Kristiansand Symphony Orchestra feat. Eivind Aadland - Johansen: Orchestral Works (2020)
BAND/ARTIST: Kristiansand Symphony Orchestra, Eivind Aadland
- Title: Johansen: Orchestral Works
- Year Of Release: 2020
- Label: CPO
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 01:08:23
- Total Size: 250 mb
- WebSite: Album Preview
Tracklist
01. Piano Concerto in E-Flat Major, Op. 29: I. Allegro
02. Piano Concerto in E-Flat Major, Op. 29: II. Adagio
03. Piano Concerto in E-Flat Major, Op. 29: III. Presto
04. Pan, Op. 22
05. Epigrams on Norwegian Motifs, Op. 31: No. 1, Tempo di marcia
06. Epigrams on Norwegian Motifs, Op. 31: No. 2, Allegro grazioso
07. Epigrams on Norwegian Motifs, Op. 31: No. 3, Allegro
08. Epigrams on Norwegian Motifs, Op. 31: No. 4, Allegretto
09. Epigrams on Norwegian Motifs, Op. 31: No. 5, Vivace
10. Epigrams on Norwegian Motifs, Op. 31: No. 6, Poco Allegro
11. Epigrams on Norwegian Motifs, Op. 31: No. 7, Largo
12. Symphonic Variations & Fugue, Op. 23
David Monrad Johansen’s catalogue of works displays a mere thirty-six opus numbers as well as a dozen unnumbered compositions from various periods. The Epigrams on Norwegian motifs form his last lengthier composition as well as one that is more clearly related to Norwegian folk music than the other works recorded here. Monrad Johansen harmonized the given melodies in his characteristic manner while above all ennobling them with the tender colors and sumptuous fireworks of his detailed orchestration. However, it is first and foremost in his successful Pan op. 22 symphonic music that he exhibits his mastery in orchestral coloration, which in part may have its model in Richard Strauss but also follows the French impressionists, so that it stands at the intersection of the various influences and imprints in his oeuvre. The Symphonic Variations and Fugue op. 23 (1944-46; rev. 1959 and 1964), more than Pan and its equal portions of German and French influence, are related to Monrad Johansen’s German education and exhibit many neoclassical elements, so that here Max Reger and Franz Schmidt come to mind, in whose music great variation works with fugues stand out for their tradition-forming function. Already at the beginning of his artistic career Monrad Johansen distinguished himself as an outstanding pianist, and at the latest since his Paris stay in 1927 he was drawn to the idea of composing a concerto, but nearly three decades would pass before this plan became a reality. In its general outline the concerto displays the traditional three-movement structure and classical formal models. However, what particularly stands out is the dramatic alternation between the piano part, which is maintained in virtuosic style throughout, and the contributions by the orchestra.
01. Piano Concerto in E-Flat Major, Op. 29: I. Allegro
02. Piano Concerto in E-Flat Major, Op. 29: II. Adagio
03. Piano Concerto in E-Flat Major, Op. 29: III. Presto
04. Pan, Op. 22
05. Epigrams on Norwegian Motifs, Op. 31: No. 1, Tempo di marcia
06. Epigrams on Norwegian Motifs, Op. 31: No. 2, Allegro grazioso
07. Epigrams on Norwegian Motifs, Op. 31: No. 3, Allegro
08. Epigrams on Norwegian Motifs, Op. 31: No. 4, Allegretto
09. Epigrams on Norwegian Motifs, Op. 31: No. 5, Vivace
10. Epigrams on Norwegian Motifs, Op. 31: No. 6, Poco Allegro
11. Epigrams on Norwegian Motifs, Op. 31: No. 7, Largo
12. Symphonic Variations & Fugue, Op. 23
David Monrad Johansen’s catalogue of works displays a mere thirty-six opus numbers as well as a dozen unnumbered compositions from various periods. The Epigrams on Norwegian motifs form his last lengthier composition as well as one that is more clearly related to Norwegian folk music than the other works recorded here. Monrad Johansen harmonized the given melodies in his characteristic manner while above all ennobling them with the tender colors and sumptuous fireworks of his detailed orchestration. However, it is first and foremost in his successful Pan op. 22 symphonic music that he exhibits his mastery in orchestral coloration, which in part may have its model in Richard Strauss but also follows the French impressionists, so that it stands at the intersection of the various influences and imprints in his oeuvre. The Symphonic Variations and Fugue op. 23 (1944-46; rev. 1959 and 1964), more than Pan and its equal portions of German and French influence, are related to Monrad Johansen’s German education and exhibit many neoclassical elements, so that here Max Reger and Franz Schmidt come to mind, in whose music great variation works with fugues stand out for their tradition-forming function. Already at the beginning of his artistic career Monrad Johansen distinguished himself as an outstanding pianist, and at the latest since his Paris stay in 1927 he was drawn to the idea of composing a concerto, but nearly three decades would pass before this plan became a reality. In its general outline the concerto displays the traditional three-movement structure and classical formal models. However, what particularly stands out is the dramatic alternation between the piano part, which is maintained in virtuosic style throughout, and the contributions by the orchestra.
Year 2020 | Classical | FLAC / APE
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