Due to illness, the conductor and exiled-trønder Magnus Loddgård agreed to jump in at very short notice as conductor on the Italy tour. Loddgård lives in Berlin and is a skilled conductor we are looking forward to become better acquainted with. We wish everybody good luck with preparations at express speed.
For this year’s Response Concert, Trondheim sinfonietta has invited composer Lene Grenager. Granger has composed a new cello concerto for the TSi cellist Marianne Baudouin Lie. Tonight’s concert will consist of the World Premiere of this new piece, ” Khipukamayuq , concert for cello and sinfonietta”, along side a work by the french composer, Philippe Hurel, “Figures Libres del 3″ from 2001, and Dutchman Louis Andriessen´s explosive ” Workers union – for any loud sounding group of instruments ” from 1975 .
In the Trondheim Sinfonietta series Response, composers (usually Norwegian) are invited to present their music along with their inspirations. This way of presenting contemporary music on can contribute to better understanding of how classical music has evolved.
Lene Grenager (who also is a cellist) says the following about the cello concerto:
“I have in several works explored the possibilities of the solo concerto. The existence of a solo instrument´s specific characteristics form the basis for an enlarged musical situation, and provides new approaches for work with a larger ensemble, while I as a composer gets to explore deeper into that instruments possibilities as well as the individual artist´s unique skills. The flute concerto “Off soundings” got the sound of air through a single pipe spread to an entire wind ensemble. In “The Operation” for percussion and sinfonietta we constructed a brand new solo instrument that gave new impetus to how an ensemble may sound. Working with another cellist adds additional layers to the process because I am concerned that the piece occurs in the encounter between two individuals and that it is adapted to the soloist´s character and special techniques. Marianne B. Lie and I have worked together on a number of projects, both in Alpaca Ensemble and as a solo musician. The idea was that the solo part should be developed in close collaboration with her so it really is adapted her unique playing style. I also wanted to incorporate the use of simple analog effects pedals in the piece, both for the soloist and in parts of the ensemble. «
Lene Grenager (b. 1969) is a composer and cellist who studied at the Norwegian Music Academy. She has also participated in a wide variety of courses and workshops with international names such as Iannis Xenakis and Louis Andriessen. She received Young People Lindeman prize in 2001. As a performer she has toured across Europe with the experimental improvisation ensembles Spunk and Lemur and in duo with Sofia Jernberg. Grenager regularly collaborates with musicians and ensembles such as Cikada, Ensemble Ernst and the Swedish Great Learning Orchestra, and is concerned that musicians own voices and choices are reflected her compositions, while simultaneously leaving no doubt that the core is clearly defined from her hand. This has led to considerable variation in notation techniques and detail in the different scores. Meanwhile, Grenagers work as performing improvisational musician left his mark on her written works.
The concert is at Dokkhuset Sunday 31 August at 1930
The concert is presented in collaboration with Dokkhuset Scene and New Music Trondheim
Trondheim Sinfonietta is in full swing with Trondheim Open! It all started with Espen Aalberg and Rik de Geyter marking the opening of Art Hotel Norway at Brattøra on Thursday 2nd October.
On Saturday 4th October, Kaja Fjellberg Pettersen and Isa Caroline Holmesland contributed the musical element in connection with art tours at st . Olav’s Hospital at 1pm & 3pm
Trondheim Open ends with big party at the old gas station in Elgsetergata 21 Saturday 4 October at 7pm. Trondheim Sinfonietta will perform a selected movements of William Walton’s ” Facade”. The actress Mira Dyrnes Askelund will take the speaker role, and Torodd Wigum will conduct.
The Board would like to welcome Mari Ann Lervåg Pettersen who took over as Trondheim Sinfonietta’s new managing director 1st of February.
We also want to give a big thanks to outgoing managing director Ingunn Sæther for all the extra man-hours, commitment and heroic efforts, and also to the ever present Marianne Lie , who has held the reins in the transition period.
This spring’s nachspiel concert takes place in Olavshallen on thursday 23th of April right after the TSO concert. As usual, there are no tickets specially for the Nachspiel, just linger in the hall while we reshuffle the stage and make room for the audience where musicians normally sit.
In C was composed by Terry Riley in 1964 and written for an indefinite number of performers. He suggests a group of about 35 is desired, but smaller or larger groups will work. The piece consists of 53 short, numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times. Each musician has control over which phrase he or she plays: players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. The piece has no set duration, but Riley indicates performances normally average between 45 minutes and an hour and a half.
In C is a response to the abstract academic serialist techniques used by many modern classical composers such as Schoenberg up to the 1960s and is often cited as the first minimalist composition.
Terry Riley (F. 1935) is an American composer and musician, and is considered a pioneer in the development of the genre minimalist music. Riley was influenced by several music styles and directions. His most significant teacher was Pandit Pran Nath, a master of Indian classical singing. Riley was also influenced by John Cage, and, as he says himself, “the really great chamber music groups of John Coltrane and Miles Davis, Charles Mingus, Bill Evans, and Gil Evans.” His music demonstrates just this spectrum of impacts where he pulls together threads from eastern music, the Western avant-garde and jazz.
John Riley music has been a great inspiration to many other composers, among them Steve Reich, Philip Glass and John Adams, as well as rock groups such as The Who, The Soft Machine, Tangerine Dream and many others.
Violin – Johannes Rusten
Cello/musical leader – Anton Lukoszevieze
Cello – Marianne Lie
Bass – Michael Duch
Flute – Trine Knutsen
Oboe – Philip Jordan
Clarinet – Rik de Geyter
Trumpet – Hans Petter Stangnes
Horn – Peter Hatfield
Piano – Else Bø
Percussion – Espen Aalberg
Hammond – Daniel Formo
1st of November Trondheim Sinfonietta and Rockheim welcome you to an evening with two of the most innovative and pioneering composers of recent times ; Frank Zappa and Arne Nordheim ! The program also includes a new work by the celebrated Norwegian composer and Zappa- connoisseur Jon Andreas Håtun , aka Jono El Grande , which will bind the concert together as presenter .
Frank Zappa and Arne Nordheim first met in the early 1970s. The respect was mutual and it was a life- long friendship between the two. This happening is a tribute to two distinctive composers who found each other through music despite different backgrounds .
Tonight’s concert is the largest in Trondheim Sinfonietta’s history, if one measures by the number of musicians on stage and number of meters notes played. Director Halldis Rønning head together over 30 musicians , including three music students from NTNU.
19:00 – Two experts on a sofa – about Zappa and Nordheim
We have invited Jon Andreas Håtuna , aka Jono El Grande , who for years has explored Zappa’s Universe . Along with him in the sofa he has Ola Nordal who is working on a doctoral dissertation on Nordheim’s music.
Kl 20:00 – Concert
Trondheim Sinfonietta plays Zappa, Nordheim og El Grande Dirigent: Halldis Rønning Solist: Trine Knutsen Konfransier: Jono El Grande
Kl 22:00 – Zappa Nachspiel! Zoot Allures!!!
Frank Zappa, American Composer, fl. 1940 – 1993
Zappa is best described in his own words, from The Real Frank Zappa Book:
“One day I happened across an article about Sam Goody’s record store in Look magazine which raved about what a wonderful merchandizer he was. The writer said that Mr. Goody could sell anything—and as an example he mentioned that he had even managed to sell an album called Ionisation.”
“The article went on to say something like: ‘This album is nothing but drums—it’s dissonant and terrible; the worst music in the world’ Ahh! Yes! That’s for me!”
“I turned the volume all the way up (in order to get the maximum amount of ‘fi’) and carefully placed the all-purpose osmium-tipped needle on the lead-in spiral to ‘Ionisation.’ I have a nice Catholic mother who likes to watch Roller Derby. When she heard what came out of that little speaker at the bottom of the Decca, she looked at me like I was out of my fucking mind.”
“I bought my first Boulez album when I was in the twelfth grade: a Columbia recording of ‘Le Marteau Sans Maitre’ (The Hammer Without a Master) conducted by Robert Craft, with ‘Zeitmasse’ (Time-mass) by Stockhausen on the other side.”
“I didn’t know anything about twelve-tone music then, but I liked the way it sounded. Since I didn’t have any kind of formal training, it didn’t make any difference to me if I was listening to Lightnin’ Slim, or a vocal group called the Jewels […] or Webern, or Varèse, or Stravinsky. To me it was all good music.”
“What do you do for a living, dad? If one of my kids ever asked me that question, the answer would have to be: ‘What I do is composition.’ I just happen to use material other than notes for the pieces.”
“A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians. […] In my compositions, I employ a system of weights, balances, measured tensions and releases—in some way similar to Varese’s aesthetic. The similarities are best illustrated by comparison to a Calder mobile: a multicolored whatchamacallit, dangling in space, that has big blobs of metal connected to pieces of wire, balanced ingeniously against little metal dingleberries on the other end.”
“The orchestra is the ultimate instrument, and conducting one is an unbelievable sensation. Nothing else is like it, except maybe singing doo-wop harmony and hearing the chords come out right.”
“I find music of the classical period boring because it reminds me of ‘painting by numbers’. There are certain things composers of that period were not allowed to do because they were considered to be outside the boundaries of the industrial regulations which determined whether the piece was a symphony, a sonata, or a whatever. All of the norms, as practiced during the olden days, came into being because the guys who paid the bills wanted the ‘tunes’ they were buying to ‘sound a certain way’”.
“It’s all over, folks. Get smart—take out a real estate license. The least you can do is tell your students: ‘DON’T DO IT! STOP THIS MADNESS! DON’T WRITE ANY MORE MODERN MUSIC!’”
“‘Information is not knowledge, knowledge is not wisdom, wisdom is not truth, truth is not beauty, beauty is not love, love is not music. Music is the best.’” – Joe’s Garage, 1979
Arne Nordheim ( born 20 June 1931 in Larvik , died June 5, 2010) was a Norwegian composer and music critic.
In the period 1948-1951 he studied at the Conservatory of Music in Oslo. 1954 was his first work , Essay for string quartet, performed at the Young Nordic Music Festival in Stockholm. He looked up to his death that the play was not his opus 1, but the string quartet from 1956 would be his first proper work .
Nordheim main genre was orchestral works . In the early works of Aftonland , Canzona and Epitaffio he tried to give the traditional instruments a new sound. He started to use electronics on magnetic tape, and had a period electronics as the main theme . From this time stems purely electronic works Solitaire, but also works the electronics were mixed with traditional instruments for example percussion. He has also written extensively for radio and television, theater and ballet where he experimented a lot and gave music new limits.
Zappa and Nordheim: Partners in crime
Arne Nordheim’s popularity grew enormously when Frank Zappa came to Copenhagen in 1973 , and answered Danish journalists’ questions about what he hoped to experience in Scandinavia that he most of all wanted to meet Arne Nordheim . Zappa was fascinated by the sonic nuances of Nordheim compositions. European press was now in a hurry to get into his music. A few days later played Frank Zappa & The Mothers of Invention at Kalvøya Festival in Bærum with Arne Nordheim as Frank Zappa’s special guest. It developed into a lifelong friendship between the two. Arne Nordheim was invited to the USA and told about it below strangely liberated environment he faced. Frank Zappa visited always Nordheim when he played concerts in Norway.
Jono El Grande is the stage name of Jon Andreas Håtun ( born 29 July 1973 ) . He is a self-taught composer , band leader, guitarist and conductor , inspired in part by Frank Zappa , Captain Beefheart , King Crimson , Gentle Giant , Magma ( rock band) , Arne Nordheim , Shostakovich and Igor Stravinsky . [ 1 ] Jono El Grande has released five album , and is a name that grows on the international avantgarde scene. [ 2 ] [3 ] in Norway , he is best known by his eccentric and funny performance / dada – inspired live performances , [4 ] and key member of the artist fraction of “The new wine” [ 5 ] in the nineties . In 2000 he formed The Jono El Grande Orchestra , which in 2005 changed its name to The Jono El Grande Orchestra .
Halldis Rønning ( born 7 July 1978 in Bergen ) is a Norwegian conductor and violinist. Rønning was educated at the Grieg Academy in his hometown of Bergen Music Conservatory in Amsterdam and the academy , and she took a diploma in orchestral conducting in the spring of 2006 with the Bergen Philharmonic Orchestra.
She has worked with most Norwegian symphony orchestras , including the Oslo Philharmonic . She has also worked as a conductor in Vietnam , the Netherlands and Sweden , and was the first woman who waved at Hanoi Opera House in 2006. Rønning has worked with contemporary music and collaborates with the Norwegian ensembles Cikada , Oslo Sinfonietta and BIT20 . In 2010 Halldis Rønning also seeing as mentor in NRK series Maestro, where various celebrities did try as orchestra conductor. Rønning waved summer of 2013 Norwegian Youth Symphony Orchestra in Vienna , with soloists Mari Silje Samuelsen and Håkon Samuelsen .
Trine Knutsen grew up in band, orchestra environment in Bærum , and studied at the Norwegian Academy of Music in Oslo and the Folkwang Hochschule in Essen , Germany. Knutsen played eight years in the Bergen Philharmonic Orchestra before moving to Trondheim and a couple of years was general manager of Trondheim Soloists. Since 1999 she is employed as a professor at NTNU Department of Music , and since 2009 she has been Head of Department here .
Knutsen has been a soloist with the Trondheim Soloists , Trondheim Symphony Orchestra , Central Norwegian chamber ensemble and so on several occasions. She plays in Trondheim Sinfonietta , participating in projects with Trondheim Jazz Orchestra and engaged regularly by the Trondheim Chamber Music Festival , Olavsfestdagene and others as a soloist , chamber musician and orchestral musician. Knutsen is also frequently used as board members of the art community locally and nationally.