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Since winning all four prizes at the Banff International String Quartet Competition, the group has performed more than concerts a year in locations spanning four continents. See details Laughs at the Lyric pm, Laughs at the Lyric. See details buy tickets Laughs at the Lyric pm, Laughs at the Lyric. See details Arts at St.

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As a youngster, he played trumpet in a military band and also studied the violin and piano. Nielsen enrolled in the Royal Conservatory of Music in Copenhagen in , where he studied composition with Niels Gade, violin with Valdemar Tofte, and music theory with Orla Rosenhoff.


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His compositions display energetic rhythms, brilliant orchestration, and his individual voice. This harmonic language is said to have been typically Danish. Although Nielsen died well before World War II, it was not until after the war that his compositions became popular. In , the New York Philharmonic, conducted by Alan Gilbert, completed recordings of Nielsen's six symphonies and three concertos.

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Nielsen was on the phone with Christiansen and heard them rehearsing in the background. He liked the instrumentation and decided that it was time for him to write a wind quintet. Nielsen was always fond of wind instruments because they reminded him of his love of nature and his fascination for living, breathing things.

At one moment they are all talking at once, at another they are quite alone. The theme for these variations is the melody for one of C. Instrumentation — flute, oboe, clarinet, horn in F, bassoon. About Louis Spohr —. Louis Spohr, born Ludwig Spohr, was a German composer, violinist, and conductor. Highly regarded during his lifetime, Spohr composed ten symphonies, ten operas, eighteen violin concerti, four clarinet concerti, four oratorios, and various works for small ensemble.

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His music falls between the Classical and Romantic periods in music and fell into obscurity after his death. At 15, after his failed concert tour to Hamburg, it was necessary for him to ask Duke Karl Wilhelm Ferdinand of Brunswick for financial help. A successful concert at the court impressed the duke so much that he engaged Spohr as a chamber musician.

In , through the good offices of the duke, Spohr became the pupil of Franz Eck, who asked him to accompany him on a concert tour to St.

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It was there that he met his first wife, Dorette, who was a harpist and pianist. It is known that Spohr practiced with Beethoven at his home and also did some composing while there. As a conductor, Spohr was one of the first to stand before an orchestra using a baton. He conducted opera in Vienna, Frankfurt, and Kassel for more than 30 years. The Nonet had only a small reference relating to this chamber music tradition. Tost commissioned a series of chamber works from Spohr, for which he secured the right to exclusive performance during the first two years before the compositions were given to a publisher to print.

Granting permission for exclusive performances was a new way of commissioning, which intrigued Spohr.

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First, I want to be invited to Music Festivals, in which you will present your compositions and second, I am hoping to possess these compositions for exclusive performance rights so I might be able to spread them among music lovers so that I can build them into a business for my benefit. At the beginning of the Adagio, he uses the lower strings on the instruments, similar to beginnings in works by Schubert, Mendelssohn, and Brahms.

Here Spohr developed a new sound, which was the Romantic sound. The compositional mastery of his Nonet is undisputed; each instrument has a solo and at the same time is treated as a voice in the ensemble. One peculiarity of each movement is noted here.


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The first movement is in sonata form and modulates; the final movement carries this further with its surprising modulations and fugato. The strings and winds are in opposition to each other.


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  5. In the second trio, Spohr gave his tendency to extreme chromaticism free rein. The highly romantic theme of the Adagio is composed expressively in dialogue between strings and winds, and the finale has the lighter tone of a clean sweep in the style of Italian opera. Instrumentation — flute, oboe, clarinet, bassoon, horn, violin, viola, cello, double bass.

    About Malcolm Arnold —. He gained a reputation for composing light music, film scores, and works for theater, ballets, and symphonies.