Knudåge Riisager Video
compositore danese
Commemorazioni 2024 (Morte: Knudåge Riisager)
- opera, sinfonia
- Danimarca
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2024-04-28
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Knudåge Riisager Peder Møller Otto Malling Peder Gram Albert Roussel Igor Stravinsky Grabner Lander Royal Danish Theatre 1900 1923 1925 1930 1956 1976 1997
00:00 - I. Allegro sereno 06:32 - II. Notturno (amoroso) 10:15 - III. Allegro leggiero 12:34 - IV. Allegro sciolto / Ensemble: Scandinavian Wind Quintet & Royal Danish String Quartet Year of Recording: 1997 / "Knudage Riisager was born in what is today Estonia of Danish parents. His father Emil Riisager was an engineer, and the family returned to Denmark in 1900 when Knudåge was three years old. He graduated from Copenhagen University where he received violin lessons from Peder Møller, and studied music theory under Otto Malling and Peder Gram. For many years he worked in a government job, and also as a composer. In 1923 he went to Paris to study with Albert Roussel and Paul Le Flem, where he experienced at first hand French neoclassicism and the music of Igor Stravinsky and Les Six. Later he also studied in Leipzig with Hermann Grabner. Knudåge Riisager's international fame is largely due to his extensive work in ballet music, which was primarily a result of collaboration with Harald Lander. The first work he composed for the Royal Danish Theatre was music for the ballet Benzin by Storm P. staged by Elna Ørnberg in 1930. Knudåge Riisager was also an industrious writer: his bibliography includes nearly 400 titles spread over six decades. In 1956–67 he was director of the Royal Danish Academy of Music. His compositions are stored in the Music and Theatre Department at the Royal Danish Library. He was a commander of the 1st degree in the Dannebrogordenen, and is buried at Tibirkegård." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Knudåge Riisager Erik Satie Arthur Honegger Bach Tivoli Concert Hall 1917 1923 1924 1926 1927 1976 2013
00:00 - I. T-DOXC "poème mécanique:" Quarter Note = 80 / Conductor: Bo Holten Orchestra: Aarhus Symphony Orchestra Year of Recording: 2013 / "Several of the radical tendencies one encounters in Riisager’s works in the first half of the 1920s are concentrated in T-DOXC (poeme mecanique) from 1926. In the first fair copy the work is called Jabiru T-DOXC and even earlier simply L’avion. The title that Riisager finally chose was the name of a then brand new type of commercial aircraft with nine seats which was introduced in Denmark in 1926. Writing music that described automobiles, ocean liners, industrial enterprises, trains and aircraft etc. was a hallmark of the Italian Futurists’ artistic agenda around the First World War. To this end several of them had developed sound-producing apparatuses, such that one could go beyond the limitations imposed by the traditional musical instrumentarium. If one did not make use of such aids, it was quite legitimate – as the Frenchman Erik Satie did in the ballet music for Parade (1917) – to include sound-makers such as a siren, a revolver, a typewriter and a wheel of fortune in the orchestra in order to get everyday sounds into the composition. However, it is far more likely that the inspiration for Riisager’s work must be sought in Arthur Honegger’s Mouvement symphonique No. 1 Pacific 231, which was composed in 1923, given its first performance in Paris on 8 May 1924 and published the same year. The work, which evokes a modern steam locomotive, was played for the first time in 12 13 Denmark at a concert in Dansk Filharmonisk Selskab on 30 March 1926. Like Honegger, Riisager renounces specially sound-painting instruments and instead exclusively uses a traditional symphony orchestra ensemble. In another newspaper article Riisager says of T-DOXC: “What I wanted to express in the composition is the mental sensations evoked in me by the sight of the aeroplane gliding over the vault of heaven. It appears as a dot in the distance – gradually sweeps forward like a swelling tension in the sky and loses itself again on the horizon, wrapped in its mantle of detonations. / It is not my intention to claim that the development of technology gives art new psychological content – but when one looks within oneself on the basis of the new technology and the many magnificent inventions, one will sense a new beauty arising and will be filled with a new aesthetic experience which is in principle different from everything one has earlier felt. / It has been a spiritual experience for me to gaze at the aeroplane swelling above me – and it is this experience, which can only be described in music, that I have wanted to express in ‘Jabiru T-Doxc’.” Although there are strong resemblances between Riisager’s and Honegger’s works, the differences between the two works are more striking. In Pacific 231 Honegger uses a strictly organized rhythmic acceleration – as an expression of the increasing and later decreasing speed of the locomotive – kept within the form of a chorale prelude of the kind familiar from J.S. Bach’s later works. Much of the thematic and motivic material in the work can be traced back to the bearing cantus firmus. While Honegger lets his orchestra work like a machine and actually seem to be a machine, Riisager tries to describe a mental mood evoked by the sight of the aeroplane; he does this by letting his instruments alternate and thus conjure up a late-Impressionistic soundscape. T-DOXC opens with mainly pentatonic chords, but soon a motoric rhythm begins in the violins – this is intensified and becomes an ostinato rhythmic figure. Thus the way is paved for the fast alternation of repeated rhythmic figures – for instance in the large percussion group – which takes the process forward to the culminations of the piece and the subsequent relaxations of tension towards the end, where material from the introduction returns in delicate pianissimo. Disregarding the introduction and the ending, the process is typified by a quick, almost restless alternation of motifs and short themes in various instrumentations. Here too the work differs from Pacific 231, where the chorale seems to bear the ‘object’ consistently through the orchestral texture. The work was given its first performance in the Tivoli Concert Hall on 3 September 1927, when Frederik Schnedler-Petersen stood on the podium."(Claus Røllum-Larsen) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Knudåge Riisager Fresco Hansen Christina Bjørkøe Erik Satie Igor Stravinsky Sergei Prokofiev Concert Royal 1923 1924 1925 1976 2011
00:00 - I. Fresco con ritmo 08:29 - II. Aequo animo 13:34 - III. Jocoso e risoluto / Violin: Johannes Søe Hansen Piano: Christina Bjørkøe Year of Recording: 2011 / "During his watershed stay in Paris in 1923, he composed Sonata for Violin and Piano No. 2, op. 5, and the next year, in April 1924, he completed a revision of the work. Like the early Romance, this sonata is also dedicated to the composer’s mother, but now the format of the work has grown crucially. His study period in Paris had fundamentally changed Knudage Riisager’s way of writing. For one thing he took lessons from highly respected teachers, for another he frequented a milieu where it was not only French music that made a strong impression on him; the new music of the period in general was present in ample quantities. Riisager’s sonata bears the imprint of these many different impressions, but if one were to mention the most important impulses, they must be Erik Satie, Igor Stravinsky and Sergei Prokofiev. In the first movement, though, one of the most salient features is the Romantic gesture; that is, the expansive treatment of melody with large intervals and the swelling harmonies which, it must be admitted, execute som drastic swerves and colour the musical progression in fascinating ways, but which trace their origins and mode of expression to the Romantic sonata style. In the third movement, however, the ties with the Romantic style have on the whole gone. The first subject, with its fourth leaps, its sharply drawn profile and its shifting time signatures, takes us into the tonal world of the 1920s. One notes that the first chord in the accompaniment is a hammered-out stacking of fourths and thus has a pentatonic sound. This sonata is a major work in Riisager’s production and is important to the understanding of his early development, in the sense that it contains prominent stylistic features from the works of the composers he had met during his stay in Paris, where he wrote the sonata in the course of the summer. Nevertheless it represents a stage in his development that he quickly put behind him; perhaps he himself felt the ties to the great Romantic tradition were too restrictive. At all events, in several of the works that he composed in the year after his time in Paris he was on his way towards something quite different – one hears this in works like Suite Dionysiaque op. 6 and the Sinfonietta for Eight Winds op. 7. Here the impulses from among others Satie and Stravinsky are far more conspicuous than in the sonata, which was given its first performance on 17th February 1925 by the violinist Karen Fridericia and the pianist Max Rytter in a concert at the Royal Danish Academy of Music in Copenhagen." (Claus Røllum-Larsen) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Knudåge Riisager Hansen Christina Bjørkøe 1917 1976 2011
00:00 - I. Aquarelle: Andante / Violin: Johannes Søe Hansen Piano: Christina Bjørkøe Year of Recording: 2011 / "Aquarelle is from 1917 and makes use of a far more developed harmony that has touches of early Impressionism, and which with its delicate expression fully matches the title Aquarelle – that is, watercolour painting. In these early years Riisager tried his hand at setting dissonances against pure triads, in final chords for example, and Aquarelle is a surprisingly successful example of this ‘experimental’ style of his youth." (Claus Røllum-Larsen) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
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