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Fartein Valen: Noen tips
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Prøv Symphonic poems and orchestral songs med Oslofilharmonikerne. Utgitt på Simax.
Prøv Symphonic poems and orchestral songs med Oslofilharmonikerne. Utgitt på Simax.
Sv: Fartein Valen: Noen tips
De 4 symfoniene er på en dobbel CD fra Simax.
Mener å huske at disse skal være bra. Er med Bergen P.O.
Edit: Fant anmeldelsen fra Gramohone
" Symphony No 1,Op. 30. Symphony No 2,Op. 40. Symphony No 3,Op. 41. Symphony No 4,Op. 43.
Bergen Philharmonic Orchestra/Aldo Ceccato
Simax CD PSC3101 (94 minutes : DDD)
Reviewed: Gramophone 8/1993, Robert Layton
Fartein Valen was very much a loner in Norwegian music, and although is piano music enjoyed the advocacy of Glenn Gould, he has all but disappeared from view outside Norway. Undoubtedly his best work is the Violin Concerto, which has some similarities with the Berg (its composition was prompted by the death of a young person and it ends with a Bach chorale Jesus, meine Zuversicht). Valen spent his childhood in Madagascar (his father was a missionary) and studied philology and languages at the university in Christiania (as Oslo was then known) before becoming a pupil of Max Bruch in Berlin. As early as 1923 (in the Piano Trio, Op. 5), he developed a kind of 12-note technique, which he used for the rest of his creative life.
The four symphonies encompass a decade: the First began life as a piano sonata but was finished in its definitive orchestral form two years later in 1939. Some of it strikes me as dense in texture but the opening of the second movement of the First Symphony is an exception: here the textures are limpid and transparent, and the pale luminous colours are distinctively northern. The Second Symphony was written in 1941-4 during the German occupation of Norway, which had plunged him into the darkest depression. The Third occupied him for another two years, but by the time of the Fourth (1949) Valen was beginning to emerge from the shadows. The middle movement of No. 4 has a keen poetic intensity and an affecting elegiac quality. As I said in reviewing these discs first time round, the symphonies still remain problematic: there is a powerful atmosphere, an individual (if neurasthenic) sensibility and much delicacy of feeling but over so long a time-span you feel the deficiency in rhythmic vitality and line. But they still cast a certain spell and the performances by the Bergen Symphony Orchestra under Aldo Ceccato are sensitive and well prepared and the recordings excellent. It is good to have them back.'
Robert Layton"
Tar med den andre Simax plata i samme slengen.
"
Oslo Philharmonic Orchestra/Miltiades Caridis
Simax CD PSC3115 (72 minutes)
An important and most welcome reissue: the music of Fartein Valen (1887-1952) is far too little known outside Norway, although his four symphonies have been intermittently available from Simax/Norway in Music. The best introduction to his life and work in English is the chapter devoted to him (containing analyses of three of the above pieces) in Rapoport's Opus est: Six Composers from Northern Europe (Kahn & Averill: 1978).
Valen's music is in a personal atonal style systematized independently of Schoenberg and Hauer. Before the last war his music was generally execrated in Norway where his international avant-garde outlook did not accord with the prevailing nationalism (Norway only becoming independent in 1905). After the war, his reputation grew steadily, not least through the acclaim which greeted the performance of Sonetto di Michelangelo at the 1947 ISCM festival.
Fine as this disc is, with recordings that stand up well for their age, the presentation does Valen's cause no favours. Of the seven orchestral pieces that open the disc, all but the last date from a closely integrated period of composition, 1929-34 (Ode to Solitude being written in 1939); taken together they tend to blur into each other. Sonetto, Nenia and Cantico del ringraziamento can be played as a suite; individually they and Le cimitiere Marin impress as masterworks, but Simax could have balanced the programme better by integrating the concluding songs which cover a wider span of time (1917-39) and styles (Ave Maria sounds like atonal Bax). This is, notwithstanding, a most worthwhile addition to the catalogue.'"
De 4 symfoniene er på en dobbel CD fra Simax.
Mener å huske at disse skal være bra. Er med Bergen P.O.
Edit: Fant anmeldelsen fra Gramohone
" Symphony No 1,Op. 30. Symphony No 2,Op. 40. Symphony No 3,Op. 41. Symphony No 4,Op. 43.
Bergen Philharmonic Orchestra/Aldo Ceccato
Simax CD PSC3101 (94 minutes : DDD)
Reviewed: Gramophone 8/1993, Robert Layton
Fartein Valen was very much a loner in Norwegian music, and although is piano music enjoyed the advocacy of Glenn Gould, he has all but disappeared from view outside Norway. Undoubtedly his best work is the Violin Concerto, which has some similarities with the Berg (its composition was prompted by the death of a young person and it ends with a Bach chorale Jesus, meine Zuversicht). Valen spent his childhood in Madagascar (his father was a missionary) and studied philology and languages at the university in Christiania (as Oslo was then known) before becoming a pupil of Max Bruch in Berlin. As early as 1923 (in the Piano Trio, Op. 5), he developed a kind of 12-note technique, which he used for the rest of his creative life.
The four symphonies encompass a decade: the First began life as a piano sonata but was finished in its definitive orchestral form two years later in 1939. Some of it strikes me as dense in texture but the opening of the second movement of the First Symphony is an exception: here the textures are limpid and transparent, and the pale luminous colours are distinctively northern. The Second Symphony was written in 1941-4 during the German occupation of Norway, which had plunged him into the darkest depression. The Third occupied him for another two years, but by the time of the Fourth (1949) Valen was beginning to emerge from the shadows. The middle movement of No. 4 has a keen poetic intensity and an affecting elegiac quality. As I said in reviewing these discs first time round, the symphonies still remain problematic: there is a powerful atmosphere, an individual (if neurasthenic) sensibility and much delicacy of feeling but over so long a time-span you feel the deficiency in rhythmic vitality and line. But they still cast a certain spell and the performances by the Bergen Symphony Orchestra under Aldo Ceccato are sensitive and well prepared and the recordings excellent. It is good to have them back.'
Robert Layton"
Tar med den andre Simax plata i samme slengen.
"
Oslo Philharmonic Orchestra/Miltiades Caridis
Simax CD PSC3115 (72 minutes)
An important and most welcome reissue: the music of Fartein Valen (1887-1952) is far too little known outside Norway, although his four symphonies have been intermittently available from Simax/Norway in Music. The best introduction to his life and work in English is the chapter devoted to him (containing analyses of three of the above pieces) in Rapoport's Opus est: Six Composers from Northern Europe (Kahn & Averill: 1978).
Valen's music is in a personal atonal style systematized independently of Schoenberg and Hauer. Before the last war his music was generally execrated in Norway where his international avant-garde outlook did not accord with the prevailing nationalism (Norway only becoming independent in 1905). After the war, his reputation grew steadily, not least through the acclaim which greeted the performance of Sonetto di Michelangelo at the 1947 ISCM festival.
Fine as this disc is, with recordings that stand up well for their age, the presentation does Valen's cause no favours. Of the seven orchestral pieces that open the disc, all but the last date from a closely integrated period of composition, 1929-34 (Ode to Solitude being written in 1939); taken together they tend to blur into each other. Sonetto, Nenia and Cantico del ringraziamento can be played as a suite; individually they and Le cimitiere Marin impress as masterworks, but Simax could have balanced the programme better by integrating the concluding songs which cover a wider span of time (1917-39) and styles (Ave Maria sounds like atonal Bax). This is, notwithstanding, a most worthwhile addition to the catalogue.'"
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Sv: Fartein Valen: Noen tips
Jeg har denne selv. Jeg fikke gode veiledninger på den tiden da jeg kjøpte den men jeg husker ikke begrunnelsen. Middels god lyd (eller litt under). Fartein lagde musikk på sin egen måte. Jeg syntes det var interessant i begynnelsen, men plata hørte jeg ikke ofte på da jeg gikk fort ganske lei denne typen klassisk. Men fin å ha i samlingen uansett. Ikke akkurat vakkert :
....
Jeg har denne selv. Jeg fikke gode veiledninger på den tiden da jeg kjøpte den men jeg husker ikke begrunnelsen. Middels god lyd (eller litt under). Fartein lagde musikk på sin egen måte. Jeg syntes det var interessant i begynnelsen, men plata hørte jeg ikke ofte på da jeg gikk fort ganske lei denne typen klassisk. Men fin å ha i samlingen uansett. Ikke akkurat vakkert :
....
