Sdmks forårsfestival 20. 25. marts 2017



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SDMKs FORÅRSFESTIVAL

20.-25. marts 2017



Kære publikum!

Celloprofessor Niels Ullner – ansvarlig for tilrettelæggelsen af kammermusikundervisningen ved Syddansk Musikkonservatorium – byder velkommen til årets SDMK Forårsfestival 2017 med disse linjer:




Foråret er på vej og det markerer vi endnu en gang på Syddansk Musikkonservatorium med vores Forårsfestival, hvor et udsnit af de klassiske studerende får lejlighed til at fremvise lidt af deres repertoire.

I år lancerer vi et nyt koncept i forbindelse med festivalen, nemlig uropførelser af vores rytmiske komponister, udført af en blanding af rytmiske og klassiske studerende i et spændende samarbejde.
Koncertrækken består denne gang af 9 koncerter, hvoraf de tre afholdes i konservatoriets koncertsal, Islandsgade 2, Odense, som man snart kun kan besøge i hukommelsen, idet vi i løbet af sommeren 2017 flytter ind i det nyopførte ODEON. Vi glæder os til at kunne præsentere koncerter og masterclasses for jer, kære publikum, i de nye og yderst attraktive rammer, som ODEON udgør.
Ikke desto mindre er det svært at forlade det gamle konservatorium uden at dvæle lidt ved de mange gode kunstneriske og pædagogiske tanker og initiativer, der i tidens løb er strømmet igennem den gamle ombyggede skjortefabrik på Islandsgade. Længst vil vi nok kunne huske koncertsalen med dens fine akustik, som trods husets klare begrænsninger altid har været attraktiv for os alle; studerende, lærere, publikum og samtidigt et yderst eftertragtet lokale i forbindelse med CD-indspilninger.
Det må vist være på sin plads med et kærligt ”Tak for denne gang! ”
Vi glæder os til at se jer til Forårsfestivalen, hvad enten det bliver i koncertsalen, på Odense Musikbibliotek, i Graabrødre Klosterkirke, Vor Frue Kirke i Svendborg, Sdr. Nærå Kirke, BRANDTS eller SDU.
Hjerteligt velkommen,
Niels Ullner

celloprofessor SDMK

koordinator for kammermusik og orkesterprojekter


ÅBNINGSKONCERT

Mandag den 20. marts 2017 kl. 19.00

SDMKs koncertsal

Islandsgade 2

5000 Odense C




PROGRAM:
Francis Poulenc: Sonate for fløjte og klaver (1957)

1899-1963 Allegro malincolico

Cantilena, assez lent

Presto giocoso

Ramunas Reckus, fløjte

Marcus Bernack Larsen, klaver

Anna Roemer: 5000 Bridges (2016) - UROPFØRELSE

f.1987 - Impressions from Venice in 4 movements

Stine Danving, sopran

Idunn Pil Søndergaard, bratsch

Matias Emil Engholm Fyhn, cello

Patryk Strycharczyk, kontrabas

Josef Dyring Madsen, horn

Jonas Thygesen, slagtøj

Tuomas Gabriel Korhonen, klaver

Andrzej Jarosinski, effekter

Niels Ullner, dirigent

Mikkel Aagaard Nielsen: Nous sommes (2016) - UROPFØRELSE

f.1990

Lasse Valentin, trompet



Vaclav Naus, trompet

Pernille Nygaard Nielsen, trompet

Mikkel Aagaard Nielsen, basun

Mette Naomi Nielsen, basun

Andreas Clemmensen, basun

Giovanni Morisco, tuba

Malte Magnus Vendelby Nielsen, percussion

Laurids Madsen, percussion

Oskar Hjorth, pauke og lilletromme

Daniel Rahbek Jones, vibrafon

Jeppe Malthe Mangaard, klaver

Niels Ullner, dirigent



PROGRAM:
Sergej Rachmaninov: af: Cellosonate i g-mol, opus 19

1873-1943 3. Sats - Andante

Mikolaj Blaszczyk, cello

Janus Høgfeldt Araghipour, klaver


Per Nørgård Uddrag fra ”I Ching” (1982)

f. 1932 3. sats The Gentle, the Penetrating

Jonas Thygesen, slagtøj

Maurice Ravel: Chansons Madécasses (1925-26)

1875-1937 Nahandove

Aoua

Il est doux



Louise Sletting Hvilborg, mezzosopran

Janus Høgfeldt Araghipour, klaver

Alexandra Eugenia Pana, fløjte

Mikolaj Blaszczyk, cello


Nahandove Nahandove

Nahandove, ô belle Nahandove! L’oiseau nocturne a commencé ses cris, Nahandove O beautiful Nahandove! The night bird has begun its song, the

La pleine lune brille sur ma tëte, et la rosée naissante humecte mes full moon bathes my head and the earliest dew moistens my hair. This is the

Cheveux. Voici l’heure; qui peut t’arrêté, Nahandove, ô belle Nahandove! Hour; who can stop you, Nahandove, O beautiful Nahandove!


Le lit de feuilles est préparée de fleurs et d’herbes odoriférent; il est digne The leafy bed is ready; I have strewn it with flowers and scented herbs; it is

De tes charmes, Nahandove, ô belle Nahandove! Worthy of your charms, Nahandove, O beautiful Nahandove!


Elle vient. J’ai reconnu la respiration précipité que donne une marche She comes. I recognized the rapid breathing of one who hurries; I hear the

Rapide; j’entends le froissement de la pagne qui l’enveloppe; c’est elle, c’est rustling of the cloth wrapped around her loins; it is she! It is Nahandove, the

Nahandove, la belle Nahandove! Beautiful Nahandove!
Ô reprends haleine, ma jeune amie; repose-toi sur mes genoux. Que ton Oh, catch your breath, my young love, rest on my lap. How bewitching your

Regard est enchanteur! Que le mouvement de ton sein est vif et délicieux gaze, how live and deliciously your breast stirs under the hand that presses

Sous la main qui le presse! Tu souris, Nahandove, ô belle Nahandove! It! You smile, Nahandove, O beautiful Nahandove!
Tes baisers pénètrent jusqu’à l’âime; tes caresses brûlent tous mes sens: Your kisses penetrate my heart; your caresses light my senses afire: enough!

Arête, ou je vais mourir. Meurt-on de volupté, Nahandove, ô belle or I shall die! Can one die of voluptuous pleasure, Nahandove, O beautiful

Nahandove! Nahandove!
Le Plaisir passe comme un éclair. Ta douce haleine s’affaiblit, tes yeux Pleasure passes like a lightning bolt. Now your sweet panting grows gentler,

Humides se referment, ta tête se penche mollement, et tes transports your brimming eyes close, your head droops in weariness, and our rapture

S’éignent dans la languer. Jamais tu ne fût si belle, Nahandove, ô belle gives way to languor; yet never have you been so beautiful, Nahandove, O

Nahandove! Beautiful Nahandove!


Tu pars, et je vais languir dans les regrets et les désirs. Je languirai jusqu’au You depart, and I shall languish alone in longing and desire, until nightfall.

Soir. Tu reviendras ce soir, Nahandove, ô belle Nahandove! You will return at nightfall, Nahandove, O beautiful Nahandove!



PROGRAM:
Mèfiez-vous des blancs Beware The White Man

Aoua! Aoua! Mèfiez-vous des blancs, habitants du rivage. Du temps de nos Aoua! Aoua! Beware the white man, riverbank dwellers! In our fathers’

Pères, des blancs descendirent dans cette île. On leur dit: Voila des terres, time, white men set foot on thi sisland. They were told “here is land, let

Que vos femmes les cultivent; soyez justes, soyez bons, et devenez nos frères. Your women work it, be just, be good, make yourselves our brothers.”


Les blancs promirent, et cependant ils faisoient des retranchemens. Un fort the white men promised and even so were making trenches. A menacing

Menaçant s’éleva; le tonnerre fut renfermé dans des bouches d’airain; leur fort arose, with thunder concealed in bronze mouths. Their priests tried to

Prêtres voulurent nous donner un Dieu que nous ne connaissons pas; ils give us a god we do not know; they ended by speaking of submission and

Parlèrent enfin d’obéissance et d’esclavage. Plutôt la mort! Le carnage fut slavery. We’d sooner die! The bloodbath was long and terrible, yet for all

Long et terrible; mais malgré la foudre qu’ils vomissoient et qui ecraisoit des the lightning bolts they spewed out, slaying army after army, they

Armées entières, ils furent tous exterminés. Aoua! Aoua! Mèfiez-vous des themselves were exterminated. Aoua! Aoua! Beware the whithe man!

Blancs, habitants du ravage.
Nous avons vu de nouveaux tyrans, plus forts et plus nombreux, planter leur We then saw new tyrants, even stronger and more numerous, setting up tents

Pavillon sur le ravage. Le ciel a combattu pour nous. Il a fait tomber sur eux on our shores. The heavens took up our battle. It unleashed on them rains,

Les pluis, les tempêtes et les vents empoisonnés Ils ne son plus, et nous tempests and poisonous winds. They are gone and we, we live free. Aoua!

Vivons, et nous vivons libre. Aoua! Aoua! Mèfiez-vous des blancs, habitants Aoua! Beware the white man, riverbank dwellers!

De rivage.

Il est doux de se coucher It is good

Il est doux de se coucher, Durant la chaleur, sous un arbre touffu, et It is good to lie down in the heat of the day under a leafy tree, and to wait

D’attendre que le vent du soir amène la fraÎcheur. Thus till the evening wind brings a cooling breath.
Femmes, approchez. Tandis que je me repose ici sous un arbre touffu, Women, come to me. While I take my rest under this leafy tree, delight my

Occupez mon Oreille par vos accens prolongés. Rèpétez la chanson de la ear with your soothing voices. Sing again the song of the young girl while

Jeune fille, lorsque ses doigts tressent la natte, or lorsqu’assise auprès du she braids her hair or, seated by the rice patch, chases off the greedy birds.

Riz, elle chasse les oiseux avides.


Le chant plait à mon âme. La danse est pour moi Presque aussi douce qu’un This singing is pleasing to my soul. For me their dancing is almost as sweet

Baiser. Que vos pas soient lent; qu’ils imitent les attitudes du plaisir et as a kiss. Move slowly; let your steps mime the poses of pleasure and the

L’abandon de la volupté. Surrender to voluptuous bliss.
Le vent du soir se lève; la lune commence à briller au travers des arbres de The evening wind arises, the moon begins to glimmer through the trees on

La montagne. Allez, et prèparez le repas. The mountain side. Go now, prepare the meal.




Præsentation og tilrettelæggelse: Professor Niels Ullner

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KONCERT HOS GRÅBRØDRENE

Tirsdag den 21. marts 2017 kl. 17.00

Graabrødre Klosterkirke

Graabrødreplads 1

5000 Odense C




PROGRAM:
Johann Sebastian Bach: "Ich folge dir gleichfalls" fra Johannespassionen

1685-1750 Stine Danving, sopran

Alexandra Eugenia Pana, fløjte

Fida Jamila Mahmoud Issa, cembalo

Filippa Westerberg, cello

Ich folge dir gleichfalls mit freudigen Schritten I follow you likewise with joyful steps

Und lasse dich nicht, and do not leave you

Mein Leben, mein Licht. my life, my light.

Befördre den Lauf Bring me on my way

Und höre nicht auf, and do not cease

Selbst an mir zu ziehen, zu schieben, zu bitten. to pull, push and urge me on.

Henry Eccles: af: Sonate i g-mol

1668-1735 1. sats - Largo

4. sats – Allegro

Annemarie Nørhede Jakobsen, bratsch

Michal Karban, accordeon

Jean-Baptiste Barrière: Sonate i G-dur for to celli

1707-1747 Andante

Adagio

Allegro prestissimo



Anna Tulissi, cello

Niels Ullner, cello

Paul Hindemith: Solosonate opus 25.4

1895-1963 1 Sehr lebhaft.Markiert und kraftvoll

2 Sehr langsame Viertel

3 Finale. Lebhafte Viertel

Tomas Hanousek, bratsch

PROGRAM:
Sylvie Bodorová: ”Gila Rome” – Meditation for Viola Solo

f.1954 Distante e rubato

Impetuoso

Distante. Audace

Tomas Hanousek, bratsch

Georg Philip Telemann Sonate i a-mol

1681-1757 Affettuoso

Vivace


Grave

Menuett


Ramunas Reckus, fløjte

Iben Bøgvad Kejser, violin

Mathias Kofoed Mortensen, guitar

Præsentation og tilrettelæggelse: Professor Niels Ullner
BIBLIOTEKSKONCERT

Onsdag den 22. marts 2017 kl. 16.00

Odense Musikbibliotek

Østre Stationsvej 33

5000 Odense C



PROGRAM:
Wolfgang Amadeus Mozart: af: Hornkoncert nr. 3 i Es-dur (1787)

1756-1791 1. sats – Allegro

2. sats - Romanze

Morten Mosegaard, horn

Mathias Hansen, klaver
Johannes Brahms: af: Sonate i Es-dur opus 120.2 for bratsch (orig. klarinet) og klaver (1894)

1833-1897 1. sats - Allegro amabile

3. sats - Andante con moto, Allegro

Annemarie Nørhede Jakobsen, bratsch



Emil Thorbjørn Møller Jensen, klaver
Sergej Rachmaninov: af: Cellosonate i g-mol, opus 19

1873-1943 3. sats - Andante

Mikolaj Blaszczyk, cello

Janus Høgfeldt Araghipour, klaver


Henri Dutilleux: Sonatine for fløjte og klaver

1916-2013 Allegretto

Andante

Animé


Karen Marie Sørensen, fløjte

Jeppe Malthe Mangaard, klaver


Astor Piazzolla: Tango Fugata

1921-1992

Kristyna Duchonova, violin

Vaeis Omar, guitar

Martina Petrouova, accordeon

Tove Landahl, klaver

Benjamin Gower-Poole, bas
Maurice Ravel: Chansons Madecasses (1925-26)

1875-1937 Nahandove

Aoua

Il est doux



Louise Sletting Hvilborg, mezzosopran

Janus Høgfeldt Araghipour, klaver

Alexandra Eugenia Pana, fløjte

Mikolaj Blaszczyk, cello




PROGRAM:
Nahandove Nahandove

Nahandove, ô belle Nahandove! L’oiseau nocturne a commencé ses cris, Nahandove O beautiful Nahandove! The night bird has begun its song, the

La pleine lune brille sur ma tëte, et la rosée naissante humecte mes full moon bathes my head and the earliest dew moistens my hair. This is the

Cheveux. Voici l’heure; qui peut t’arrêté, Nahandove, ô belle Nahandove! Hour; who can stop you, Nahandove, O beautiful Nahandove!


Le lit de feuilles est préparée de fleurs et d’herbes odoriférent; il est digne The leafy bed is ready; I have strewn it with flowers and scented herbs; it is

De tes charmes, Nahandove, ô belle Nahandove! Worthy of your charms, Nahandove, O beautiful Nahandove!


Elle vient. J’ai reconnu la respiration précipité que donne une marche She comes. I recognized the rapid breathing of one who hurries; I hear the

Rapide; j’entends le froissement de la pagne qui l’enveloppe; c’est elle, c’est rustling of the cloth wrapped around her loins; it is she! It is Nahandove, the

Nahandove, la belle Nahandove! Beautiful Nahandove!
Ô reprends haleine, ma jeune amie; repose-toi sur mes genoux. Que ton Oh, catch your breath, my young love, rest on my lap. How bewitching your

Regard est enchanteur! Que le mouvement de ton sein est vif et délicieux gaze, how live and deliciously your breast stirs under the hand that presses

Sous la main qui le presse! Tu souris, Nahandove, ô belle Nahandove! It! You smile, Nahandove, O beautiful Nahandove!
Tes baisers pénètrent jusqu’à l’âime; tes caresses brûlent tous mes sens: Your kisses penetrate my heart; your caresses light my senses afire: enough!

Arête, ou je vais mourir. Meurt-on de volupté, Nahandove, ô belle or I shall die! Can one die of voluptuous pleasure, Nahandove, O beautiful

Nahandove! Nahandove!
Le Plaisir passe comme un éclair. Ta douce haleine s’affaiblit, tes yeux Pleasure passes like a lightning bolt. Now your sweet panting grows gentler,

Humides se referment, ta tête se penche mollement, et tes transports your brimming eyes close, your head droops in weariness, and our rapture

S’éignent dans la languer. Jamais tu ne fût si belle, Nahandove, ô belle gives way to languor; yet never have you been so beautiful, Nahandove, O

Nahandove! Beautiful Nahandove!


Tu pars, et je vais languir dans les regrets et les désirs. Je languirai jusqu’au You depart, and I shall languish alone in longing and desire, until nightfall.

Soir. Tu reviendras ce soir, Nahandove, ô belle Nahandove! You will return at nightfall, Nahandove, O beautiful Nahandove!



Mèfiez-vous des blancs Beware The White Man

Aoua! Aoua! Mèfiez-vous des blancs, habitants du rivage. Du temps de nos Aoua! Aoua! Beware the white man, riverbank dwellers! In our fathers’

Pères, des blancs descendirent dans cette île. On leur dit: Voila des terres, time, white men set foot on thi sisland. They were told “here is land, let

Que vos femmes les cultivent; soyez justes, soyez bons, et devenez nos frères. Your women work it, be just, be good, make yourselves our brothers.”


Les blancs promirent, et cependant ils faisoient des retranchemens. Un fort the white men promised and even so were making trenches. A menacing

Menaçant s’éleva; le tonnerre fut renfermé dans des bouches d’airain; leur fort arose, with thunder concealed in bronze mouths. Their priests tried to

Prêtres voulurent nous donner un Dieu que nous ne connaissons pas; ils give us a god we do not know; they ended by speaking of submission and

Parlèrent enfin d’obéissance et d’esclavage. Plutôt la mort! Le carnage fut slavery. We’d sooner die! The bloodbath was long and terrible, yet for all

Long et terrible; mais malgré la foudre qu’ils vomissoient et qui ecraisoit des the lightning bolts they spewed out, slaying army after army, they

Armées entières, ils furent tous exterminés. Aoua! Aoua! Mèfiez-vous des themselves were exterminated. Aoua! Aoua! Beware the whithe man!

Blancs, habitants du ravage.
Nous avons vu de nouveaux tyrans, plus forts et plus nombreux, planter leur We then saw new tyrants, even stronger and more numerous, setting up tents

Pavillon sur le ravage. Le ciel a combattu pour nous. Il a fait tomber sur eux on our shores. The heavens took up our battle. It unleashed on them rains,

Les pluis, les tempêtes et les vents empoisonnés Ils ne son plus, et nous tempests and poisonous winds. They are gone and we, we live free. Aoua!

Vivons, et nous vivons libre. Aoua! Aoua! Mèfiez-vous des blancs, habitants Aoua! Beware the white man, riverbank dwellers!

De rivage.

Il est doux de se coucher It is good

Il est doux de se coucher, Durant la chaleur, sous un arbre touffu, et It is good to lie down in the heat of the day under a leafy tree, and to wait

D’attendre que le vent du soir amène la fraÎcheur. Thus till the evening wind brings a cooling breath.
Femmes, approchez. Tandis que je me repose ici sous un arbre touffu, Women, come to me. While I take my rest under this leafy tree, delight my

Occupez mon Oreille par vos accens prolongés. Rèpétez la chanson de la ear with your soothing voices. Sing again the song of the young girl while

Jeune fille, lorsque ses doigts tressent la natte, or lorsqu’assise auprès du she braids her hair or, seated by the rice patch, chases off the greedy birds.

Riz, elle chasse les oiseux avides.


Le chant plait à mon âme. La danse est pour moi Presque aussi douce qu’un This singing is pleasing to my soul. For me their dancing is almost as sweet

Baiser. Que vos pas soient lent; qu’ils imitent les attitudes du plaisir et as a kiss. Move slowly; let your steps mime the poses of pleasure and the

L’abandon de la volupté. Surrender to voluptuous bliss.
Le vent du soir se lève; la lune commence à briller au travers des arbres de The evening wind arises, the moon begins to glimmer through the trees on

La montagne. Allez, et prèparez le repas. The mountain side. Go now, prepare the meal.



Præsentation og tilrettelæggelse: Professor Niels Ullner


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KAMMERMUSIK MED SANG

Onsdag den 22. marts 2017 kl. 19.00

SDMKs koncertsal

Islandsgade 2

5000 Odense C




PROGRAM:
Robert Schumann: af: ”Myrthenlieder” opus 25 (1840)

1810-1856 1. Widmung

2. Freisinn

3. Der Nussbaum

Sofia Frandsen Warden, sopran

Madeleine Löfdahl, klaver


1. Widmung 3. Der Nussbaum

Du meine Seele, du mein Herz, Es grünet ein Nussbaum vor dem Haus,

du meine Wonn‘, o du mein Schmerz, duftig,

du meine Welt, in der ich lebe, luftig

mein Himmel du, darein ich schwebe, breitet er blättrig die Blätter aus.

o du mein Grab, in das hinab

ich ewig meinen Kummer gab. Viel liebliche Blüten stehen dran;

linde


winde

2. Freisinn Kommen, sie herzlich zu umfahn.

Lasst mich nur auf meinem Sattel gelten!

Bleibt in euren Hütten, euren Zelten! Es flüstern je zwei zu zwei gepaart,

Und ich reite froh in alle Ferne, neigend,

über meiner Mütze nur die Sterne. beugend

zierlich zum Kusse die Häuptchen zart.

Er hat euch die Gestirne gesetzt

als Leiter zu Land und See; Sie flüstern von einem Mägdlein,

damit ihr euch daran ergötzt, das dächte

stets blickend in die Höh. die Nächte

und Tagelang, wusste, ach! Selber nicht was.
Sie flüstern – wer mag verstehn so gar

leise


weis –

flüstern von Bräut‘gam und nächstem Jahr.


Das Mägdlein horchet, es rausch im Baum;

sehnend,

wähnend

sinkt es lächelnd in Schlaf und Traum.



PROGRAM:
Viktor Ullmann: ”Herbst” for mezzosopran og strygetrio

1898-1944

Anna Ström, mezzo

Metia Pi Mørup-Larsen, violin

Annemarie Nørhede Jakobsen, bratsch

Matias Emil Engholm Fyhn, cello

Samuel Barber: "Hermit Songs" opus 29 (1953)

1910-1981

Louise Sletting Hvilborg, sopran

Emil Thorbjørn Møller Jensen, klaver


1. At Saint Patrick’s Purgatory 2. Church bell at night

Pity me on my pilgrimage to Loch Derg! Sweet little bell, struck on a windy night,

O King of the churches and the bells I would liefer keep tryst with thee

Bewailing your sores and your wounds, than be with a light and foolish woman.

But not a tear can I squeeze from my eyes!

Not moisten an eye after so much sin! 4. The heavenly banquet

Pity me, O King! I would like to have the men of Heaven in my own house;

What shall I do with a heart that seeks only its own ease? With vats of good cheer laid out for them.

O only begotten Son by whom all men were made, I would like to have the three Mary’s,

Who shunned not the death by three wounds, pity me their fame is so great.

on my pilgrimage to Loch Derg I would like people from every corner of Heaven.

And I with a heart not softer than a stone! I would like them to be cheerful in their drinking.

I would like to have Jesus sitting here among them.

3. Saint Ita’s vision I would like a great lake of beer for the King of Kings.

“I will take nothing from my Lord,” said she, I would like to be watching Heaven’s family

“unless He gives me His Son from Heaven drinking it through all eternity.

In the form of a Baby that I may nurse Him”.

So that Christ came down to her 5. The crucifixion

In the form of a Baby and then she said: At the cry of the first bird

“Infant Jesus, at my breast, they began to crucify Thee, O Swan!

Nothing in this world is true Never shall lament cease because of that.

Save, O tiny nursling, You. It was like the parting of day from night.

Infant Jesus at my breast, Ah, sore was the suffering borne

By my heart every night, By the body of Mary’s Son,

You I nurse are not a churl But sorer still to Him was the grief

But were begot on Mary the Jewess which for His sake

By Heaven’s light. Came upon His Mother.

Infant Jesus at my breast,

What King is there but You who could 6. Sea-snatch

Give everlasting good? It has broken us, it has crushed us,

Wherefore I give my food. It has drowned us, O King of the starbright

Sing to Him, maidens, sing your best! Kingdom of Heaven!

There is none that has such right The wind has consumed us, swallowed us,

To your song as Heaven’s King as timber is devoured by crimson fire from Heaven.

Who every night It has broken us, it has crushed us,

Is Infant Jesus at my breast”. It has drowned us, O King of the starbright Kingdom of Heaven!

PROGRAM:
7. Promiscuity 9. The praises of God

I do not know with whom Edan will sleep, How foolish the man who does not raise

But I do know that fair Edan will not sleep alone. His voice and praise with joyful words,

As he alone can, Heaven’s High King.



8. The monk and his cat To whom the light birds with no soul but air,

Pangur, white pangur, all day, everywhere laudations sing.

How happy we are

Alone together, Scholar and cat. 10. The desire for hermitage

Each has his own work to do daily; Ah! To be all alone in a little cell

For you it is hunting, for me study. With nobody near me;

Your shining eye watches the wall; beloved that pilgrimage before the last pilgrimage to death.

My feeble eye is fixed on a book. Singing the passing hours to cloudy Heaven;

You rejoice when your claws entrap a mouse; feeding upon dry bread and water from the cold spring.

I rejoice when my mind fathoms a problem. That will be an end to evil when I am alone

Pleased with his own art in a lovely little corner among tombs

Neither hinders the other; far from the houses of the great.

Thus we live ever Ah! To be all alone in a little cell, to be alone, all alone:

Without tedium and envy. Alone I came into the World

Pangur, white pangur, alone I shall go from it.

How happy we are

Alone together, Scholar and cat.

Henri Dutilleux: Sonatine for fløjte og klaver

1916-2013 Allegretto

Andante


Animé

Karen Marie Sørensen, fløjte

Jeppe Malthe Mangaard, klaver

Cesar Franck: "Panis Angelicus"

1845-1910

Andrei Iulian Venczel, kontratenor

Mikolaj Blaszczyk, cello

Gabriel Molin-Hessérus, klaver



Panis angelicus Heavenly Bread

Panis angelicus Heavenly bread

Fit panis hominum; that becomes the bread for all mankind;

Dat panis coelicus bread from the angelic host

Figuris terminum; that is the end of all imaginings;

O res mirabilis! Oh, miraculous thing!

Manducat Dominum This body of God will nourish

Pauper, pauper even the poorest,

Servus et humilis. the most humble of servants.

Pauper, pauper Even the poorest,

Servus et humilis. The most humble of servants.

PROGRAM:

Jaques Ibert: "Deux Stêles Orientées" for mezzosopran og fløjte

1890-1962

Anna Caroline Olesen, mezzo

Ramunas Reckus, fløjte

Gustav Holst: Four Songs for soprano and violin, opus 35 (1916)

1874-1934 1. Jesu Sweet

2. My soul has nought but fire and ice

3. I sing of a maiden

4. My Leman is so true

Louise Sletting Hvilborg, sopran

Gitana Aksionova-Balaban, violin



1. Jesu Sweet 2. My soul has nought but fire and ice

Jesu Sweet, now will I sing My soul has nought but fire and ice

To Thee a song of love longing; and my body earth and wood:

Do in my heart a quick well spring Pray we all the Most High King

Thee to love above all thing. Who is the Lord of our last doom,

That He should give us just one thing

Jesu Sweet, my dim heart’s gleam that we may do His will.

Brighter than the sunnèbeam!

As thou wert born in Bethlehem

Make in me thy lovèdream.


Jesu Sweet, my dark heart’s light

Thou art day withouten night;

Give me strength and eke might

For to loven Thee aright.


Jesu Sweet, well may he be

That in Thy bliss Thyself shall see:

With love cords then draw Thou me

That I may come and dwell with Thee.



PROGRAM:
3. I sing of a maiden 4. My Leman is so true

I sing of a maiden My Leman is so true

That matchless is. Of love and full steadfast

King of all Kings yet seemeth ever new

Was her Son iwis. His love is on us cast.
He came all so still, I would that all Him knew

Where His mother was and loved Him firm and fast,

As dew in April they never would it rue

That falleth on the grass: but happy be at last.


He came all so still, He lovingly abides

To His mother’s bower although I stay full long

As dew in April He will me never chide

That falleth on flower. Although I choose the wrong.


He came all so still, He says “Behold, my side

Where His mother lay and why on Rood I hung;”

As dew in April for my love leave thy pride

That formeth on spray. And I thee underfong.


Mother and maiden I’ll dwell with Thee believe,

Was ne’er none but she: Leman, under Thy tree.

Well may such a lady May no pain e’er me grieve

God’s mother be. Nor make me from Thee flee.


I will in at Thy sleeve

All in Thine heart to be;

Mine heart shall burst and cleave

Ere untrue Thou me see.

Vaughan Williams: Four Hymns for tenor, viola and piano (1914)

1872-1958 1. Lord! Come Away!

2. Who is this fair one?

3. Come Love Come Lord

4. Evening Hymn

Kristoffer Emil Appel, tenor

Sofia Kongsgaard Lang, bratsch

Peter Bryld, klaver



PROGRAM:
1. Lord! Come away! 2. Who is this fair one?

Lord! Come away! Who is this fair one in distress,

Why dost Thou stay? That travels from the wilderness,

Thy road is ready; and Thy paths, made straight and press’d with sorrows and with sins,

With longing expectation, wait on her beloved Lord she leans?

The consecration of Thy beauteous feet!

Ride on triumphantly! This is the spouse of Christ our God,

Behold we lay our lusts and proud wills in Thy way! Bought with the treasures of his blood,

And her request and her complaint

Hosanna! Welcome to our hearts! Lord, here is but the voice of ev’ry saint:

Thou hast a temple too; and full as dear

As that of Sion, and as full of sin: “O let my name engraven stand

Nothing but thieves and robbers dwell therein; both on Thy heart and on Thy hand;

Enter, and chase them forth, and cleanse the floor! Seal me upon Thine arm and wear

Crucify them, that they may never more that pledge of love for ever there.

Profane that holy place

Where Thou hast chose to set Thy face! Stronger than death Thy love is known

And then, if our stiff toungues shall be which floods of wrath could never drown,

Mute in the praises of Thy Deity, and hell and earth in vain combine

The stones out of the temple wall to quench a fire so much divine.

Shall cry aloud and call

“Hosanna!” and Thy glorious footsteps greet! But I am jealous of my heart,

Lest it should once from Thee depart;

3. Come Love, come Lord The let my name be well impress’d

Come Love, come Lord, and that long day As a fair signet on Thy breast.

For which I languish, come away.

When this dry soul those eyes shall see Till Thou has brought me to Thy home,

And drink the unseal’d source of Thee, Where fears and doubts can never come,

When glory’s sun faith’s shades shall chase, Thy countenance let me often see,

Then for Thy veil give me Thy face. And often shalt Thou hear from me:
Come, my beloved, haste away,

Cut short the hours of Thy delay,

Fly like a youthful hart or roe

Over the hills where spices blow.”



PROGRAM:
4. Evening Hymn

O gladsome Light, Father of might unknown,

O Grace of God the Father’s face, Thee, His incarnate Son,

The eternal spendour wearing; and Holy Spirit adoring.


Celestial holy, blest, To Thee of right belongs

Our Saviour, Jesus Christ, all praise of holy songs,

Joyful, joyful in Thine appearing: O Son of God, Lifegiver;
Now ere day fadeth quite, Thee, therefore, O Most High,

We see the evening light, the world doth glorify,

Our wonted hymn outpouring; and shall exalt for ever.

Michal Nienadowski: Spring Adventure Suite – UROPFØRELSE

f. 1990 Green Village

Mirror Of Twilight

All Day I Hear The Noise Of Waters

Jara Kanzler Hemmet, mezzosopran

Francesca Salvatucci, violin

Tilde Millard Nykjær, violin

Cecilie Sønderskov Hansen, blokfløjte

Lasse Specht Jacobsen, klarinet

Anders Ejby Lauritzen, guitar

Michal Nienadowski, klaver



Præsentation og tilrettelæggelse: Professor Niels Ullner

KIRKEKONCERT

Onsdag den 22. marts 2017 kl. 19.30

Sdr. Nærå Kirke

Kirkegade 9

5792 Årslev




PROGRAM:
Johann Sebastian Bach: "Ich folge dir gleichfalls" fra Johannespassionen

1685-1750 Stine Danving, sopran

Alexandra Eugenia Pana, fløjte

Fida Jamila Mahmoud Issa, cembalo

Filippa Westerberg, cello
Ich folge dir gleichfalls mit freudigen Schritten I follow you likewise with joyful steps

Und lasse dich nicht, and do not leave you

Mein Leben, mein Licht. my life, my light.

Befördre den Lauf Bring me on my way

Und höre nicht auf, and do not cease

Selbst an mir zu ziehen, zu schieben, zu bitten. to pull, push and urge me on.

Jean-Baptiste Barrière: Sonate i G-dur for to celli

1707-1747 Andante

Adagio

Allegro prestissimo



Anna Tulissi, cello

Niels Ullner, cello


Sylvie Bodorová: ”Gila Rome” – Meditation for Viola Solo

f.1954 Distante e rubato

Impetuoso

Distante. Audace

Tomas Hanousek, bratsch
Benjamin Britten: ”Folk Songs” for sang og guitar

1913-1976

Andreas Klingberg Bigom, tenor

Vaëis Omar, guitar


Astor Piazzolla: Tango Fugata

1921-1992

Kristyna Duchonova, violin

Vaeis Omar, guitar

Martina Petrouova, accordeon

Tove Landahl, klaver

Benjamin Gower-Poole, bas

Tilrettelæggelse: Professor Niels Ullner

FROKOSTKONCERT PÅ SDU

Torsdag den 23. marts 2017 kl. 12.00

Campustorvet

Campusvej 55

5230 Odense M




PROGRAM:
Wolfgang Amadeus Mozart: af: Hornkoncert nr. 3 i Es-dur (1787)

1756-1791 1. sats – Allegro

2. sats - Romanze

Morten Mosegaard, horn

Mathias Hansen, klaver
Henry Eccles: af: Sonate i g-mol

1668-1735 1. sats - Largo

4. sats – Allegro

Annemarie Nørhede Jakobsen, bratsch

Michal Karban, accordeon
Jean-Baptiste Barrière: Sonate i G-dur for to celli

1707-1747 Andante

Adagio

Allegro prestissimo



Anna Tulissi, cello

Niels Ullner, cello


Robert Schumann: af: ”Myrthenlieder” opus 25 (1840)

1810-1856 Widmung

Freisinn

Der Nussbaum

Sofia Frandsen Warden, sopran

Madeleine Löfdahl, klaver


Vaughan Williams: Four Hymns for tenor, viola and piano (1914)

1872-1958 Lord! Come Away!

Who is this fair one?

Come Love Come Lord

Evening Hymn

Kristoffer Emil Appel, tenor

Sofia Kongsgaard Lang, bratsch

Peter Bryld, klaver



Præsentation og tilrettelæggelse: Professor Niels Ullner


KONCERT I VOR FRUE (Svendborg)

Torsdag den 23. marts 2017 kl. 19.30

Vor Frue Kirke

Frue Kirkestræde 4

5700 Svendborg




PROGRAM:
Jean-Baptiste Barrière: Sonate i G-dur for to celli

1707-1747 Andante

Adagio

Allegro prestissimo



Anna Tulissi, cello

Niels Ullner, cello

Henry Eccles: af: Sonate i g-mol

1668-1735 1. sats - Largo

4. sats – Allegro

Annemarie Nørhede Jakobsen, bratsch

Michal Karban, accordeon

Georg Philip Telemann Sonate i a-mol

1681-1757 Affettuoso

Vivace


Grave

Menuett


Ramunas Reckus, fløjte

Iben Bøgvad Kejser, violin

Mathias Kofoed Mortensen, guitar

Paul Hindemith: Solosonate opus 25.4

1895-1963 1 Sehr lebhaft.Markiert und kraftvoll

2 Sehr langsame Viertel

3 Finale. Lebhafte Viertel

Tomas Hanousek, bratsch

Sylvie Bodorová: ”Gila Rome” – Meditation for Viola Solo

f.1954 Distante e rubato

Impetuoso

Distante. Audace

Tomas Hanousek, bratsch

PROGRAM:

Aulis Sallinen: Strygekvartet nr. 3, opus 19

f. 1935 ”Some Aspects of Peltoniemi Hintrik's Funeral March”

Caspar Præstegaard, violin

Iben Bøgvad Kejser, violin

Sofia Kongsgaard Lang, bratsch

Tori Restorff Jacobsen, cello

Franz Schubert: Kvartetsats i c-mol

1797-1828

Caspar Præstegaard, violin

Iben Bøgvad Kejser, violin

Sofia Kongsgaard Lang, bratsch

Tori Restorff Jacobsen, cello

Præsentation og tilrettelæggelse: Professor Niels Ullner


c:\users\jr\desktop\fredag-030.jpg

MUSEUMSKONCERT PÅ BRANDTS

Fredag den 24. marts 2017 kl. 15.30

Brandts


Brandts Torv 1

5000 Odense C




PROGRAM:
Franz Schubert: Kvartetsats i c-mol

1797-1828

Caspar Præstegaard, violin

Iben Bøgvad Kejser, violin

Sofia Kongsgaard Lang, bratsch

Tori Restorff Jacobsen, cello


Sylvie Bodorová: ”Gila Rome” – Meditation for Viola Solo

f.1954 Distante e rubato

Impetuoso

Distante. Audace

Tomas Hanousek, bratsch
Georg Philip Telemann Triosonate i a-mol

1681-1757 Affettuoso

Vivace

Grave


Menuett

Ramunas Reckus, fløjte

Iben Bøgvad Kejser, violin

Mathias Kofoed Mortensen, guitar


Henry Eccles: af: Sonate i g-mol

1668-1735 1. sats - Largo

4. sats – Allegro

Annemarie Nørhede Jakobsen, bratsch

Michal Karban, accordeon
Aulis Sallinen: Strygekvartet nr. 3, opus 19

f. 1935 ”Some Aspects of Peltoniemi Hintrik's Funeral March”

Caspar Præstegaard, violin

Iben Bøgvad Kejser, violin

Sofia Kongsgaard Lang, bratsch

Tori Restorff Jacobsen, cello




Præsentation og tilrettelæggelse: Professor Niels Ullner

BRUNCHKONCERT

Lørdag den 25. marts 2017 kl. 11.00

SDMKs koncertsal

Islandsgade 2

5000 Odense C



Entré kr. 50,- tilmelding til jmr@sdmk.dk + mobilepay: 20612084

(SDMK studerende gratis adgang)

PROGRAM:
Johannes Brahms: af: Sonate i Es-dur opus 120.2 for bratsch (orig. klarinet) og klaver (1894)

1833-1897 1. sats - Allegro amabile

3. sats - Andante con moto, Allegro

Annemarie Nørhede Jakobsen, bratsch



Emil Thorbjørn Møller Jensen, klaver

Samuel Barber: "Hermit Songs" opus 29 (1953)

1910-1981

Louise Sletting Hvilborg, sopran

Emil Thorbjørn Møller Jensen, klaver

Gustav Holst: Four Songs for soprano and violin, opus 35 (1916)

1874-1934

Louise Sletting Hvilborg, sopran

Gitana Aksionova-Balaban, violin

Anna Roemer: 5000 Bridges (2016)

f.1987 - Impressions from Venice in 4 movements

Stine Danving, sopran

Idunn Pil Søndergaard, bratsch

Matias Emil Engholm Fyhn, cello

Patryk Strycharczyk, kontrabas

Josef Dyring Madsen, horn

Jonas Thygesen, slagtøj

Tuomas Gabriel Korhonen, klaver

Andrzej Jarosinski, effekter

Niels Ullner, dirigent



Pause

PROGRAM:
Mikkel Aagaard Nielsen: Nous sommes (2016)

f.1990


Lasse Valentin, trompet

Vaclav Naus, trompet

Pernille Nygaard Nielsen, trompet

Mikkel Aagaard Nielsen, basun

Mette Naomi Nielsen, basun

Andreas Clemmensen, basun

Giovanni Morisco, tuba

Malte Magnus Vendelby Nielsen, percussion

Laurids Madsen, percussion

Oskar Hjorth, pauke og lilletromme

Daniel Rahbek Jones, vibrafon

Jeppe Malthe Mangaard, klaver

Niels Ullner, dirigent
Sergej Rachmaninov: af: Cellosonate i g-mol, opus 19

1873-1943 3. sats - Andante

Mikolaj Blaszczyk, cello

Janus Høgfeldt Araghipour, klaver

Astor Piazzolla: Tango Fugata

1921-1992

Kristyna Duchonova, violin

Vaeis Omar, guitar

Martina Petrouova, accordeon

Tove Landahl, klaver

Benjamin Gower-Poole, bas
Per Nørgård Uddrag fra ”I Ching” (1982)

f. 1932 3. sats The Gentle, the Penetrating

Jonas Thygesen, slagtøj
Maurice Ravel: Chansons Madecasses (1925-26)

1875-1937 Nahandove

Aoua

Il est doux



Louise Sletting Hvilborg, mezzosopran

Janus Høgfeldt Araghipour, klaver

Alexandra Eugenia Pana, fløjte

Mikolaj Blaszczyk, cello



Præsentation og tilrettelæggelse: Professor Niels Ullner


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