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Afontibus is an independent label and company for
releasing of CD recordings and performance of music established by violinist
Geir Inge Lotsberg and organist Kåre Nordstoga.
Ordering info:
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Prices:
Kr. 220,- (ATB-CD 1&2),
Kr. 165,-
(ATB-CD 3,4,5 & 9)
Kr. 300,- (ATB-CD 6-8)
plus Kr. 25 for shipping.
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Send e-mail: order at afontibus.no
The Afontibus cd's are all available as single tracks or complete albums
at a.o. iTunes and Musiconline.no.
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ATB-CD03:
Carl Nielsen:
Sonata for and Violin and Piano opus 9 and
Sonata for Violin and Piano opus 35 with Geir Inge Lotsberg
and Håvard
Gimse.
Preludium and Theme with variations opus 48 and Preludio and
Presto opus 52 for solo Violin with Geir Inge Lotsberg.
Carl Nielsen’s two sonatas for violin and piano, opus 9 and 35, have many
similarities. Their formal compositions are based on classical models in
which the dialogue between the instruments is important. The tonal phrases
and juxtapositions are bold and unexpected, and the development of motifs
is central to the structure. The tonal colour is rich, ranging widely from
complete gravity to sparkling humour. The 17 years that separate the two
sonatas cover substantial musical development for Nielsen, something that
is reflected in the obvious differences between the two works. The harmonies
in opus 35 are more audacious, using striking chromatics and powerful dissonances
with motifs that have become shorter than in the earlier piece. Both of
the sonatas are central to Nielsen’s oeuvre. At the times of their composition
they represented innovations that were significant to his later musical
development.
Carl Nielsen wrote the two pieces as violin solos at the request of the
violinist Emil Telmànyi. Nielsen, who was himself a violinist, used the
violin’s possibilities to their full extent. His creativity and instrumental
knowledge resulted in two rich and unmistakably distinctive pieces.
Prelude and Variations on a Theme, opus 48, from 1923, was composed for
the occasion of Telmànyi’s debut concert in London. The prelude is free
and improvisatory. The various moods hint at the richness of expression
in the main body of the work. The various harmonies of the prelude gather
and form the foundations for the key in the theme - F major. Each of the
eight variations is a fine character piece. They show how Nielsen with amazing
imagination expresses his musical ideas. As a finale after the last variation
a grandiose version of the theme returns with powerful double stopping.
Prelude and Presto, opus 52 from 1928 is one of Nielsen’s very last works.
It shows how broadly the development of Nielsen’s tonal language reached.
The similarities to the Prelude in opus 48 are obvious, but the structure
is even looser. The prelude forms the centre of gravity of the composition,
with dissonances and polytonality as important elements. The presto is structured
like a modulating rondo in three parts. The movement, which is in three
four time, consists of a core motif made up of two phrases. The intervals
in the core motif are reversed and modulated, but maintain their relation
to one another. With the exception of the cadenza and the beginning of the
coda this material makes up the whole duration of the piece. |
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