to the music of our own time. It therefore commissions and performs music for Harmonie ensemble, and has collaborated with composers Mert Karabey (Turkey), Magnar Åm, Morten Gaathaug, Ketil Hvoslef, Trygve Brøske, Gisle Kverndokk, and Henrik Hellstenius. Oslo Kammerakademi collaborates regularly with the acclaimed Norwegian string ensemble Ensemble Allegria.
Oslo Kammerakademi has released several CD recordings. The first three recordings, Beethoven for Wind Octet (LWC1036, released in 2012), Leipzig! (LWC1093, 2014) and the first beauty (LWC1093, 2015), formed a trilogy of Harmoniemusik from three eras. The ensemble has since released Mozart for Wind Octet (LWC1141, 2017) a collaboration with Christian Ihle Hadland, Mozart/Danzi/Beethoven for Piano and Winds (LWC1187, 2019) and Chanson et Danses (LWC1225, 2021). All of their recordings have earned overwhelmingly positive reviews.
Oslo Kammerakademi holds an annual festival – Ski Hagefestival – in Ski in Akershus, south-east of Oslo. The ensemble is also committed to nurturing coming generations of musicians and holds a yearly summer course for young wind and double bass players.

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Composer(s)

Edvard Grieg

Edvard Hagerup Grieg was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions put the music of Norway in the international spectrum, as well as helping to develop a national identity, much as Jean Sibelius and Antonín Dvořák did in Finland and Bohemia, respectively. Grieg is regarded as simultaneously nationalistic and cosmopolitan in his orientation, for although born in Bergen and buried there, he travelled widely throughout Europe, and considered his music to express both the beauty of Norwegian rural life and the culture of Europe as a whole. He is...
more
Edvard Hagerup Grieg was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions put the music of Norway in the international spectrum, as well as helping to develop a national identity, much as Jean Sibelius and Antonín Dvořák did in Finland and Bohemia, respectively.
Grieg is regarded as simultaneously nationalistic and cosmopolitan in his orientation, for although born in Bergen and buried there, he travelled widely throughout Europe, and considered his music to express both the beauty of Norwegian rural life and the culture of Europe as a whole. He is the most celebrated person from the city of Bergen, with numerous statues depicting his image, and many cultural entities named after him.
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Johan Svendsen

Johan Svendsen, along with his exact contemporary Grieg, represents Norwegian Romanticism at its apex. Outside of Norway, where his status has never been questioned, Svendsen, despite his eclipse by Grieg, has nonetheless retained a cult of admirers and it may be only a matter of time before he receives the same belated international interest accorded to Berwald and Nielsen. Svendsen was the son of a military bandsman who instructed him on a number of wind instruments and the violin. This led him, while still a boy, to perform in both a regimental band and dance orchestras, respectively, as well as him composing music for both. His exposure to symphonic classics came with his appointment to the position of first violinist in the Norwegian Theatre Orchestra and the subsequent...
more

Johan Svendsen, along with his exact contemporary Grieg, represents Norwegian Romanticism at its apex. Outside of Norway, where his status has never been questioned, Svendsen, despite his eclipse by Grieg, has nonetheless retained a cult of admirers and it may be only a matter of time before he receives the same belated international interest accorded to Berwald and Nielsen.

Svendsen was the son of a military bandsman who instructed him on a number of wind instruments and the violin. This led him, while still a boy, to perform in both a regimental band and dance orchestras, respectively, as well as him composing music for both. His exposure to symphonic classics came with his appointment to the position of first violinist in the Norwegian Theatre Orchestra and the subsequent discovery of Beethoven's music. Further study of the masters developed through his lessons with Carl Arnold, as well as his organizing a small orchestra of his own. Procurement of a royal stipend enabled Svendsen to go the Leipzig Conservatory to study. Svendsen originally aimed for violin virtuosity, but shifted to composition due to nervous problems of the left hand. However, his musicality led to his being allowed to deputize as conductor in the conservatory orchestra. He left the conservatory with honors in 1867, having meanwhile completed his Symphony No. 1 and string quintet. Svendsen returned to Norway where a concert of his own music drew praise from a review by Grieg. Local response, however, was tepid and Svendsen, another stipend in hand, traveled back to Leipzig and then Paris, the latter the scene of increasing performances of his works. The Franco-Prussian War in 1870 aborted a conducting position in Leipzig, but a successful performance of his Symphony No. 1 with the Gewandhaus, as well as his betrothal to an American woman named Sara whom he had met in Paris, seemed ample compensation. Svendsen returned to Norway in 1872 to share directorship of the Christiana Music Society concerts with Grieg. The generosity of a government grant helped create a conducive atmosphere for Svendsen, these years seeing the Symphony No. 2 and his series of Norwegian Rhapsodies. His star continued to ascend with him receiving directorship of the Royal Opera in Copenhagen in 1883. He traveled widely, meeting and working with Pasdeloup, Saint-Saëns, Sarasate, and even cultivating a friendship with Wagner. Sadly, his marriage had deteriorated to a point where his wife jealously flung the completed manuscript of a third symphony into a fire in 1882. Whether this was a catalyst or not, Svendsen's creativity severely tapered off at this point. He remarried in 1901. His international reputation continued until illness forced him to cease performing in 1908.

In his music, Svendsen prolifically composed in all idioms. With his bent toward classical forms, he forms a yin and yang of Norwegian Romantic music with the more overtly national Grieg. Yet there is a Nordic inflection present in the language, much as Tchaikovsky's Russian-ism shows through in his selected Western models. As such, he may rightly be placed in the august line of composers of the Nordic symphonic tradition.


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