About the album
We know many of them — the German Lied, the French chanson, the Scandinavian song — works for voice and piano. Countless such musical pieces have been written throughout history, mainly from Mozart’s time on. But after a couple of hundred years, this form of composition fell “out of fashion”, and composers often used other ways to accompany singers.
How do we think of classical song today? I challenged three composers to each write his “Lied”, a piece of music for voice and piano, and received three remarkably different results. Two hundred years ago, the format was predictable; today, boundaries have dissolved, and the composer turns out whatever the heart desires. What these composers write about their own works appears later on.
In addition, we wished to include five wonderfully distinctive songs of Edvard Hagerup Bull — a composer of our own time, but one who was and remained controversial, and, as such, was essentially deprived of recognition and fame in Norway. Edvard Hagerup Bull was a grandnephew of Edvard Grieg, he studied with Messiaen and Milhaud, among others, and he lived a large part of his life in Paris.
Many are familiar with the short aphoristic poems of Piet Hein known as “grooks” — artful, thought-provoking texts with their unconventional way of looking at life. Coupled with Hagerup Bull’s playful, humoristic music, they become musical gems deserving of attention and performance. We are pleased to have these songs on the recording! To be on the safe side, I wish to point out that the “grooks” are written in Danish, but I have chosen to sing the texts with Norwegian pronunciation.
- Marianne Beate Kielland
Werke für Gesang und Klavier: Wir alle kennen sie in den verschiedensten Spielarten - Das deutsche Lied, das französische Chanson, das skandinavische Lied. Unzählige dieser Kompositionen wurden seit Mozart komponiert, gerieten doch nach einigen hundert Jahren aus der Mode und die Komponisten suchten neue Wege Sänger zu begleiten.
Aber wie klingt das Lied heute? Marianne Beate Kielland forderte drei Komponisten heraus, Stücke für Gesang und Klavier zu schreiben. Das bemerkenswerte Ergebnis finden Sie auf dieser Einspielung.
MARIANNE BEATE KIELLAND - MEZZO-SOPRANO
The classical music magazine Gramophone wrote of Marianne Beate Kielland: The mezzo-soprano is quite outstanding: strong, firm, sensitive in modulations, imaginative in her treatment of words, with a voice pure in quality, wide in range, and unfalteringly true in intonation.
Kielland studied at the Norwegian Academy of Music with Svein Bjørkøy. Her other teachers have included Oren Brown and Barbara Bonney. Considered
today one of Scandinavia’s leading singers, she performs regularly on major concert stages in Europe and Japan. Among the conductors with whom she has sung are Phillippe Herreweghe, Fabio Biondi, Jordi Savall, Rinaldo Alessandrini, Christophe Rousset, Marc Minkowski, Masaaki Suzuki, Pierre Cao, Arvid Engegård, Thomas Søndergård, Eivind Gullberg Jensen, Thomas Dausgaard, Jos van Immerseel, Joshua Rifkin, Manfred Honeck, Daniel Reuss, and Christian Eggen.
In 2012 she received a Grammy nomination in the category of ’Best Classical Vocal Solo’ for her recording of Veslemøy Synsk by composer Olav Anton Thommessen. With more than forty other albums in addition to a demanding concert schedule, Marianne Beate Kielland has established herself as an exceptional performer with a wide-ranging repertoire from baroque to contemporary. Together with pianist Nils Anders Mortensen she has released four earlier recordings on the LAWO Classics label: Früh (LWC1033), Sæle jolekveld (LWC1040), Grieg (LWC1059), and Young Elling (LWC1072). In 2015 she released Påsketid (LWC1077) with violinist Elise Båtnes and organist Kåre Nordstoga.