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CONCERT DATE:
WEDNESDAY 25. JULY 2018

CONCERT START:
AT 7.30 PM

the SCENE:
KORSKIRKEN - THE CHURCH OF THE CROSS
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ONLINE:
grieginbergen.com

AT COUNTER:
Tourist Information Bergen
Upon Concert Entrance
Hotel Opus XVII
Hotel Bristol


CONCERT INFO:
- Concert Start at 7.30 pm
- Duration aprx. 90-100 min
- Incl. intermission 15 min
- Free Seating
- Entrance 30 min before concert start








FIREBIRD
- the magical glowing bird in Slavic folklore

ODA HJERTINE VOLTERSVIK
PIANO




 

PROGRAM
This program reflects the unpredictable character of the magical glowing bird in Slavic folklore.

P. MARTIN (b.1947-)
Flight (Jan 2014)

S. RACHMANINOFF (1873-1943)
Corelli Variations (1931)

B. BARTOK (1881- 1945)
3 Burlesques Op.8/c

H. SÆVERUD (1897-1992)
3 Capriccios

I. STRAVINSKIJ (1882-1971)
Firebird



BIOGRAPHY PROGRAM NOTES

Pianist ODA HJERTINE VOLTERSVIK has performed at important international venues including “Palermo Classica” International Festival, the 1st International Folk Music Festival in Beijing, Carnegie Hall, Wigmore Hall, St Martin in the Fields, St James`s Piccadilly, Regent Hall, Leipzig Town Hall, and concert societies throughout London and UK, such as Powderham Castle ‘New Generation Artist Series’.

Her concert engagements in Norway include annual recitals for a week as Artist in Residence at Edvard Grieg museum (2014- 2017), concert series in Kabuso Concert Hall, Lofoten Cathedral, Stavanger Cathedral, the Grieg Hall, and several music societies throughout Norway. She has also taken part the International Grieg in Bergen Series with solo performances and chamber music since 2010. She has performed concertos twice with the Norwegian–Polish Youth Orchestra and with the Sinfonietta of Athens.

She is a 1st prize winner of the Bradshaw&Buono International Piano Competition, and a finalist of the London Intercollegiate Jaques Samuels Competition (Wigmore Hall, 2016). She has recorded a duo CD “Khoreia” for the Velut Luna Label as a member the Volt&Potenza Duo. Oda is also project leader of the Volt Ensemble (since 2015), with a recent concert tour named “MiM5” supported by the Norwegian Arts Council among others. She holds a Master in Performance from Royal College of Music London and Artist Diploma from Trinity Laban (London) with distinction. From 2006 to 2014, Oda has participated at the annual masterclasses of the Oxford Philharmonic Orchestra’s Piano Festival and Summer Academy, and played for renown musicians such as Menahem Pressler, Marios Papadopoulos, Gary Graffmann and Vladimir Krainev.

“ A pianist with great sensitivity and lovely tone (…) She has the touch to render the orchestral textures vividly and the technique to tackle the ferociously difficult piano writing with ease”
Marios Papadopoulos, director Oxford Philharmonic Orchestra, 2017

“I felt cosseted and highly entertained in their hands, not only with playing of the surest unison and harmony, but with the palpable joy and fun of their music-making(…)”
Des Hutchinson at Musicweb-international.com, May 2017, Review Volt&Potenza duo CD “Khoreia”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This programme, FIREBIRD, reflects the unpredictable character of the magical glowing bird in Slavic folklore. The bird can be both a blessing and a curse to its captor. Each piece is rich in complexity and unexpected musical elements – contrasting innocence with danger, stillness with flight, weakness with power, and contemplation with drama.

Flight (Jan 2014), was written by the prolific Irish composer Philip Martin (b.1947-). It describes birds forming a murmuration in the sky. The first part, The Gathering, is calm, while the second part, The Murmuration, moves with sudden shifts of rhythm and dynamics.

Martin’s When fire lights the darkness (2017) was commissioned by Oda for this project. It captures the unpredictable character of the firebird in six contrasting movements.

The inclusion of the Corelli Variations (1931) by Sergei Rachmaninov (1873-1943) is to emphasize the richness of characters, even unexpected, that can evolve within one work. Despite the clearness in the treatment of the theme – the famous la Folia melody, known to composers since the mid-17th century – in the first variations, the growing complexities of later variations create luring, haunting, enchanting, expressive, exotic, and powerful music.In contrast to Rachmaninov’s use of heavily chordal textures, these variations represent a more linear and classical style. The transparent textures mark a change from a romantic to a more contemporary style in his music. The imaginative treatment of the theme is later present in Rachmaninov`s Paganini Variations with orchestra written in 1934.

In the case of the 3 Burlesques Op.8/c by Béla Bartók (1881-1945), we meet people in the village dancing, drinking, and inevitably experiencing the unpredictable. There is deliberate intention to perpetuate the popular tradition in these pieces, whose genuine and spontaneous character was felt by the composer.

Different combinations of rhythms are found in Quarrel (I. Presto), where two-beat units overlay on three-beat bars, while the Trio is made up of three-against-four rhythms. In A Bit Drunk (II. Allegretto) there is a folk-like tune constituted largely on fourths, which is played in an unstable rhythm. The Finale (III. Molto vivo, capriccioso), suggests a bi-tonal harmonic separation, but there is a blend into a single line.

Harald Sæverud (1897-1992) is one of Norway’s foremost composers, with a production of pieces until the age of 92. Harald Sæverud was born at Nordnes in Bergen on April 17th 1897. He was a student at the Music Academy in Bergen and the Berlin Academy (1920-1922) before he settled in Bergen. In 1939, he moved to a newly built villa at Siljustøl with his wife Marie Hvoslef. The close contact with nature in the large natural area around the villa became Harald`s important source of inspiration, especially during the Second World War.

"And the beautiful nature came so strangely near us in these years of distress; It got something very personal in its expression and pelted its tones into my mind. The music had to be separated in two voices, as we can see it drawn in the landscape when a mountain reflects in the fjord - because when the horizon line either rises or falls, there is a contra motion in the mirror, in intimate balance” Lorentz Reitan, “Harald Sæverud: Mannen, musikken, mytene”, Forum/Ascheloug 1997

The three selected capriccios are simple in form with improvisatory sections characteristic of the capriccio genre. These posthumous pieces were chosen by Oda Voltersvik to emphasize the theme of the recording. Oda`s upbringing in Bergen and her connection to Siljustøl Music School in early years has influenced her choice. Siljustøl (part of KODE), has kindly lent out a copy of the manuscripts through the Bergen Public Library.

The narrative of Igor Stravinsky’s (1882-1971) Firebird is based on the folk legends of the firebird and the evil magician Kastchei. The firebird is captured by a Prince Ivan, who loves one of Kastchei’s princesses. The firebird’s feather is ultimately used to save him and destroy Kastchei’s kingdom. Guido Agosti, student of Feruccio Busoni, made the arrangement – highly valued by Stavinsky – of the “Three dances from the Firebird.”

 





     
GRIEG IN BERGEN -18
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