This is the fourth and final volume of colourful and highly appealing orchestral works by the Norwegian composer Johan Halvorsen. The series is performed by the Bergen Philharmonic Orchestra under Neeme Järvi.
Neeme Järvi is back conducting the Bergen Philharmonic Orchestra in the third volume in Chandos’ series devoted to the orchestral works of the Norwegian composer Johan Halvorsen. They are joined on this recording by Ragnhild Hemsing on Norway’s national instrument, the Hardanger fiddle, and by Marianne Thorsen on violin.
Neeme Järvi is back conducting the Bergen Philharmonic Orchestra, with the violinist Marianne Thorsen, in this second volume of Chandos’ series devoted to the orchestral works of Johan Halvorsen. This Norwegian composer, conductor, and violinist was a highly prominent figure in his country’s musical life during the first decades of the twentieth century. The works on this CD are all performed by the orchestra that Halvorsen himself conducted in the 1890s. As in the first volume of the series, they represent Nordic folk-based music at its very best: light and airy compositions with the strings firmly at centre stage. Air norvégien was described by Halvorsen’s contemporary, Edvard Grieg, as ‘a folk-tune medley, but so well done that the result is a piece of art’.
Neeme Jarvi conducts the Bergen Philharmonic Orchestra in the launch of a revealing orchestral series; the works of Johan Halvorsen. Volume one of this four volume series, features a mixture of well-known works with rarely recorded repertoire. The Entry March of the Boyars is recurrently in the concert repertoire and is programmed with the only available recordings of Andante Religioso, Mascarade Suite and La Melancholie, along with the rarely recorded Symphony No.1.
Having recently concluded his Halvorsen series, Neeme Järvi continues his Nordic project with the Bergen Philharmonic Orchestra. This is Volume 2 in the survey of orchestral works by the Norwegian composer Johan Svendsen, a contemporary of Grieg. In the Cello Concerto, the orchestration is perhaps more introvert than what we usually hear in Svendsen’s music.