ReciClassíCat: NIELSEN, Karl Henrich Ludolf (1876-1939)

divendres, 29 de gener del 2016

NIELSEN, Karl Henrich Ludolf (1876-1939) - Babelstaarnet (1913)

Obra d'Elihu Vedder (1836-1923), pintor nord-americà (1)

- Recordatori de Karl Henrich Ludolf Nielsen -

En el dia de la celebració del seu 140è aniversari de naixement

Parlem de Pintura...

Elihu Vedder (New York, 26 de febrer de 1836 - Roma, 29 de gener de 1923) va ser un pintor nord-americà. Es va formar inicialment a París amb el pintor François Édouard Picot. Després de la seva formació, va viatjar per Itàlia on va conèixer Giovanni Costa i on es va relacionar amb els membres dels Macchiaioli. Durant la Guerra Civil dels Estats Units va viatjar als EUA on es va relacionar, entre altres, amb el pintor William Morris Hunt i on va entrar com a membre de l'American Academy of Arts and Letters. Un cop finalitzada la guerra va tornar a Itàlia, on va viure a Roma. Des d'allà va visitar Anglaterra on va rebre la influència dels Pre-rafaelites. La seva temàtica, principalment simbolista, va atraure nombrosos clients i ràpidament es va fer molt conegut. I si bé va viatjar ocasionalment per Europa i els EUA, va viure la resta de la seva vida a Roma, ciutat on va morir el gener de 1923.

Font: En català: No disponible - En castellano: Elihu Vedder (1836-1923) - In english: Elihu Vedder (1836-1923) - Altres: Elihu Vedder (1836-1923)

Parlem de Música...

Karl Henrich Ludolf Nielsen (Naestved, 29 de gener de 1876 - København, 16 d'octubre de 1939) va ser un compositor danès. El 1892 va viatjar a Copenhagen on va estudiar violí al Conservatori Reial Danès amb Valdemar Tofte i després amb J.D. Bondesen (teoria) i Albert Orth (piano). Com a compositor va ser essencialment autodidacta publicant les seves primeres obres a la capital danesa. A partir del 1898 va ser solista de viola a l'orquestra Tivoli i des del 1903 en va ser l'assistent de la direcció orquestral. Va ser molt actiu també en el Bjørvig Quartet i el 1903 va ser un dels membres fundadors de l'Associació Danesa de Compositors. També va treballar com a professor de teoria i composició. Entre el 1914 i el 1920 va ser director de l'orquestra simfònica Euphrosyne. Els darrers anys va romandre actiu com a consultor musical per la Danish State Broadcasting Company. Va morir a Copenhagen l'octubre de 1939.

OBRA:

(selective list)

Vocal secular:

Stage:
Isbella (op, P.A. Rosenberg), op.16, 1907, Copenhagen, 1915;
Uhret [The Clock] (op, A. Lind), op.16, 1911;
Lola (op, Rosenberg, after V. Hugo), op.43, 1920;
Lackschmi, ballet, op.45, 1921, Copenhagen, 1922;
Rejsekammeraten [The Travelling Companion] (ballet, after H.C. Andersen), op.54, 1928;
incid music

Choral:
Sct. Hans [Midsummer Day] (V. Stuckenberg), op.14, Bar, SATB, orch, 1908;
Babelstaarnet [The Tower of Babel] (G. Lemche), op.35, solo vv, SATB, orch, 1913;
Danmark (S.S. Blicher), op.39, SATB, orch, 1914;
Dronning Margrethe [Queen Margrethe] (Lemche), op.50, solo vv, SATB, orch, 1919;
Valdemars Taarn [Valdemar’s Tower] (J.L. Heiberg), op.34, TTBB, brass, 1920;
Højsommer [High Summer], op.52, SATB, wind, 1923;
Freemasons’ cants., many smaller choral songs

Songs (1v, pf unless otherwise stated):
Skaersommerduft [Midsummer Scent], op.4, 1901;
Media vita, op.12, 1906;
Foraar [Spring] (Stuckenberg), op.15, 1906;
Sommer (Stuckenberg), op.18, 1908;
Efteraar [Autumn] (Stuckenberg), op.22, 1909;
Stemninger [Moods] (Lind), op.23, 1909;
Skaemteviser [Jocular Ballads], op.24, 1909;
Erotiske Stemninger [Erotic Moods] (E. Aarestrup), op.26, 1910;
Efteraarsaften [Autumn Evening] (Stuckenberg), op.31, spkr, pf trio/orch, 1912;
3 Lieder (F. Köpp), op.34, 1912;
2 Sange (H.H. Seedorf), op.59, T, orch, 1935

Instrumental:

Orch:
I Ørkenen [In the Desert], 1899;
Regnar Lodbrog, op.2, 1901;
Sym. no.1, b, op.3, 1903;
Sommernatsstemning [Summer Night Mood], op.6, 1903;
In memoriam, op.7, 1904;
Berceuse, op.9, vn, str, 1905;
Fra bjaergene [From the Mountains], suite, op.8, 1905;
Romance, op.11, vc, orch, 1905;
Koncertouverture, C, op.13, 1906;
Romance, op.20, vn, orch, 1908;
Sym. no.2, E, op.19, 1909;
Sym. no.3, C, op.3, 1913;
Skovvandring [Woodland Ramble], suite, op.40, 1922;
Nocturne lyrique, op.48, 1923; Hjortholm, op.53, 1912;
Foraars Ouverture [Spring Ov.], op.56, 1932;
Kildemarked [Source Fair], op.60, 1936;
arrs. of works by Weyse, Dupuy, Kuhlau and others

Chbr and solo inst:
Str Qt no.1, A, op.1, 1900;
Str Qt no.2, c, op.5, 1904;
4 Pf Pieces, op.17, 1907, arr. orch;
Novelletter, op.21, pf, 1908;
Aus dem Skizzenbuch, op.30, hmn, 1911, arr. orch;
Str Qt no.3, C, op.41, 1920

Font: En català: No disponible - En castellano: No disponible - In english: Karl Henrich Ludolf Nielsen (1876-1939) - Altres: Karl Henrich Ludolf Nielsen (1876-1939)

Parlem en veu pròpia o en veu d'altri...

Nielsen achieved his greatest success with his many romances, but the emphasis in his fairly extensive output is on orchestral music, which is generally of a high quality. Stylistically he expanded the Danish Romantic tradition by combining in an original way elements of symbolism, French Impressionism and German late Romanticism with the often national subjects of his works. His predilection for cyclic themes was unusual in Danish music of the period, and he seems to have been the first Danish composer to work with whole-tone and pentatonic scales. His later works increasingly emphasize counterpoint and bitonality. After the outbreak of war in 1914 he did not write music for a number of years. At that time, his most ambitious works, the Third Symphony and the choral work Babelstaarnet (‘The Tower of Babel’), met with an indifferent reaction from the Danish public. His only notable success thereafter was the ballet Lackschmi (1921). From the 1930s Nielsen came to be regarded as conservative in musical circles, and after his death his works largely disappeared from the repertory.

GROVE MUSIC ONLINE (source/font: aquí)

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"Da Capo do not lack for staying power. Having recorded all three of the symphonies by Ludolf Nielsen they might have been tempted to take a long sabbatical. Not a bit of it. Instead they tackle the massy heights of Nielsen's setting of a poem by Gyrithe Lenche. The poem extols the perfection to be achieved through spiritual exaltation. The setting runs to 35 minutes and is for substantial forces including three soloists and a semi-chorus of four other voices alongside a very full choir all with orchestra. While the first symphony threshes about under the shadow of Brahms this work is far more distinctive and imposing. Baritone, Per Høyer is in darkly stern and secure voice - another Jörma Hynninen if ever I heard one. The work has the flaming conviction and some of the sound-world of Rudolph Tobias's Jonah's Mission, of Verdi's Requiem and of Havergal Brian's Siegeslied Symphony. With Rued Langgaard and Louis Glass, Nielsen had idealistic Millenarian visions as also some years later had John Ireland in These Things Shall Be. It is intriguing to hear this work alongside Langgaard's Music of the Spheres and Sinfonia Interna (also on Da Capo) and when you come to the beginning of Part 2 of the Tower one can hear the clearest kinship with the Langgaard work woven with the lyric lambency of Lange-Muller and Gade and the outdoor songs and pastoral idylls of namesake's Carl's Springtime on Fyn. This part becomes increasingly pastoral and serenade-like as if retreating to a Utopian greensward but accented in a way that all but suggests Vaughan Williams' Sir John in Love or Holst's A Choral Symphony. In the peroration the music develops a confident bell swing. Extremely enjoyable!

Rob Barnett (source/font: aquí)

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