the first beauty for Wind Octet by Oslo Kammerakademi

Various composers

Oslo Kammerakademi

the first beauty for Wind Octet

Format: SACD
Label: Lawo Classics
UPC: 7090020181059
Catnr: LWC 1093
Release date: 11 December 2015
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Label
Lawo Classics

UPC
7090020181059

Catalogue number
LWC 1093

Release date
11 December 2015

Album

Artist(s)

Composer(s)

About the album

“HARMONIE” MUSIC OF OUR OWN TIME
These works for wind octet by Klein, Kvandal and Yun are regarded as cornerstones of the recent literature, and they rest on a common aesthetic and ethical foundation, together with the newly composed wind octet by Magnar Åm. Oslo Kammerakademi’s third recording, “the first beauty”, completes a trilogy of “Harmonie” music from three epochs.
The ensemble has, right from its debut in 2009, had the ambition to embrace the entire breadth of classical chamber music literature for wind instruments — all the way from its origins in Vienna in the 1780s to the music of our own time. It is interesting to note that the works of all the composers featured here have ties to origins, whether specifically in relationship to this genre of music, or in a more spiritual-philosophical sense. The title of the commissioned work by Magnar Åm lends its name to the recording. The composer relates that the work portrays his philosophical anchoring in and experience of the world.
In 2012 Oslo Kammerakademi released its first CD, “Beethoven for Wind Octet” (LWC1036), and in 2014 its second recording, “Leipzig!” (LWC1058). Both recordings received glowing reviews in Norway and abroad. BBC Music Magazine gave the debut album five stars (of five possible)!
“…a festive fireworks of a CD … an earcatcher par excellence! Certainly one of this year’s winners.” Kjell Hillveg reviewing “Beethoven for Wind Octet” in Dagsavisen.
“...delight is the watchword throughout this engaging programme, superbly played by the Oslo ensemble.” – Review of “Leipzig!” by Guy Rickards in Gramophone Magazine.

Diese Werke für Bläseroktett von Klein, Kvandal und Yun gelten als Eckpfeiler des Genres in der neueren Literatur und basieren auf einer gemeinsamen ästhetischen und ethischen Grundlagen.

Artist(s)

Oslo Kammerakademi

OSLO KAMMERAKADEMI performs chamber music for winds based on the historical Harmoniemusik instrumentation. Founded by artistic director David Friedemann Strunck, the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and invitations to prestigious festivals such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival, Summerwinds Holzbläserfestival Münsterland, Glogerfestspillene, the Fartein Valen Festival, Trondheim Kammermusikkfest, Stavanger Chamber Music Festival, Valdres Sommersymfoni and Nordic Wind Festival among others. Oslo Kammerakademi utilises historical brass instruments in repertoire from the Baroque, Classical and Romantic periods. This contributes to the ensemble’s authentic sound and historically oriented performances. Since it was founded in 2009, Oslo Kammerakademi’s ambition has been to embrace the full range of literature for the Harmonie ensemble – from...

OSLO KAMMERAKADEMI performs chamber music for winds based on the historical Harmoniemusik instrumentation. Founded by artistic director David Friedemann Strunck, the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and invitations to prestigious festivals such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival, Summerwinds Holzbläserfestival Münsterland, Glogerfestspillene, the Fartein Valen Festival, Trondheim Kammermusikkfest, Stavanger Chamber Music Festival, Valdres Sommersymfoni and Nordic Wind Festival among others.
Oslo Kammerakademi utilises historical brass instruments in repertoire from the Baroque, Classical and Romantic periods. This contributes to the ensemble’s authentic sound and historically oriented performances.
Since it was founded in 2009, Oslo Kammerakademi’s ambition has been to embrace the full range of literature for the Harmonie ensemble – from its origin in Vienna in the 1780s to the music of our own time. It therefore commissions and performs music for Harmonie ensemble, and has collaborated with composers Mert Karabey (Turkey), Magnar Åm, Morten Gaathaug, Ketil Hvoslef, Trygve Brøske, Gisle Kverndokk, and Henrik Hellstenius. Oslo Kammerakademi collaborates regularly with the acclaimed Norwegian string ensemble Ensemble Allegria.
Oslo Kammerakademi has released several CD recordings. The first three recordings, Beethoven for Wind Octet (LWC1036, released in 2012), Leipzig! (LWC1093, 2014) and the first beauty (LWC1093, 2015), formed a trilogy of Harmoniemusik from three eras. The ensemble has since released Mozart for Wind Octet (LWC1141, 2017) a collaboration with Christian Ihle Hadland, Mozart/Danzi/Beethoven for Piano and Winds (LWC1187, 2019) and Chanson et Danses (LWC1225, 2021). All of their recordings have earned overwhelmingly positive reviews.
Oslo Kammerakademi holds an annual festival – Ski Hagefestival – in Ski in Akershus, south-east of Oslo. The ensemble is also committed to nurturing coming generations of musicians and holds a yearly summer course for young wind and double bass players.

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David Friedemann Strunck

Composer(s)

Gideon Klein

Johan Kvandal

Isang Yun

Yun, Isang, important Korean composer; b. Tong Young, Sept. 17, 1917. He studied Western music in Korea (1935-37) and in Japan (1941-43). After the end of the war, he taught music in South Korean schools; in 1956 went to Berlin, where he took lessons in composition with Boris Blacher and Josef Rufer at the Berlin Musikhochschule. He settled permanently in Berlin, where he produced several successful theatrical works, marked by a fine expressionistic and coloristic quality, and written in an idiom of euphonious dissonance. His career was dramatically interrupted when on June 17, 1967, he and his wife were brutally abducted from West Berlin by the secret police agents of South Korea, and forced to board a plane for Seoul, where they were brought...

Yun, Isang, important Korean composer; b. Tong Young, Sept. 17, 1917. He studied Western music in Korea (1935-37) and in Japan (1941-43). After the end of the war, he taught music in South Korean schools; in 1956 went to Berlin, where he took lessons in composition with Boris Blacher and Josef Rufer at the Berlin Musikhochschule. He settled permanently in Berlin, where he produced several successful theatrical works, marked by a fine expressionistic and coloristic quality, and written in an idiom of euphonious dissonance. His career was dramatically interrupted when on June 17, 1967, he and his wife were brutally abducted from West Berlin by the secret police agents of South Korea, and forced to board a plane for Seoul, where they were brought to trial for sedition; he was sentenced to life imprisonment; his wife was given three years in jail. This act of lawlessness perpetrated on the territory of another country prompted an indignant protest by the government of West Germany, which threatened to cut off its substantial economic aid to South Korea; twenty-three celebrated musicians, including Igor Stravinsky, issued a vigorous letter of protest. As a result of this moral and material pressure, South Korea released Yun and his wife after nearly two years of detention, and they returned to Germany. In 1970 he was appointed a professor at the Hochschule für Musik in Berlin.
[From Baker's Biographical Dictionary of Musicians by Nicholas Slonimsky.] Isang Yun died on November 3, 1995 in Berlin, and was interred in a grave of honour provided by the City Senate. He was a member of the Hamburg and Berlin Academies of the Arts and of the European Academy of the Arts and Sciences in Salzburg, an honorary member of the International Society of Contemporary Music. He also held an honorary doctorate from the University of Tübingen, and was the recipient of the Goethe Medal of the Goethe Institute in Munich and the Distinguished Service Cross of the Order of Merit of the Federal Republic of Germany.
[From the Yun-Gesellschaft website.]

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