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Mozart, Hvoslef, Sæverud
Wolfgang Amadeus Mozart, Ketil Hvoslef, Harald Sæverud

David Strunck

Mozart, Hvoslef, Sæverud

Price: € 19.95
Format: SACD
Label: Lawo Classics
UPC: 7090020181127
Catnr: LWC 1100
Release date: 15 April 2016
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Label
Lawo Classics
UPC
7090020181127
Catalogue number
LWC 1100
Release date
15 April 2016

"If, as I do, you love the pure, tightly focused sound of German oboe playing, this release will be an absolute joy."

Fanfare Magazine., 02-1-2017
Album
Artist(s)
Composer(s)
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About the album

The oboe is the quintessential pastoral instrument. Capable of both incisive bite and mellifluous sweetness, it has inspired many composers to write some of their most memorable melodies. The present recording sets Mozart’s perennial Oboe Quartet alongside two important concertos written in Norway 74 four years apart: the unjustly neglected concerto Op. 12 by Harald Sæverud (1938) and Oboe Concerto of 2012 by Ketil Hvoslef, a very recent and important addition to the repertoire. Sæverud’s evergreen Rondo amoroso, Op. 14, No. 7 (in the composer’s own arrangement for chamber orchestra, with the oboe as main instrument) completes the programme
Neben Mozarts Oboen-Quartett beinhaltet diese Einspielung des Oslo Philharmonic Orchestra mit dem Konzert op.12 von Sæverud (1938) und dem 2012 entstandenen Oboenkonzert von Hvoslef zwei modernere, wichtige Erweiterungen des Oboenrepertoires.

Artist(s)

David Strunck (oboe)

David Friedemann Strunck has been principal oboist of Oslo Philharmonic Orchestra since 2004. He previously held the equivalent position in Bochum Symphony Orchestra. He studied at the music academies in Detmold and Stuttgart with Gernot Schmalfuß and Ingo Goritzki, and sponsors such as The German National Academic Foundation and The Westphalian Economic Foundation awarded him scholarships. In 1999, he received awards at the woodwind competitions in Mannheim and Bayreuth, and in 2002, he won the first prize with his Cambini Wind Quintet at the Mendelssohn-Bartholdy Competition in Berlin. He has performed as soloist with Oslo Philharmonic Orchestra, Bochum Symphony Orchestra, the Norwegian Chamber Orchestra, the Trondheim Soloists, Folkwang Chamber Orchestra, and the Cologne Sinfonietta. He has appeared as soloist and...
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David Friedemann Strunck has been principal oboist of Oslo Philharmonic Orchestra since 2004. He previously held the equivalent position in Bochum Symphony Orchestra. He studied at the music academies in Detmold and Stuttgart with Gernot Schmalfuß and Ingo Goritzki, and sponsors such as The German National Academic Foundation and The Westphalian Economic Foundation awarded him scholarships. In 1999, he received awards at the woodwind competitions in Mannheim and Bayreuth, and in 2002, he won the first prize with his Cambini Wind Quintet at the Mendelssohn-Bartholdy Competition in Berlin. He has performed as soloist with Oslo Philharmonic Orchestra, Bochum Symphony Orchestra, the Norwegian Chamber Orchestra, the Trondheim Soloists, Folkwang Chamber Orchestra, and the Cologne Sinfonietta. He has appeared as soloist and chamber musician at the chamber music festivals in Risør, Trondheim and Oslo, as well as at Bergen International Festival, Nordland Music Festival in Bodø, and at the Gloger Festival in Kongsberg. He teaches at the Barratt Due Music Institute in Oslo. Since 2009, he has been the artistic director of Oslo Kammerakademi. The ensemble plays frequently at prestigious festivals both abroad and in Norway, and it runs its own concert series at the Norwegian Opera and Ballet. The releases of Oslo Kammerakademi on LAWO Classics, "Beethoven for Wind Octet" (LWC1036), "Leipzig!" (LWC1058), and "the first beauty" (LWC1093), have received overwhelming reviews.

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Oslo Philharmonic Orchestra

On 27 September 1919, a new orchestra took to the stage of the old Logan Hall in Oslo to give its first public concert. Conductor Georg Schnéevoigt presided over thrilling performances of Edvard Grieg’s Piano Concerto and Christian Sinding’s First Symphony. After forty years of making-do, the Norwegian capital had at last got the orchestra it deserved. The Oslo Philharmonic was born. In the eight months that followed, the Oslo Philharmonic gave 135 concerts, most of which sold out. It tackled passionate Mahler, glistening Debussy and thrusting Nielsen. Soon, world famous musicians were coming to conduct it, relishing its youth and enthusiasm. Igor Stravinsky and Maurice Ravel visited Oslo to coach the musicians through brand new music. National broadcaster NRK...
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On 27 September 1919, a new orchestra took to the stage of the old Logan Hall in Oslo to give its first public concert. Conductor Georg Schnéevoigt presided over thrilling performances of Edvard Grieg’s Piano Concerto and Christian Sinding’s First Symphony. After forty years of making-do, the Norwegian capital had at last got the orchestra it deserved. The Oslo Philharmonic was born. In the eight months that followed, the Oslo Philharmonic gave 135 concerts, most of which sold out. It tackled passionate Mahler, glistening Debussy and thrusting Nielsen. Soon, world famous musicians were coming to conduct it, relishing its youth and enthusiasm. Igor Stravinsky and Maurice Ravel visited Oslo to coach the musicians through brand new music. National broadcaster NRK began to hang microphones at the orchestra’s concerts, transmitting them to the whole of Norway.
Over the next half-century, the Oslo Philharmonic’s reputation grew steadily. Then, in 1979, it changed forever. A young Latvian arrived in Norway, taking the orchestra apart section-by-section, putting it back together a finely tuned machine with a whole new attitude. Under Mariss Jansons, the orchestra became a rival to the great Philharmonics of Vienna, Berlin and New York. It was soon playing everywhere, from Seattle to Salzburg, Lisbon to London. Back home in Oslo, it got a modern, permanent concert hall of its own. In 1986, EMI drew up the largest orchestral contract in its history, ensuring the world would hear the rich, visceral sound of the Oslo Philharmonic.
Three decades after that, the world is still listening. The Oslo Philharmonic retains its spirit of discovery and its reputation for finesse. Under Jukka-Pekka Saraste it cultivated even more the weight and depth that Jansons had instilled; under Chief Conductor Vasily Petrenko, it works at the highest levels of detail and style. Still the orchestra travels the globe, but it has never felt more at home. Its subscription season in Oslo features the best musicians in the business. Outdoor concerts attract tens of thousands; education and outreach programmes connect the orchestra with many hundreds more. In 2019/2020 the thriving city of Oslo will celebrate 100 years of the Oslo Philharmonic, the first-class orchestra it still deserves.


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Arvid Engegård (conductor)

Arvid Engegård was born in Bodø, Norway, in 1963. At age eleven he led his first string quartet in concerts throughout Norway. After receiving a degree in violin from Trondheim Conservatory of Music at age sixteen, he continued his studies at Eastman School of Music in Rochester, New York. He later studied with Sándor Végh in Salzburg, Austria, and was invited to lead Camerata Academica, a position he held for eight years. In 1991 Engegård was asked to lead the Orlando Quartet in Amsterdam. As violinist and chamber musician, Engegård has performed at many of Europe’s most prestigious festivals, including the Lockenhaus Chamber Music Festival, the Salzburg Festival, Musiktage Mondsee, and the Mozarteum Foundation’s Mozart Week. Engegård’s career as conductor has...
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Arvid Engegård was born in Bodø, Norway, in 1963. At age eleven he led his first string quartet in concerts throughout Norway. After receiving a degree in violin from Trondheim Conservatory of Music at age sixteen, he continued his studies at Eastman School of Music in Rochester, New York. He later studied with Sándor Végh in Salzburg, Austria, and was invited to lead Camerata Academica, a position he held for eight years. In 1991 Engegård was asked to lead the Orlando Quartet in Amsterdam.
As violinist and chamber musician, Engegård has performed at many of Europe’s most prestigious festivals, including the Lockenhaus Chamber Music Festival, the Salzburg Festival, Musiktage Mondsee, and the Mozarteum Foundation’s Mozart Week. Engegård’s career as conductor has steadily advanced since 1999, working with orchestras in Norway and abroad. He has previously released two recordings as conductor on the LAWO Classics label: "W.A. Mozart" (LWC1071) – a recording of Concertos K. 299 and K. 297B – with the Oslo Philharmonic, and "Mozart, Hvoslef Sæverud" (LWC1100) with oboist David Friedemann Strunck and the Oslo Philharmonic. In 2015 he released "Duo Brilliante" (LWC1080) as violinist, with double bassist Knut Erik Sundquist and the Norwegian Radio Orchestra.
Arvid Engegård is artistic director of the Lofoten International Chamber Music Festival. In 2000 he received the 'Nordlys Prize' at the Northern Lights Festival in Tromsø, Norway. In 2006 he founded the Engegård Quartet, which performs throughout Europe and is one of Scandinavia’s most soughtafter chamber music ensembles.

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Bjørn Solli (cello)

Elise Båtnes (violin)

Elise Båtnes began playing the violin at age four and debuted as soloist with Trondheim Symphony Orchestra four years later. As first concertmaster of Oslo Philharmonic Orchestra, she appears as soloist with leading orchestras and conductors around the world. She has five earlier recordings on the LAWO Classics label.
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Elise Båtnes began playing the violin at age four and debuted as soloist with Trondheim Symphony Orchestra four years later. As first concertmaster of Oslo Philharmonic Orchestra, she appears as soloist with leading orchestras and conductors around the world. She has five earlier recordings on the LAWO Classics label.

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Composer(s)

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Ketil Hvoslef

Now in his 80's, Ketil Hvoslef continues to write music at a furious pace. He has written for many thinkable and unthinkable ensembles, often relishing the challenge of working with potentially «hopeless» instrumental combinations. He is Norway’s most prolific composer of concertos, with 20 to date. He has three operas, numerous works for orchestra, and a wealth of chamber music. Hvoslef’s vocal music is of particular interest in that it includes, for the most part, «nonsense texts». Aware of the main pitfall of the Bel Canto tradition, where the beauty of tone in the vowels often results in the unintelligibility of the text, Hvoslef usually constructs his own «meaningless» words in order to underline the character of the music. He...
more
Now in his 80's, Ketil Hvoslef continues to write music at a furious pace. He has written for many thinkable and unthinkable ensembles, often relishing the challenge of working with potentially «hopeless» instrumental combinations. He is Norway’s most prolific composer of concertos, with 20 to date. He has three operas, numerous works for orchestra, and a wealth of chamber music. Hvoslef’s vocal music is of particular interest in that it includes, for the most part, «nonsense texts». Aware of the main pitfall of the Bel Canto tradition, where the beauty of tone in the vowels often results in the unintelligibility of the text, Hvoslef usually constructs his own «meaningless» words in order to underline the character of the music. He has also composed an impressive collection of works for solo instruments and a fair amount of incidental music.
Hvoslef’s style is characterized by an economy of means, the accumulation of latent energy, rhythmical ingenuity and, often, an element of humour. He has repeatedly said that he wishes for his listeners to lean forward on the edge of their chairs rather than sit back. There is, in Hvoslef’s music, always a sense of anticipation, a feeling that it is on its way to somewhere unknown, which in turn makes the experience of each moment all the more intense. There is always transparency in the music, allowing it to breathe and making it possible for the listener to follow what is happening in it.

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Press

If, as I do, you love the pure, tightly focused sound of German oboe playing, this release will be an absolute joy.
Fanfare Magazine., 02-1-2017

The most attractive piece on this CD is Ketil Hvoslef’s rhetoric Oboe Concerto, yet the entire program leaves a very good impression and offers high level performances.
Pizzicato, 08-8-2016

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Often bought together with..

Ketil Hvoslef
Hvoslef Chamber Works No. VII
Hvoslef Chamber Music Project
Ludwig van Beethoven
Beethoven, Piano Trio Op. 70 No. 2 & Symphony No. 2
Beethoven Trio Bonn
Ketil Hvoslef
Hvoslef Chamber Works No. VI
Hvoslef Chamber Music Project
Ketil Hvoslef
Hvoslef Chamber Works No. V
Hvoslef Chamber Music Project
Ketil Hvoslef
Hvoslef Chamber Works No. IV
Hvoslef Chamber Music Project
Various composers
Voices of Women
Bettina Smith

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