Per arne glorvigen biography of william shakespeare

Seven songs after texts by Marcel Beyer for baritone, piano and sampler

CD release in October 2020 auf CD (EAN 4020796482695)
Vinyl release in January 2021 auf Vinyl (EAN 4020796482701)

The music:
Overwriting.
Painting over.
Connect.
Overwriting again.
Until the past has become the present.

If one wants to follow the references of Marcel Beyer's poetry and make them audible, one must throw all routine overboard. You have to reveal the proliferating webs of relationships and fight your way through the jungle of clues.
In recent years I have been working intensively on balancing algorithmic compositional systems. The preoccupation with "Graphite" has now led to an intuitive approach in which music from the cross-references (Abba, The Doors, Eminem and others) is so frequently overwritten and processed with algorithmically generated material until a new, powerful whole emerges from it. Until the past has become the present.

The poems:
“Ich hörte dich buchstabieren.“ (Marcel Beyer from "Graphit," 2014 Suhrkamp Verlag)
Marcel Beyer's poems are information bombs. They are full of references to literature, music and social movements. Thus, Colonel Walter E. Kurtz, intoxicated by T. S. Eliot's "The Hollow Men," from "Apocalypse Now," me

What do the bandoneon and the Amarcord ensemble have in common?
They both come from Saxony!

The bandoneon is one of the most unusual and ‘theatrical’ instruments in music history with a fascinating and sometimes dramatic history: 

Brought into its final form in 1854 by Heinrich Band from Krefeld, then built in Saxony as a folk music instrument and also an organ substitute in Carlsfeld near Crimitzschau, it was brought to South America by European emigrants at the end of the 19th century and quickly established itself as the main tango instrument on the Rio de la Plata in Argentina at the beginning of the 20th century (in Germany, people continued to play folk songs diligently in bandoneon orchestras - even in Leipzig! ), in the 1930s the proletarian bandoneon clubs were banned by the Nazis, after 1945 the decline of Saxon bandoneon production in Carlsfeld due to nationalisation and new musical developments, survival of the bandoneon as a world music instrument primarily with the help of individual musical personalities such as Astor Piazzolla, Rodolfo Mederos and Per Arne Glorvigen (who, as a Norwegian living in Paris, occupies a special position in the scene).

Enough enlightenment! Enough material for a piece for voices and bandoneon! (and also for a concerto for bandoneon and orchestra, which was written in the same year as the first part of unseen blue...)

Change of scene:
June 2002, Pittsburgh, USA: during a visit to a James Turrell exhibition at the Mattress Factory, the title of a magical, very blue light installation sticks with me: unseen blue.
Over the following weeks, texts in four different world languages (except German) are incorporated into a cycle for voices with bandoneon - the ‘unseen blue’ connects.
Different texts from very different eras and styles: Shakespeare alongside

Rimbaud, Contursis next to Pavese, spoken and sung, whispers, collages and scraps of language, dramatic and static, brutal, cheeky, trivia

Per Arne Glorvigen is among the foremost of todays bandoneon players.

His contact with this instrument began as late as at the age of 25 when he after having finished the State Academy of Music in Oslo, moved to Paris and met the Argentinian bandoneon maestro Juan José Mosalini.

After studying with Mosalini and after several stays in Buenos Aires, Glorvigen began his career as a professional bandoneonist.

Per arne glorvigen biography of william shakespeare

Meetings with tango legends Piazzolla, Pugliese, Salgán and close friendship with poet Horacio Ferrer were crucial.

In addition to playing tango, Glorvigen has expanded the repertoire of the bandoneon by playing everything from baroque, kletzmer, pop and last but not least; contemporary music.

Composers like Willem Jeths (Holland), Bernd Franke (Germany), Henrik Hellstenius (Norway) and Luis Naon (Argentina / France) have all dedicated concertos to Glorvigen. Among Glorvigens musical partners we find artists as Nicolas Altstaedt, Natalie Clein, Marie-Pi

SEPTEMBER 25, 1997

11

Spectacle

2 Essays 13 Pages Send self-addressed envelope with $2.00 (no postage required—money back if not satisfied) to: James P. Jacobs 1728 45th Street Brooklyn, NY 11204 http://iuww.Columbia, edu/cu/spectator read ft agian. for the first time Cs 11 for details ; A/ic-e (-e. Council Travel CIEE: Council on International Educational Exchange 205 East 42nd St., New York (212) 822-2700 254 Greene St., New York (212) 254-2525 895 Amsterdam Ave., New York (212) 666-4177

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Ipl Brooklyn Academy of Music I1 A I AUT&\T/Sl BAM Student Der Fensterputzer (The Window Washer) Tanztheater Wuppertal Pina Bausch Directed & choreographed by Pina Bausch BAM Opera House Oct 3, 4, 7 —ll at 7:3opm; Oct 5 at 3pm Pina Bausch, one of the world's great theater artists, brings her inimitable mix of epic imagery, wry humor and incisive social comment to bear on Hong Kong, the former British Crown Colony. Tango A tribute to Astor Piazzolla Violin —Gidon Kremer Piano —Vadim Sakharov Bass —Alois Posch Bandoneon —Per Arne Glorvigen BAM Majestic Theater Oct 4 at 7:3opm; Oct 5 at 3pm Ml "The discovery of Piazzo