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Aksiom
Various composers

Aksiom

Aksiom

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020181271
Catnr: LWC 1115
Release date: 13 January 2017
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Label
Lawo Classics
UPC
7090020181271
Catalogue number
LWC 1115
Release date
13 January 2017
Album
Artist(s)
Composer(s)
EN
DE

About the album

The axiom is “a statement that is self-evident,” as it says in the dictionary, or “a principle that does not need to be proved;” and what is it that the orchestra, Aksiom, do not need to prove: something as prosaic as their own musical philosophy. Shiver (2014) was commissioned by Aksiom, with financial support from the Composers’ Remuneration Fund, and was first performed at Ultimafestivalen/ Nordic Music Days in 2014. Papirosm (2013) explores the throwing open of a bridge to new content, letting numerous, different thoughts traverse the normal flow of thoughts. It was commissioned with financial support from the Swedish Arts Council. It was first performed in Buffalo, New York. Etude ralentissante (2014) could be translated as “slowing etude.” The piece was commissioned by Aksiom, with financial support from the Norwegian Arts Council and was first performed in 2014. The final piece, Misantropi Illb (2014) was commissioned by Aksiom and was first performed in Gronland Church, Oslo, in 2014.
Ein Axiom ist "eine Aussage, die selbstverständlich ist" oder "ein Prinzip, das nicht bewiesen werden muss". Und was ist es, dass das Orchester Aksiom nicht beweisen muss? Etwas so prosaisches wie ihre eigene musikalische Philosophie.

Artist(s)

Aksiom

Since forming at the start of 2010, Aksiom has gained a name for itself on the Norwegian music scene as a young and dedicated contemporary music ensemble. The ensemble, originating from the Norwegian Academy of Music, works mainly with new Nordic music and improvisation.
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Since forming at the start of 2010, Aksiom has gained a name for itself on the Norwegian music scene as a young and dedicated contemporary music ensemble. The ensemble, originating from the Norwegian Academy of Music, works mainly with new Nordic music and improvisation.

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Kai Grinde Myrann (conductor)

Kai Grinde Myrann has in a very short time established himself as one of his generation’s most talented conductors. Already he has conducted all the major Norwegian symphony orchestras and military bands and has been reengaged by them all. He has also conducted Danish orchestras and a number of smaller ensembles and choirs.   Following his graduation from the Norwegian Academy of Music with a Master’s Degree in conducting in 2013, Myrann immediately assumed the position of assistant conductor with Stavanger Symphony Orchestra and Bergen Philharmonic Orchestra, extended by both to the maximum duration of two years. He then held a postgraduate fellowship in conducting at the Arctic University of Norway in Tromsø. Since 2021 he has been part of the Savings...
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Kai Grinde Myrann has in a very short time established himself as one of his generation’s most talented conductors. Already he has conducted all the major Norwegian symphony orchestras and military bands and has been reengaged by them all. He has also conducted Danish orchestras and a number of smaller ensembles and choirs.
Following his graduation from the Norwegian Academy of Music with a Master’s Degree in conducting in 2013, Myrann immediately assumed the position of assistant conductor with Stavanger Symphony Orchestra and Bergen Philharmonic Orchestra, extended by both to the maximum duration of two years. He then held a postgraduate fellowship in conducting at the Arctic University of Norway in Tromsø. Since 2021 he has been part of the Savings Bank Foundation and Talent Norge’s program Opptakt, which promotes young conductors at the highest level.
Myrann is artistic director for Aksiom, a contemporary music ensemble of nine musicians he co-founded in 2010. Under his leadership it has become a much sought-after ensemble of the Scandinavian contemporary music scene. He also conducts Ensemble Temporum, an ensemble established in 2016 specializing in classical masterpieces of the contemporary music tradition. With Bachelor’s Degrees in composition from the Norwegian Academy of Music and Hochschule für Musik “Hanns Eisler” in Berlin, and with his experience as a conductor, Myrann has become an acclaimed interpreter of contemporary music. His discography consists of a number of releases of contemporary music by the Norwegian Radio Orchestra, Trondheim Symphony Orchestra, Trondheim Sinfonietta, Aksiom and Ensemble neoN, among others.

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Composer(s)

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...
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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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Øyvind Mæland

Øyvind Mæland (b. 1985) studied piano with Jiri Hlinka at the Barratt Due Music Institute in Oslo before embarking on composition studies at the Norwegian Academy of Music where his teachers included Olav Anton Thommesen, Ivar Frounberg and Henrik Hellstenius. Attending masterclasses he has also received guidance from a number of composers including Aperghis, Furrer, Billone, Ferneyhough, Czernowin, K. Lang and D. Kourliandski. Øyvind Mæland’s output consists primarily of chamber and ensemble works; he has collaborated with instrumentalists, ensembles and conductors including Marco Fusi, Håkon Austbø, Hans-Kristian Kjos Sørensen, Stine Motland, Pinquins, Oslo String Quartet, Kairos quartet, Aksiom, The Royal Norwegian Naval Forces' Band, Bodø Sinfonietta, Telemark Chamber Orchestra, BIT20 and Pierre-André Valade, and Oslo Sinfonietta and Christian Eggen. Mæland’s music...
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Øyvind Mæland (b. 1985) studied piano with Jiri Hlinka at the Barratt Due Music Institute in Oslo before embarking on composition studies at the Norwegian Academy of Music where his teachers included Olav Anton Thommesen, Ivar Frounberg and Henrik Hellstenius. Attending masterclasses he has also received guidance from a number of composers including Aperghis, Furrer, Billone, Ferneyhough, Czernowin, K. Lang and D. Kourliandski.
Øyvind Mæland’s output consists primarily of chamber and ensemble works; he has collaborated with instrumentalists, ensembles and conductors including Marco Fusi, Håkon Austbø, Hans-Kristian Kjos Sørensen, Stine Motland, Pinquins, Oslo String Quartet, Kairos quartet, Aksiom, The Royal Norwegian Naval Forces' Band, Bodø Sinfonietta, Telemark Chamber Orchestra, BIT20 and Pierre-André Valade, and Oslo Sinfonietta and Christian Eggen. Mæland’s music has been performed at festivals such as Ultima, Borealis, and Oslo Chamber Music Festival. In 2013 he completed his nearly two hour long opera Ad undas – Solaris korrigert for six singers, full orchestra and nine-part choir, which premiered at the Norwegian Opera in October the same year, in close collaboration with the poet Øyvind Rimbereid and director Lisa Lie.
In the autumn of 2015 eight of Mæland’s works were recorded for the LAWO, Fabra and Geiger labels by Stine Motland, Marco Fusi, Sanae Yoshida, Oslo String Quartet, Aksiom, and Telemark Chamber Orchestra.

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Martin Rane Bauck

Martin Rane Bauck (b. 1988, Oslo) studied composition at the Norwegian Academy of Music, the Paris Conservatory (CNSMDP), and the Royal Danish Academy of Music in Copenhagen. His works can be placed in both time and space and he has worked with a multitude of collaborative partners. In addition to his work as a composer, Bauck has been active in the music festival Ung Nordisk Musikk (UNM). He was also instrumental in starting the contemporary music ensemble Aksiom in 2010 and in 2016 helped establish the Oslo-based concert series Periferien. In 2005 he was the Norwegian national champion in fraction mathematics.  
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Martin Rane Bauck (b. 1988, Oslo) studied composition at the Norwegian Academy of Music, the Paris Conservatory (CNSMDP), and the Royal Danish Academy of Music in Copenhagen. His works can be placed in both time and space and he has worked with a multitude of collaborative partners. In addition to his work as a composer, Bauck has been active in the music festival Ung Nordisk Musikk (UNM). He was also instrumental in starting the contemporary music ensemble Aksiom in 2010 and in 2016 helped establish the Oslo-based concert series Periferien. In 2005 he was the Norwegian national champion in fraction mathematics.

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