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Haraldsdottir, Ashildur - Joueuse De Flute


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Ashildur Haraldsdottir - Flute
Love Derwinger - Piano

Ashildur Haraldsdottir was born in Reykjavik, Iceland in 1965. She started to playing the flute at the age of nine and graduated from the Reykjavik Conservatorie when she was seventeen. She continuied her musical training in the USA, first at the New England Conservatorie and finally at internationally renowned Juilliard School of Music from where she graduated in 1988. Her teacher was Samuel Baron. She then continued her studies with Thomas Nyfenegger and Alain Marion. A Promoter of new Music, Ashildur has premiered many new works written specially for her, itroducing new Iceland music in Sweden and in the USA. Ashildur is the first prize winner of various competitions, has toured extensively as a soloist in America, Mexico, England, Iceland and Sweden, and has frequently appeared on radio and television.

Love Derwinger was born in Nörrköping, Sweden, in August 1966. His musical abilities were discovered early. At 9 years of age, the extraordinary facility with which he played the piano, set the context of his future career. At 17, Derwinger played Listz's second piano concerto with the Norrköping Symphony Orchestra. In 1987, performed his final student concert: Brahm's first piano concerto with the Swedish Radio Symphonics. Since then, Derwinger has given concerts as a soloist as well as performed chamber music together with musicians such as Nicolai Gedda, Christian Lindberg, Manuela Wisler and Roland Pöntinen.

During the 1920's ROUSSEL developed a unique, personal type of neo-classicism - like a dry, white wine compared, for example, with the bouquet and irony of Stravinsky. In each of the four movements of "Joueurs de flûte", Roussel depicts an illustrious mythological flautist.

FAURE was a subtle precursor of impressionism, with musical echoes reaching back to antiquity. No one would call this little competition piece more than a bagatelle, a country-like idyllic scene followed by a mercurial fast movement.

SANCAN guested Scandinavia in the post-war years. His list of compositions is not extensive. Most of his compositions are pieces for the piano.

DUTILLEUX found his own style in technical virtuosity, melodic sensuality and terse concentration. His ideal was "music which lives a life of its own, with its own development". The "Sonatine" may not be thrilling, but like every piece Dutilleux wrote, it pushes forward its performers' potential in terms of technical skill and musicality.

GAUBERT wrote one of the leading flute schools, "Méthode complète de flûte". He also composed prolifically, including music for the stage. "Nocturne et Allegro Scherzando" consists of delicate melodic idyll followed by a whirling, spinning scherzo-like movement.

The spirit of the sonata from POULENC takes shape in the first movement, as a sort of meditation on Robert Desnos's "final poem", which Poulenc had set to music earlier that year. The dense, lyrical Cantilina is followed by a movement which continues to reflect the emotional atmosphere of that first movement, in the form of brief reminiscences, like shadows cast over hard-won "joie de vivre".

Fakta
Artikelnummer IMCD009
Streckkod 7393892000092
Utgivningsdatum 1992-09-23
Kategori Klassiskt
Skivbolag Intim Musik
Enhet CD
Antal enheter 1
Utövare
Artister Haraldsdottir, Ashildur
Disk: 1
Sonate pour flûte et piano
1 Jouers de flûte 03:04
2 Fantasie for flute and piano 01:05
3 Sonatine for flute and piano 03:39
4 Sonatine for flute and piano 01:30
5 Nocturne et Allegro Scherzando for flute and piano 05:05
6 Morceau de concours 09:42
7 Sonate pour flûte et piano 09:14
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