Eliasson is different

from Wikipedia, the free encyclopedia
Eliasson is different

Anders Erik Birger Eliasson (born April 3, 1947 in Borlänge ; † May 20, 2013 in Stockholm ) was a Swedish composer .

biography

As a three-year-old, Eliasson imagined what he later learned to call the sound of an orchestra. At the age of nine his mother made it possible for him to learn the trumpet. He founded a small jazz orchestra consisting of two clarinets, trombone, drums, guitar and trumpet and, at the age of ten, wrote arrangements for his classmates.

A jazz double bass player, an " incredible musician " taught him to recognize chords. At the age of 14 Eliasson met the organist and composer Uno Sandén, who taught him harmony and counterpoint.

At the age of 16 he became a private student of the “ wonderful Valdemar Söderholm ” in Stockholm , who “ again, after years of jazz, confronted him with real music ”, as he had heard it around the age of twelve. “ The first real piece of music ” that he heard on record was Joseph Haydn's 104th Symphony .

From 1966 to 1972 Eliasson studied counterpoint and harmony with Valdemar Söderholm and composition with Ingvar Lidholm at the Royal Academy of Music in Stockholm ; until 1973 he was a member of the Artistic Committee of the Electronic Music Foundation Stockholm . From this time eight "tapes produced with the greatest technical and mathematical effort" have been preserved.

His first major attention was with the choral work Canto del vagabondo (1979) and the 1st symphony (1986), for whose "originality, authenticity and musical clarity" he received the 1992 Nordic Council Music Prize . In 1991 he was composer in residence at the Lapland Festival in Arjeplog .

In the academic year 1993/94 Eliasson was visiting professor at the Sibelius Academy in Helsinki. As part of the 1996 Stockholm International Composers Festival, dedicated to Eliasson, 37 works by the composer were performed. In 1998 the premiere of his seven-part oratorio Dante Anarca took place in Stockholm's Berwaldhalle , which an obituary for the composer calls a “symphonic oratorio”.

In 2007, Christoph Poppen conducted the world premiere of the one-movement symphony No. 4 with the Bavarian Radio Symphony Orchestra . Eliasson planned the work as the beginning of a "symphonic trilogy". The 5th symphony was a "lonely journey" in mind, the 6th should "reach new territory."

In 2008/09, Anders Eliasson was a juror at the 2nd International Uuno Klami Composition Competition together with the composer Kalevi Aho , who was chairman of the jury, and Magnus Lindberg .

In 2009 Eliasson's Quo Vadis for tenor, choir and large orchestra was also premiered in the Berwaldhalle. The work has no generic name; In the CD booklet, the composer accepts the designation “symphonic cantata ” or “symphonic music”. The term “one-movement oratorial symphony” has now been proposed for this work. The first performance of the almost one-hour work, inspired by Manfred Honeck immediately after the world premiere of Dante Anarca and commissioned by RSO Sweden, took place on May 15, 2009 with the tenor Michael Weinius , the Sveriges Radios Symfoniorkester and the Swedish Radio Choir. The performance was conducted by Johannes Gustavsson .

Since 2000, five instrumental concerts had been created in larger works: a concerto for trombone and orchestra , a concerto for alto saxophone and string orchestra , a double concerto for violin, piano and orchestra , a double concerto for violin, viola and chamber orchestra, or Einsame Fahrt. Concerto for violin and orchestra . The work was premiered on October 27, 2011 in Stockholm's Berwaldhalle (soloist: Ulf Wallin , Sveriges Radios Symfoniorkester , conductor, as at the world premiere of Dante Anarca , was Manfred Honeck ) and won the “Prize of the Swedish Music Publishers 2012” for the best composition of the year 2011 in the category “Orchestra / Opera”. Eliasson is the only Swedish composer to date to have received this award twice. In 2007 he received them for his 4th symphony.

Anders Eliasson was the first composer in residence of the Arcos Chamber Orchestra, which was founded in 2005 and is based in New York , until 2011 . Artistic director and chief conductor of this orchestra was John-Edward Kelly .

The 'International Anders Eliasson Society' was approved as an association on March 7, 2016 in Vienna. Its constituent meeting took place in Konserthuset Stockholm on March 11th.

music

Harmony

Anders Eliasson's sketches of his “triangular harmonics”

In the mid-1960s, Eliasson said he had “discovered a new language. It is a sound language fed from the simplest modal building blocks . It is “ beyond the old major-minor tonality, a new tonality . ”His“ system that is not a system ”is based on“ two modes , a more Lydian and typically Doric, but for me they are neither Lydian nor Dorian! “It is easy“ to wander between these modes. Despite the limitation, it opens up unlimited possibilities. “This new tonal system could“ stray far, extremely far, from the foundation, but for me it is always related to the foundation. “With every new bar he discovered, he says, new possibilities to think musically “ horizontally and vertically ”.

The circle of fifths is not the basis of this “ new tonality ”. Every third fifth is in the immediate vicinity, which would ideally result in “ pure, non-tempered intervals ”, but which almost falls victim to the practice of notation. “ There is always an opening in these triangulatory relationships. “Most comparable to this is the pure Pythagorean mood .

Eliasson worked with two (mostly) four-part chord types and a 9-note scale based on C. On the “inside of the triangle” follows the fifth G, then in a spiral movement DA – EH-FIS-CIS-AS (GIS) -B and F. He calls this harmony “ triangulatory ”. Eliasson calls CIS and ES “ satellite tones ” (“ES”, he says, is “ almost always in the bass ”), also B, “ which feels most like the subdominant ” (the harmonious calm pole), “ but is not identical with it, which often unsettles musicians and conductors because they orient themselves according to the major-minor system ”; rarely GES and, “ discovered later, AS. Despite, or rather because of, the limitation, there are unlimited possibilities. “Terms like subdominant would lead to misunderstandings,“ because it is not about functional harmony . “But Eliasson“ doesn't know whether it isn't a functional harmony after all. "In their research he was" still almost at the beginning [...] ". In the Swedish-language monograph published in March 2012, Eliasson is quoted as saying: “ Men det är nagot helt nytt, som att betrakta universum fran ny position. The är mysteriöst och jag har inte sett allt som finns i det, bara ett litet korn av en otrolig rymd. (" It's something completely new, so that you can see the (tonal) universe from a new position. It's mysterious, I haven't seen everything yet, just a grain in an infinite universe. ")

He divided his chords, consciously avoiding “ technical language ”, into “ round ” (“ runda ackord” : CGDA) and “ angular ” (“ fyrkantiga ackord” : CDHF) or “ cosmic-infinite ” and “ earthly-limited ”) . Eliasson wanted such terms to be understood as mere “ hints ”.

Turning away from aesthetics and aesthetics

11 works for solo instruments or chamber ensembles are entitled "Disegno" (drawing, but also pattern, plan, draft, a picture; not quite the matter itself). Eliasson wanted to find a “ form as clear as glass ”. Both the title and the working method were inspired by Japanese ink painting , in which “ the motif is captured with a few strokes. Music takes a little longer than Indian ink, but there are certain remedies. According to his own statement , primes put Eliasson “ in childlike amazement ”, they had a mystical effect on him “ in many ways . […] In any case, they helped me structure my music. "

For Eliasson, works with this title sketch or draft something “like a catalog of possible playing techniques.” They serve, for example, to explore “tonal possibilities within the traditional, firmly established homogeneous quartet sound.” They are not yet what he is striving for. Stig Jacobsson refers to the beginning of the Disegno per quartetto d'archi . The first violin plays sul ponticello , while the other instruments play pizzicato , sffz and without vibrato , later gradually coll'arco and with vibrato. Eliasson's interest in these sound techniques was the "conflict between energy and color."

Over the years Eliasson became more and more reluctant to comment on his own works, and he wrote neither programmatic nor compositional writings. In interviews and conversations, he cited the reason that talking about music very quickly becomes banal, technical and subjective. The CD booklet for the Concerto for Violin, Piano & Orchestra and the Sinfonia per archi Eliasson provocatively calls , in the sense of the Colombian aphorist Nicolás Gómez Dávila , an “ artist of yesterday. "Dávila:" Until yesterday the artist worked without theory or referred to one and the same commonplace to justify the most diverse works. But recently the works have been overwhelmed by aesthetics. "(CD supplement cpo 2008, p. 4) When Eliasson was confronted in an interview with a sentence by Pierre Boulez from the 1950s (" We only want to let the simplest sense of reality speak that after the discoveries of the Vienna School - Arnold Schönberg , Alban Berg , Anton von Webern - every composer is useless who places himself outside of the serial efforts. "), Was the composer's" meanwhile self-ironic reaction ":" Yes, I am a useless composer. "

Music, according to Eliasson, needs above all movement, “ Harmonies, that is, different spaces. “The problem in“ contemporary music has been harmony for decades. “One of the solutions was sound surfaces ( spectral music , musique spectrale ). For Eliasson, these are “ artificial, artificial […], cerebral exercises without a statement, just a facade, mainly instrumentation. “In it he misses the“ tension that is necessary for a movement coming from within. “He does not deny that it“ can be fantastically orchestrated music - but over a static event! “And when fifths, sixths and runs are used,“ then they carry the whole baggage of music history with them. “Eliasson recognized in this problem the“ aftermath of Schönberg's dodecaphony . “Schönberg's“ dodecaphony [is] very limited in the means of expression and [...] is still determined by the major-minor duality [...]. “ Anton von Webern was really new . Eliasson was impressed by the “ captivating clarity ” of the Five Movements for String Quartet op. 5 (1909). (CD booklet Quo Vadis , cpo 2011, p. 6) With this criticism, he expressed “what drives young composers to this day. Neither sonic nor spectral music could solve the problem, because they found no equivalent for the double function of traditional tonality : their chord progressions and tensions determine the details, but functional chord relationships create large-scale relationships. […] Eliasson's composing aimed to put this tension, a characteristic of European music, […] back into force […]. With the changed approach to the sound aspect of music, Eliasson combined a reinterpretation of traditional forms that would not be adequately described as neoclassicism . "

Despite criticism of Schönberg and his successors, Eliasson did not escape the pressure to justify his harmony. He tried to escape this contradiction by refusing to give theoretical papers or lectures. Since his acquaintance with Giacomo Orgelia's Dante poem, Eliasson saw his "triangulatory harmony" and his "system that is not a system" confirmed extra-musically in Joachim von Fiore's "three-times doctrine" . While Eliasson had apparently only hinted at this anchoring attempt in private for a long time, Tony Lundman's monograph made this connection public.

Apart from the fact that Eliasson preferred to write music, “ because I cannot and am nothing else ”, another reason for not expressing himself in theoretical writings on his “ system that is not a system ” was that he “ [ h] eikel, ja dangerous “kept talking about music. Some believed that he “made program music, but nothing is further from me. “He writes absolute music , which, according to the CD booklet ( cpo 2009),“ invites associations, despite the polyphonic processes, which in comparison to the bassoon concerto , the 1st symphony or Desert Point and Ostacoli , in the works of have become a bit less furious and even more 'audible' in recent years. "

Music “ has to prove itself tone by tone, MUSIC must result in a comprehensible context for the ear, assuming a certain degree of listening concentration. “If music is not“ demanding ”, there is no point in playing it. Music has to “ appeal and make demands. “He reveals himself, said Eliasson, in his music, so he also demands concentration from the musicians and the listeners. (CD booklet Quo Vadis , cpo 2011, p. 6)

Music is actually “ very easy! Like water: H20 - Melos, harmony, rhythm! […] Most of what is considered 'innovative' in music today is determined by […] extra-musical parameters. “There is, according to Eliasson,“ but only one universe and, despite different aesthetic attitudes, only one music. “In Eliasson's speech about music, pathos and irony cannot be separated, as the author of the CD booklet (CD booklet cpo 2008, p. 5) notes. “ The universe is divine. Modernity has deified man. Modern - modernist - art is a mirror of this arrogance. I am just a servant. “For him, music is“ the absolute source of wisdom. Possibly the only source that gives an answer to the existential questions of the individual and of our time. "(CD supplement cpo 2008, p. 5)

Eliasson's self-image thus stands “in the succession of theology and philosophy.” Because: Artistic expression, as the philosopher Michael Oakeshott argued in 1933 in “Experience and its Modes” , is “not the echo of a transcendence, but a practice of experience. Music is therefore not a form of communication superior to reality and language, it is ´simply different´ and obeys different rules. Eliasson justifies his refusal to explain individual works that he does not know where the music comes from. So he does not accept any extra-musical concepts that prevent his music from becoming music and does not separate what Oakeshott describes as phases of the artistic act (experience, contemplation and expression) when he says: 'I cannot draw a line between myself and the motif . '"

Eliasson became familiar with the “ aesthetics of the classical and modernists ” during his studies. He was “ just happy at first to be able to study in the right, true way. But when I compared it to classical music, it seemed so much --- better! “When Eliasson was accepted into Lidholm's composition class, he was" shocked because I suddenly lost all connection to music in myself when I came into contact with [living] composers, with people like Karl [sic!] Karkoschka (actually Erhard Karkoschka ) and Roman Haubenstock-Ramati , who were lovely people. Eliasson adds that he " would have almost died back then, had I not secretly studied what I had always heard inside me. Until 1972, Eliasson felt that the course was a time of self-denial: “ Rhythm, melodies and certain intervals were taboo ”. Like the Congregation for the Doctrine of the Faith or the Politburo, the “ Monday Group ” in Stockholm watched over the pure teaching of supposedly scientifically based music under the direction of Lidholm. It was " no big deal to learn all that (...): dodecaphony, serial music, aleatoric , musique concrète , graphic notation systems, etc. " The 22-year-old has received eight "tapes produced with the greatest technical and mathematical effort. Eliasson " . but noise and noise can also produce simple " less restrictive and "tone deaf" took Eliasson the expressive side of the music of Witold Lutoslawski and Penderecki . György Ligeti he found interesting, but something like chameleons, Morton Feldman and Terry Riley stimulating, " for a short time at least. "

When Eliasson criticizes new music , he criticizes the change from a descriptive term to a qualitative, normative or dogmatic one: " It was and is to this day, incredible nonsense, trash, demonstrably bluff [...], often the result of incredible ignorance and ignorance of the Basics, also pseudophilosophical, pseudo-scientific superstructure, but no MUSIC! ”(CD supplement cpo 2011, p. 4) Much was“ not authentic, [...] pseudophilosophical superstructure, but no music. [...] Metric rhythm, melodies and certain intervals were taboo. […] Most of it […] a sign of enormous ignorance and ignorance of tradition. ”(CD supplement cpo 2008, p. 5)

Eliasson tried to formulate his originality claim paradoxically by claiming the concept of the new: “ I write music as if I were hearing from the future what is today. I really do write new music. Sounds presumptuous, I know. But that's how it is. “(CD booklet Quo Vadis. P. 5). Anyone who does not want to follow Eliasson's “speech about service, inspiration, inner world or transcendence , which Eliasson means literally”, can understand it as a reaction to “the technical innovation of modernity ” in order to “neutralize it” (CD supplement cpo 2008, p. 4.)

Reorientation

The musicologist Habakuk Traber recognizes Eliasson as one of those Scandinavian representatives of the modern age, “who internalized the canon of European culture out of passion, and who then went their own way, without a model and without the support of the 'comrades trend', sometimes even in opposition him. ”Traber draws a“ historical line ”from August Strindberg , Edvard Munch and the composer Allan Pettersson to Eliasson. “In search of their personal form of expression”, the two Swedish composers did not “feel at home” in the avant-garde : “Partly active, partly observing, they tried to get closer to the sensual experience of music from the air of absolute progress; but Eliasson in particular felt the lack of compromise in the composition with sound fields and colors, and also in spectral music [...]. ”However, according to Traber, Pettersson and Eliasson did not succumb to“ the illusion of lack of preconditions ”. They let “what they had learned… sink into the subconscious and started over, as it were. […] Eliasson treated his art in a similar way to Arnold Schönberg: he trusted in that which emerged from the fund of aesthetic experience and intuition, tried to grasp and write it down as precisely as possible. Then he applied his keen analytical mind to what was created. By listening to his own ideas and reflecting on what was noted, he further developed his musical language and his theoretical knowledge in mutual impulses. For himself he designed a theory of harmony and forms that he never condensed into a closed system [...]. "

Voices about the work

“Anders Eliasson doesn't fit into any drawer. And still is considered one of the most important composers of the young 21st century. Which may seem a bit strange at first, because Eliasson's works are a cumbersome mixture: complex, apparently calculated, tonally not catchy, in terms of work names (Concerto, Sinfonia) lagged behind somewhere in the 20th or even 19th century. At the same time, however, his music is so sensual, so present, so unpredictable, exciting and so demanding (in a positive sense: with a lot of ambition and appealing) that in him, the quiet, you hardly ever come to yourself and yourself Music reports, can rightly recognize one of the greats. "

Double concerto for violin, piano & orchestra

"How the Swede, born in 1947, manages to banish his listeners, even experts can only partially explain: A separate key cosmos and long practice in Bach's art of counterpoint contribute, certainly also Eliasson's experience as a jazz musician. But the expression , he says, comes about by itself, he just keeps a record. [The double concerto for violin, piano & orchestra is] “a work that shows the tone finder Eliasson as a veritable rediscoverer of harmony: His wonderful singing is Alban's masterpieces Berg or Sergej Prokofjew equal. "

Symphony No. 4

When asked, “Which score impressed you the most last year [2007]?” Volker Tarnow answered: “[Eliasson's] fourth symphony confirms: Nobody composes more idiosyncratically. Hardly anyone knows these Swedes; but it was the same with Franz Berwald and Allan Pettersson . "

Pentagram for oboe, clarinet, bassoon, horn and piano

“A work [...] that, from the first page of the score onwards, designs its own musical world, where consonance and dissonance [...] are actually allowed to live and weave in balance again [...]. An example of the sophistication of the design of a formal transition: The last bar of the opening Andante part ends with an ascending three-tone motif in the piano; immediately in the first bar of the new Allegro energico part we hear it again in the horn; on the last note, however, bassoon and clarinet come to mind with the same motif, and thus a six- eight time consisting of two triplets is organically shortened to five-eight time. […] WA Mozart's famous work with the same cast (E flat major, 1784) [has] not found a substantial successor after Ludwig van Beethoven (E flat major, 1796) in the 19th century - as if hardly anyone had dared to venture into the perfect model. It was not until the 20th century that several composers faced this delicate line-up. Anders Eliasson's contribution immediately catapulted himself into the first row of those who were able to add something worthy to the Mozart quintet. "

Works

Wherever possible, titles are given in the original; in brackets, if the original is not in English, is the German title. A chronological catalog of works from 1968 to 2012 (including Karolina's sömn ) can be found in Tony Lundman: Anders Eliasson on pages 237–253.

Orchestral works

  • 1968: Exposition för kammarorkester ( exposition for chamber orchestra). Playing time: 7´; WP: 1968 Århus .
  • 1977: Canti in lontananza för liten orkester ( songs from a distance for small orchestra). Duration: 11´; Premiere: October 1st, 1977, Stockholm Radiohuset (?), Sveriges Radios Symfoniorkester, conductor Stig Westerberg.
  • 1978: Impronta för orkester. Duration: 11´, Premiere: September 22nd, 1979 Norrköping , Norrköpings Symfoniorkester, conductor: Jorma Panula .
  • 1978: Turnings för orkester ( turnings / reversals or branches for orchestra). Playing time: 19´; Premiere: June 13, 1979 (TV broadcast by SVT), Sveriges Radios Symfoniorkester, conductor: Göran Rydberg.
  • 1988: Fantasia per orchestra för orkester; Playing time: 19´; Premiere: March 5th, 1989 Örebro Konserthus, Örebro symfoniorkester, conductor: Göran W Nilson.
  • 1988: Intermezzi for kammarorkester. Ommagio a Ligeti e Lutoslawski . Playing time: 12 '; Premiere: February 14, 1989 Malmö, KammarensembleN (sic), conductor: Ansgar Krook.

Symphonies

  • 1984: Sinfonia da camera för kammarorkester ( Sinfonia di camera for chamber orchestra). Playing time: 21´, World premiere: August 14, 1984 Stockholm Berwaldhallen, conductor: Georges-Elie Octors.
  • 1986: Symfoni nr 1 for orkester ( Symphony No. 1 for orchestra ). Playing time: 32 '; Premiere: February 6th 1987 Stockholm Berwaldhallen, Sveriges Radios Symfoniorkester, conductor: Leif Segerstam .
  • 1987 (?): Symphony No. 2 (fragment, unpublished)
  • 1989: Sinfonia concertante: Symfoni nr 3 for alto saxophone och orkester ( Sinfonia concertante: Symphony No. 3 for alto saxophone and orchestra [2010 version for soprano saxophone and orchestra]). Playing time: 27 '; Premiere: November 16, 1989 Trondheim , soloist: John-Edward Kelly, Trondheims symfoniorkester , conductor: Ronald Zollman.
  • 2005: Symphony No. 4 for orchestra (commissioned by Bayerischer Rundfunk / Musica Viva (Munich) and the Gothenburg Symphony Orchestra ). Playing time: 25 '; Premiere: January 12, 2007 Munich, Herkulessaal of the Munich Residence , Bavarian Radio Symphony Orchestra , conductor: Christoph Poppen .

Instrumental concerts

  • 1982: Concerto per fagotto ed archi för fagott och stråkorkester ( Concerto per fagotto ed archi for bassoon and string orchestra). Playing time: 20´; Premiere: February 19, 1983 (?) Stockholm Konserthus, soloist: Knut Sönstevold, Kungliga Filharmonikerna, conductor: Jorma Panula .
  • 1992: Clarinet Consert - Sette passaggi för Klarinett och orkester ( Clarinet Concerto - Seven Ways for Clarinet and Orchestra). Playing time: 23´; Premiere: February 11, 1993, Helsingborgs konserthus, soloist: Håkan Rosengren, Helsinki Philharmonic Orchestra, conductor: Kazufumi Yamashita .
  • 1992: Concerto per violino ed orchestra d'archi för violin och stråkorkester ( Concerto for violin and strings ). Playing time: 22´; Premiere: March 26, 1994 Kokkola , soloist: Jari Valo, Ostrobothnian Chamber Orchestra, conductor: Juha Kangas.
  • 1992: Farfalle e ferro: Concerto per corno ed archi för horn och stråkorkester ( Butterflies and Iron: Concerto for horn and string orchestra ). Playing time: 23´; Premiere: June 3, 1992 Göteborg Konserthus, soloist: Sören Hermansson, Göteborgs Symfoniker, conductor: Neeme Järvi .
  • 1996: Konsert för basklarinett och orkester ( concerto for bass clarinet and orchestra ), playing time: 26 '; Premiere: February 5, 2004 Malmö Konserthus, soloist: Bo Pettersson, Malmö Symfoniorkester , conductor: Markus Lehtinen .
  • 2000: Concerto per trombone för trombon och orkester ( Concerto per trombone for trombone and orchestra). Playing time: 23´; Premiere: September 14th, 2000 Malmö Konserthus, soloist: Christian Lindberg , Malmö Symfoniorkester, conductor: Stefan Solyom .
  • 2002: Konsert för altsaxofon och stråkorkester ( Concerto for alto saxophone and string orchestra [version for soprano saxophone and string orchestra 2009]); Playing time: 30´; Premiere: June 30, 2003 Vaasa , soloist: John-Edward Kelly, Ostrobothnian Chamber Orchestra, conductor: Juha Kangas.
  • 2005 Concerto per violino, piano ed orchestra dubbelkonsert for violin, piano och orchestra ( Concerto per violino, piano ed orchestra double concerto for violin, piano and orchestra), playing time: 33 '; Premiere: April 19, 2006 Helsinki Finlandia talo / Finlandia-Halle , soloists: Ulf Wallin, Roland Pöntinen , RSO Finland, conductor: Pietari Inkinen .
  • 2009: Concerto per violino, viola ed orchestra da camera dubbelkonsert för violin, viola och kammarorkester ( double concerto for violin, viola and chamber orchestra [2 horns, 2 oboes and strings]). Playing time: 25´. Premiere: November 25th, 2009 Helsinki Finlandia talo / Finlandia-Halle, soloists: Ulf Wallin, Lars Anders Tomter , Ostrobothnian Chamber Orchestra, conductor: Juha Kangas
  • 2010: Einsame Fahrt Concerto for Violin and Orchestra (The original title is German; the score initially gives the title in English: Solitary Journey ; the German title is in italics a little smaller). Playing time: 32´; Premiere: October 27, 2011 Stockholm Berwaldhallen , soloist: Ulf Wallin, Sveriges Radios Symfoniorkester, conductor: Manfred Honeck .

Orchestra, choir and soloists

  • 1979: Canto del vagabondo in memoria di Carolus Linnaeus for gossoprano, damkör och orkester ( Il canto del vagabondo in memoria di Carolus Linnaeus for boy soprano, female choir and orchestra). Playing time: 32; Premiere: November 28, 1980 Stockholm Berwaldhallen, Sveriges Radios Symfoniorkester, Damkör ur Radiokören, conductor: Herbert Blomstedt .
  • 1998: Dante anarca oratorium for soprano, alto , tenor, bas, blandad kör och orkester ( Dante Anarca oratorio for soprano, alto, tenor, bass, mixed choir and orchestra). Text: Giacomo Oreglia : Dante Anarca ei suoi sei maestri / Dante Anarca and his six teachers . Playing time: 80´; Premiere: December 18, 1998 Stockholm Berwaldhallen, soloists: Lena Hoel, Anna Larsson, Göran Eliasson, Johan Edholm, Radiokören, Eric Ericsons Kammarkör, Sveriges Radios Symfoniorkester, conductor: Manfred Honeck.
  • 2007: Quo vadis för tenor, blandad kör och orkester ( Quo Vadis for tenor, mixed choir and orchestra). Text compilation by the composer from Raoul Schrott : The invention of poetry , Gustav Mensching : The living word - texts from the religions of the peoples and the apocryphal acts of Peter / Acts of the Apostles . Playing time: 60´; Premiere: May 15th, 2009 Stockholm Berwaldhallen, soloists: Michael Weinius , radio choirs, Sveriges Radios Symfoniorkester, conductor: Johannes Gustavsson.

Works for string orchestra

  • 1981: Desert point för stråkorkester ( Desert point for string orchestra). Playing time: 14´; Premiere: February 13, 1982 Växjö , Musica Vitae, conductor: Gunnar Julin.
  • 1987: Ostacoli för stråkorkester ( Ostacoli / obstacles for string orchestra). Playing time: 14´; Premiere: January 31, 1988 Kaustinen , Ostrobothnian Chamber orchestra, conductor: Juha Kangas.
  • 2001: Sinfonia per archi [Sinfonia da camera II] för stråkorkester ( Sinfonia per archi for string orchestra [ Chamber Symphony II]). Playing time: 35´; World premiere: February 9, 2002 Finland, Ostrobothnian Chamber Orchestra, conductor: Juha Kangas.
  • 2003: A quick look ... a brief appearance for stråkorkester ( A quick look ... a brief appearance for string orchestra). Playing time: 17´; Premiere: November 15, 2003 Ronneby Kulturcentrum, Camerata Roman, conductor: Levon Chilingirian .
  • 2016: Carosello: Disegno per pianoforte no 3 för piano , string version by Christoph Schlüren and Lucian Beschiu

Chamber music

The Disegno works

  • 1974: Disegno della pioggia fyrhändigt piano, cello och xylophone ( Disegno della pioggia / rain picture for piano four hands, violoncello and xylophone). Playing time: 9´; Premiere: October 10, 1974 Helsinki, Ensemble Harpans Kraft.
  • 1975: Disegno per quartetto d'archi (1974/75) för stråkkvartett ( Disegno per quartetto d'archi for string quartet). Playing time: 8´; Premiere: March 23, 1976 Radiohusets Studio Stockholm, Crafoordkvartetten.
  • 1975: Disegno per sestetto d'ottoni för 2 trumpeter, 2 tromboner, horn och tuba ( Disegno / drawings / drafts for wind sextet for 2 trumpets, 2 trombones, horn and tuba). Playing time: 7´; Premiere: October 26th, 1976 (ISCM Festival Boston, USA). Soloists: The New England Conservatory Contemporary Music Ensemble, Conductor: Gunther Schuller.
  • 1977: Disegno per violoncello för solocello (for violoncello solo). Playing time: 5´; Premiere: June 8, 1978, Stockholm Radiohuset (?), Soloist: Peter Schuback.
  • 1980: Disegno per clarinetto for solo clarinet (for solo clarinet). Premiere: August 5th, 1980 Stockholm Kulturhuset. Soloist: Kjell-Inge Stevensson.
  • 1982: Disegno per clavicembalo for solocembalo. Performance duration: 6´; WP: October 10, 1982 Norrköping.
  • 1984: Disegno per trombone for solotrombon. ( Disegno per trombone for trombone solo). Premiere: February 1, 1984 Stockholm, soloist: Jörgen Johansson.
  • 1984: Disegno per flauto för soloflöjt ( Disegno per flauto for flute solo). Premiere: February 25, 1985 Härnösand, soloist: Manuela Wiesler.
  • 1984: Disegno per pianoforte för piano. Playing time: 8´.
  • 1987: Disegno per pianoforte no 2 för piano (Disegno for piano no.2). Playing time: 9´; Premiere: August 24, 1988 Stockholm.
  • 2005: Carosello: Disegno per pianoforte no 3 for piano. Playing time: 8´. Premiere: October 4th, 2005, Malmö Palladium, soloist: Hans Pålsson.

Works for solo instruments

  • 1970/1992: In medias för soloviolin ( In medias for violin solo). Playing time: 7´; Premiere: April 26th 1992 Karleby Rådhuset. Soloist: Jari Valo.
  • 1973: Versione for piano. Playing time: 5´.
  • 1983: Suolo för piano (Suolo for piano). WP: 1983 (?) USA (?) Washington (?), Soloist: Alan Mandel.
  • 1988 (?): Preludio for solotrumpet. Universal Edition (Fanfares. New Pieces for Solo Trumpet, 1989).

Piano with various solo instruments

  • 1986: Poem (1986/1988) för altsaxofon och piano ( Poem for alto saxophone and piano [version for alto saxophone from longitudinal radii ]). Playing time: 10´, World premiere: December 10, 1988 São Paolo (Brazil), soloists: John-Edward Kelly (alto saxophone), Amilcar Zani (piano).
  • 2002: Abendlicht för oboe och piano ( Abendlicht for oboe and piano); Playing time 14´; Premiere : June 29th, 2002 Båstad Chamber Music Festival, soloists: Helen Jahrén (oboe), Mats Widlund (piano).
  • 2003: Wellen för fagott och piano ( waves for bassoon and piano). Playing time: 10´; Premiere: June 27, 2003 Rottweil (Freckles Classical Festival), soloists: Knut Sönstevold (bassoon), Chia Chou (piano).

Trio formations

  • 1981: Notturno for basklarinett, cello och piano ( Notturno for bass clarinet, violoncello and piano ). Premiere: March 22nd 1982 Stockholm. Soloists: Kjell-Inge Stevensson (bass clarinet), Ola Karlsson (violoncello), Roland Pöntinen (piano).
  • 1996: Trio per violino, corno et pianoforte för horn, violin och piano ( trio for horn, violin and piano ). Playing time: 30´; Premiere: November 16, 1996 Stockholm Konserthus, soloists: Sören Hermansson, Nils-Erik Sparf, Arne Torger
  • 2010: Trio för violin, vibrafon och piano ( trio for violin, vibraphone and piano ). Playing time: 17´; WP: July 6, 2010 Ytterjärna Kulturhuset, Trio Roma (Roland Pöntinen, Mats Zetterqvist, Anders Loguin)
  • 2013: premonitions. Trio d'archi (string trio; violin, viola and violoncello). Playing time: 26 '; WP: February 10, 2014 Stockholm Konserthus, Trio ZilliacusPerssonRaitinen

Quartet formations

  • 1970: Melos för stråkkvartett ( Melos for string quartet)
  • 1983: Senza risposte för flöjt, violin, cello och piano ( Senza risposte for flute, violin, violoncello and piano). WP: June 24, 1984 Harstad.
  • 1990: Fogliame för piano och stråktrio ( Fogliame / sheets for piano and string trio ). Playing time: 20´; Premiere: June 1st, 1991 Arjeplog (Lapplands festspel), Britten Quartet.
  • 1991: Quartetto d'archi för stråkkvartett ( Quartetto d'archi for string quartet). Playing time: 22´; Premiere: June 3, 1991 Arjeplog (Lapplands Festspel), Tale Quartet.

Quintet formations

  • 1972: Pick-Nick wind quintet (for school concert performances), playing time: 5´.
  • 1978: La Fièvre för blåskvintett ( Fever for wind quintet). Playing time: 8´; Premiere: August 1st, 1979.
  • 1978: Malaria for clarinet, trumpet, trombon, slagverk, contrabas ( Malaria for clarinet, trumpet, trombone, percussion and double bass). Playing time: 11´; Premiere: December 7th 1978, Stockholm, soloists: student ensemble of the Kungliga Musikhögskolan (Royal College of Music Stockholm), (including Christian Lindberg , trombone), conductor: Kjell-Inge Stevensson.
  • 1980: Ombra för clarinet och stråkkvartet (ombra / shadow for clarinet and string quartet). Playing time: 22´; Premiere: April 23, 1981 Stockholm Radiohuset, soloist: Kjell-Inge Stevensson, Savinkvartetten.
  • 1983: Dai cammini misteriosi for 2 oboer, bassoon, harpsichord and contrabas (for 2 oboes, bassoon, harpsichord and double bass). Premiere: November 28, 1985 Braunschweig (Days for New Music), soloist: Knut Sönstevold, Merlin Quartet.
  • 1984: Quintetto per clavicembalo e quartetto d'archi for harpsichord och stråkkvartett (quintet for harpsichord and string quartet). Playing time: 31´; Premiere: October 6, 1985 Berwaldhallen Stockholm, soloist: Eva Nordwall, Arditti Quartet.
  • 2003: Pentagram for oboe, clarinet, bassoon, horn och piano ( pentagram for oboe, clarinet, bassoon, horn and piano). Playing time: 16´; Premiere: June 29, 2003 Rottweil, soloists: Ingo Goritzki, Ulf Rodenhäuser, Knut Sönstevold, Dariusz Mikulski, Chia Chou.

Works for more than 5 soloists

  • 1980: Serenad i gömstället för recitatör, flöjt, clarinet, horn, harpa och stråktrio ( serenade in the hiding place for speaker, flute, clarinet, horn, harp and string trio ). Text: Lars Norén. Playing time: 32; WP: March 21, 1982.
  • 1987: Sotto il Segno del Sole för slagverkare, 3 flöjter, 3 oboer, 3 clarinet, 3 bassoons, 3 horn och contrabas ( under the sign of the sun for percussion, 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 3 horns and Double bass). Playing time: 15´; Premiere: February 3, 1988 Helsinki, Falu blåsarkvintett, Omnibus kammarblåsare and Kroumata, conductor: Anders Loguin.
  • 1988: Intermezzi for kammarorkester; Playing time: 13´; Premiere: February 14, 1989 Stockholm (?), Conductor: Ansgar Krook.
  • 1996: Kimmo för trumpet och sex slagverkare ( Kimmo for trumpet and six percussionists), playing time: 17 '; Premiere: November 27, 1996 Hudiksvall Folkets Hus, soloist: Håkan Hardenberger , Kroumata.
  • 1997: Venti anni avanti för 2 marimbor, 2 xylofoner och piano ( Venti Anni Avanti for 2 marimba, 2 xylophones and piano), playing time:?; Premiere: February 13, 1998 Stockholm Konserthus, Kroumata, piano: Roland Pöntinen.
  • 2009: Fantasia per sei strumenti för flöjt, clarinet, piano, violin och cello ( Fantasy for six instruments for flutes [piccolo and alto], clarinet, piano, violin, viola and violoncello), playing time: 11´. Premiere: May 28, 2010 Studio Acusticum in Piteå , Ensemble Norrbotten Neo .

Vocal works

  • 1970: Cantillation for mezzo-soprano and organ.
  • 1970: Hymn for minst 6 mansröster, blåsare och slagverk ( hymn for at least 6 voices, wind instruments and percussion). Latin proverbs; Playing time: 11´; Premiere: January 1st, 1971 Helsinki.
  • 1971: Då sade man… och nu för mezzo-soprano och ensemble ( Da sade ma… och nu based on Japanese poems for soprano, bass clarinet, violoncello, vibraphone and tam-tam). Playing time: 5´. Text: Japanese poems in Swedish translation by PE Wahlgren , premiere date:?; Soloists: Kerstin Ståhl, members of Harpans Kraft, conductor: Göran Rydberg.
  • 1972: I natten alltid resa text-ljudkomposition. Text: Nazim Hikmet . WP: Fyklingen April 17th, 1972.
  • 1972: Tider for mezzo-soprano, trombone, cello, elorgel, marimba, vibraphone, pukor and två slagverkare. Playing time: 20 '; Premiere: November 30, 1972 Fyklingen, Stockholm; Soloists: Harpan's power.
  • 1973: Quo vadis for mezzo-soprano, ensemble och band (Quo vadis for mezzo-soprano, ensemble and tape). Text: Latin proverb. Playing time: 25 '; Premiere: February 10, 1973 Göteborg Konstmuséet. Soloist: Kerstin Ståhl; Ensemble Harpan's power.
  • 1973 Inför Logos for soprano, alto, tenor, bas och band; Playing time: 14 '; Premiere: February 14, 1973 Fyklingen, Stockholm. Soloists: Camerata Holmiae.
  • 1976: Cantat Den gröna rosen for soprano, saxofonkvartett och slagverk (for soprano, saxophone quartet and percussion). Text: Tadeusz Rózewicz. Duration: 13 '. Premiere: March 7, 1978 Stockholm Seglora kyrka. Soloist: Ilona Maros, Stockholms kammarblåsare, conductor: Per Lyng.
  • 1986: Läng radien för röst och piano ( longitudinal radii for voice and piano), text: Tomas Tranströmer . Playing time: 10 '; Premiere: March 30, 1987 Stockholm Konserthus, soloists: Ilona Maros and Bengt Forsberg.
  • 1993: Four songs for mezzo-soprano och piano (four songs for mezzo-soprano and piano). Text: Johann Wolfgang von Goethe (Found, Property, Limits of Mankind , Wanderer's Night Song / Ein Gleiches ). Playing time: 12´, premiere: June 11, 1993, Bergen Håkonshallen, soloists: Ragnhild Heiland Sørensen, Nils Anders Mortensen.
  • 1995: Soliloquy of the Solipsist för röst och piano (Soliloquy of the Solipsist for voice and piano). Text: Sylvia Plath . Playing time: 14´; Premiere: October 17, 1995, Stockholm Radiohuset, soloists: Lena Hoel, Bengt-Åke Lundin.

A cappella choir

  • 1972: Memet för blandad kör a cappella ( Memet for mixed choir a cappella). Text: Nazim Hikmet . Premiere : April 8, 1973 Umeå , Musikhögskolans kammarkör, conductor: Eric Ericson .
  • 1973: October för blandad kör ( October for mixed choir). Text: Werner Aspenström .
  • 1984: Breathing Room: July för blandad kör a cappella ( Breathing Room: July for mixed choir a cappella ). Text: Tomas Tranströmer , in English translation by May Swanson . Duration of performance: 20 '; Premiere: October 13, 1984 Södertälje Ragnhilds kyrka, Eric Ericsons Kammarkör, conductor: Eric Ericson.
  • 1985: Ave maris stella för blandad kör a cappella (for mixed choir a cappella). Performance duration: 5´; Premiere: September 28, 1985 Helsinki, Mikaeli kammarkör, conductor: Anders Eby.

Musical drama

  • 1974 En av oss kyrkoopera för recitatör, talkör, 3 dansare, blandad kör och orkester ( One of us , church opera for speaker, speaking choir, 3 dancers, mixed choir and orchestra). Libretto: Bengt V Wall . Playing time: 55´; UA:?
  • 2011: Karolinas sömn för sopran och kammarensemble ( Karolina's sleep for soprano and chamber orchestra). Libretto: Bengt Emil Johnson , based on the authentic case of Karolina Olsson . Playing time: 48´; Premiere : June 4th, 2012 in Konsthallen Artipelag , Hålludden, Värmdön. Commissioned by the Royal Opera (Stockholm) , soloist: Lena Hoel; Kungliga Hovkapellet ; Conductor: Daniel Blendulf; Director: Christina Ouzounidis

Electroacoustic music

  • 1969 Bylåt för band
  • 1969 En saga för band
  • 1969 Fata morgana för band
  • 1969 Kvällsmusik för band
  • 1969 När Orpheus skrek till i underjorden för band
  • 1971 Från Thor i fjäll för band. WP: Fyklingen November 8, 1971
  • 1971 Musik för tre sputnikar för band. Collective composition med flera tonsättare (collective composition with several composers). WP: Fyklingen December 9, 1971

literature

  • Tony Lundman: Anders Eliasson ( Svenska Tonsättare series / Swedish composers of the Royal Music Academy ) Bokförlaget Atlantis Stockholm 2012.

Web links

Individual evidence

  1. ↑ Obituary: Anders Eliasson, composer. In: Gramophone, May 22, 2013. Retrieved May 24, 2013.
  2. ↑ a b c Anders Eliasson . CD booklet: Anders Eliasson. Concerto for Violin, Piano and Orchestra and Sinfonia per archi , 2008 cpo 777 334-2)
  3. ↑ Tony Lundman: Anders Eliasson ( Svenska Tonsättare series / Swedish composers of the Royal Musical Academy ) Bokförlaget Atlantis Stockholm 2012, pp. 237–239.
  4. ↑ a b c d e f g h i j Peter Kislinger: Zeit-Ton. In: OE1@ORF.at. April 3, 2012, Retrieved April 21, 2012 .
  5. ↑ http://www.nmz.de/autoren/christoph-schlueren Retrieved June 15, 2013.
  6. ↑ Uuno Klami Sävellyskilpaili - Jury. (No longer available online.) II International Uuno Klami Composition Competition, archived from the original on March 17, 2013 ; Retrieved January 20, 2013 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.klamicompetition.fi
  7. ↑ Anders Eliasson . CD booklet: Quo Vadis for Tenor, Choir and large Orchestra, cpo 777 495-2, 2011, p. 9.
  8. ↑ nmz.de
  9. ↑ Sample excerpts from October 25, 2011 and short comments by the composer or soloist on YouTube . Retrieved December 8, 2011.
  10. ↑ Musikförläggarnas pris 2007. Accessed on January 20, 2013 .
  11. ^ Arcos Orchestra Leadership - Composer-in-Residence: Anders Eliasson, Stockholm
  12. ↑ [1]
  13. ↑ CD booklet: Concerto for Violin, Piano & Orchestra and Sinfonia per archi , cpo 777 334-2, 2008, p. 6.
  14. ↑ CD booklet: Quo Vadis for Tenor, Choir and large Orchestra, cpo 777 495-2, 2011, p. 5.
  15. ↑ CD booklet: Quo Vadis , cpo 2011, p. 5.
  16. ↑ Tony Lundman: Anders Eliasson ( Svenska Tonsättare series / Swedish composers of the Royal Musical Academy ) Bokförlaget Atlantis, Stockholm 2012, p. 62.
  17. ↑ CD booklet: Quo Vadis , cpo 2011, p. 5.
  18. ↑ Tony Lundman, S. 62nd
  19. ↑ Tony Lundman, S. 62nd
  20. ↑ disegno in the engl. Wikipedia
  21. ↑ Stif Jacobsson, Supplement BIS CD-603, 1993, p. 3
  22. ↑ Stif Jacobsson, BIS CD-603, p. 3
  23. ↑ Habakuk Traber: “The Symphony and its Relatives: Anders Eliasson's Fourth Sympohonie”, p. 7. Program (“Introduction”) Deutsches Symphonie-Orchester Berlin May 8, 2015.
  24. ↑ history.ac.uk
  25. ↑ cpo 2008, p. 4.
  26. ↑ CD supplement Quo Vadis , cpo 2011, p. 5.
  27. ↑ Habakuk Traber: “The symphony and its relatives: Anders Eliasson's Fourth Sympohonie”, pp. 6-7. Program ("Introduction") German Symphony Orchestra Berlin May 8, 2015.
  28. ↑ Sebastian Pantel (review; double concerto for violin and piano or Sinfonia per archi ): http://www.nordische-musik.de/autoren.php?PHPSESSID=5efbcc830e529f4935279ff2fc2b9ecb#sebastian (accessed on October 9, 2011)
  29. ↑ Johannes Saltzwedel: The rediscovered harmony. The Swedish composer Anders Eliasson is a magician of sounds. http://www.spiegel.de/spiegel/kulturspiegel/d-63806126.html Accessed on September 27, 2011.
  30. ↑ The score survey ( Memento from September 23, 2011 in the Internet Archive ) 2007. Accessed October 31, 2015.
  31. ↑ Rudi Spring : Page no longer available , search in web archives: Retrieved on May 20, 2011.@1@ 2Template: Toter Link / www.wiener-symphoniker.at
  32. ↑ Tony Lundman: Anders Eliasson ( Svenska Tonsättare series / Swedish composers of the Royal Music Academy ) Bokförlaget Atlantis, Stockholm 2012.
  33. ↑ Hidden things in unimagined splendor http://www.the-new-listener.de/index.php/2017/03/08/verborgenes-in-ungeahntem-glanz/ Accessed on August 8, 2019.
  34. ↑ konserthuset.se Stockholm Konserthus
  35. ↑ Marcus Boldemann: Värmdös nya konsthall invigs i june med nyskrivet operaverk. In: dn.se . February 3, 2012, accessed January 20, 2013 .
  36. ↑ Karolinas sömn - Opera i en act. In: Operan.se. Archived from the original on October 15, 2012 ; accessed on September 30, 2019 .
personal data
SURNAME Eliasson, Anders
ALTERNATIVE NAMES Eliasson, Anders Erik Birger
BRIEF DESCRIPTION Swedish composer
DATE OF BIRTH April 3, 1947
PLACE OF BIRTH Bor length
DATE OF DEATH May 20, 2013
Place of death Stockholm