Geirr Tveitt Video
compositore, pianista classico, direttore d'orchestra, musicista accademico
- pianoforte
- opera, sinfonia
- Norvegia
Ultimo aggiornamento
2024-05-13
Aggiorna
Geirr Tveitt Beethoven 1908 1950 1955 1981
Geirr Tveitt +••.••(...)) - Piano Sonata No. 29, Op. 129, "Sonata Etere" (1950) I. In Cerca Di... Moderato [0:00] II. Tono Etereo in Variazoni. Tranquillo ma deciso [6:52] III. Tempo di Pulsazione [22:47] Geirr Tveitt, piano (1955) Geirr Tveitt's Piano Sonata No. 29 "Sonata Etere" is his only surviving piano sonata, as much of his work was lost in a fire in the 1970s. The sonata is in three movements and typically lasts around 30 minutes. The work notably features the use of radio technology to amplify resonance and achieve dynamic swells that are impossible on piano alone. "The sonata makes do with only two main themes, designated In Cerca Di (In search of, hereby referred to as the first theme) and Tono Etereo (ethereal tune, hereby referred to as the second theme) Both the themes of the work are introduced in the first movement. I. In Cerca Di... Measures 1-20 introduce the first theme. Subsequently, the second theme initiates a developmental exposition in which the two themes are frequently juxtaposed. The impression one gets from the collective development of the themes is one of simultaneous unity and duality: the two themes act as one, but are in opposition to each other. The developmental nature of this exposition is similar to traditional sonata procedure. There is a marked difference, however, in that the themes themselves retain their original form, rather than being chopped up into pieces as they would be in, say, a sonata by Beethoven. As developmental tools go, more emphasis is placed on alternating rhythmic patterns and shifts of key and accent. In measure 212 we reach a recapitulation. This section of the piece is an altered repeat of the beginning of the exposition. It retains many of the basic elements of the exposition but many facets, such as key, are changed. The recapitulation is broken off in measure 263 and leads to a coda: the first theme builds to a sonorous climax, and strains of the second theme close the movement. II. Tono Etereo in Variazoni This movement consists of 19 distinct sections. Most of the sections are variations on the second theme, but the movement breaks with traditional variations procedure by section 15 - from that point on the first theme is brought back in and the two themes undergo a common development which might remind one of the first movement. III. Tempo di Pulsazione This movement is a wild, ominous dance based on the first theme. The second theme does not feature here. This movement has a form identical to that of the first movement." (source: Wikipedia) Big thanks to Paeffill for sharing this score with me! * Ths recording differs from the score in quite a few sections. I'm not sure if some of these are misprints, mistakes in Tveitt's playing, or things that he revised in the years after the recording. The most notable difference is the ending, where he does not play the final E major chords. I think I prefer this ending anyway. *
Nils Henrik Asheim Edvard Grieg Geirr Tveitt Garner
Do the best classical works have anything to gain from transcription to the organ? What new dimensions can be explored? Nils Henrik Asheim attempts to answer these questions and more by transferring both Edvard Grieg’s “Ballade” and Geirr Tveitt’s “Hundrad Hardingtonar” to the concert organ’s color palette. This project has become one that should garner considerable interest! (http•••)k/asheim-grieg-and-tveitt
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
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