Christina Bjørkøe Vidéos
pianiste danoise
- piano
- Royaume du Danemark
- pianiste, maître ou maîtresse de conférences
Dernière mise à jour
2024-05-04
Actualiser
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.
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.
Hansen Christina Bjørkøe Fini Henriques 2019
Provided to YouTube by NAXOS of America Canzonetta, Op. 27 No. 2 · Johannes Søe Hansen Works for Violin & Piano ℗ 2019 Dacapo Released on: 2019-06-21 Artist: Christina Bjørkøe Artist: Johannes Søe Hansen Composer: Fini Henriques Auto-generated by YouTube.
Hansen Christina Bjørkøe Fini Henriques 2019
Provided to YouTube by NAXOS of America Mazurka, Op. 35 · Johannes Søe Hansen Works for Violin & Piano ℗ 2019 Dacapo Released on: 2019-06-21 Artist: Christina Bjørkøe Artist: Johannes Søe Hansen Composer: Fini Henriques Auto-generated by YouTube.
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- chronologie: Interprètes (Europe).
- Index (par ordre alphabétique): B...