Li..l'tt" S.lLiger - Chandos

More documents

Recommendations

Info

Tours Selbiger began recording programmes for the Norwegian Radio already in the year of her debut. The journey to Oslo turned out to be the flrst of frequent performances in Norway throughout her entire career, with the exception of the War years. Besides playing at Kringkas tingen she performed at public concerts in Oslo, Bergen, Ringve (near Trondheim). Her latest concert in Norway was the first playing of a new harpsichord a cold winter s day in the cathedral of Kristiansand. During the 1950s and 60s, the manufacturing of harpsichords gradualiy improved, but before thery harpsichord tours were a delicate matter. Travelling with one's own instrurnent was extremely cumbersome and expensive, and few concert venues, even ln the major cities, sported a quality harpsichord. Even so, Selbiger played in Stockholm (both during and after the war), Gothenburg and Jonkoping. Furthermore she played in Switzerland, where she also did two radio broadcasts together with August Wenzinger; she played in Berlin, twice in Hamburg (first a solo recital at "Die Briicke", a British community centre, and, having achieved a major success here, also on the Nordwestdeutscher Rundfunk with the Brandenburg Concerto no. 5), in Cologne, Brussels and London (Wigmore Ha11), all of which received great reviews. After her concert at 'Die Briicke" the press wrote, among other things: What mskes her playing particularly appenling is the unerring purity and authenticity characteristic of her outstanding technique, clear buildup and the reliability of her aiaid execution. With fne nnd wellbslanced dynamics and charmingly gradated timbres achieaed by her stop anriations, she played with incre asin gly intense concentration. Slrc is indeed s master of her tnstrument. She also played several concerts in the Danish provinces, particularly in the autunrl of her career: Nestved, Glumso, Sonderborg, Randers, Aalborg, among other places. Radio Broadcasts Selbiger's caxeer as a musician spanned almost 25 year:. She was particularly active in the 1940s and 1950s. In fact to a degree that if cost her her marriage. "Concerts, always concerts", her Danish husband complained. And she did play far beyond 100 concerts. She played several solo recitals and many
solo concerts with an orchestra, but was the driving force behind considerably more chamber music concetts, some of them featuring the flutist Poul Birkelund. The majority of her radio broadcasts, however, consisted of solo music. On Danish radio she presented several series, including alL of TIrc WeII-Tempered Claztier I and II, Music upon the clnaichord and Incursions into Music for Ha:sichord. During the 10 years between 1948-57 she did about 80 broadcasts for Danish Radio. She was a recurring guest on Norwegian radio; she did broadcasts for Swedish and German radio; and her records were played on many broadcasting services. Records She recorded albums during the period that saw technology change from 78 rpm records to LPs, and her first releases were done using the old technique. She made a fine debut as a recording artist in1947. Her record, which featured two pieces by Scarlatti, received excellent reviews. To quote the reviewer frotnThe Gramophone Shop: The "Cortige Sonata" has been tltrice done before, and this performance betters each of tlrcm - eaen that of Madame Landozoska (in Scctrlcttti Society Set, Volume I) whose superJTuous mannerisms in this case are shown up for zuhat they are: artifice not nrt. The "Toccstn" ... is giiaen a tense and exciting perform ance that reaeals greater creatiae strength in the composer tlnn or dinnry perfo rrnance p ractices allozu ... An excellent recording of a aery wonderful instrument. This fine reception of her record opened many doors to her, and up to 1957 she made about a dozen recordings, nearly a1l of with music by J. S. Bach. But her first LP, released in 1955, also contained music by Couperin and Rameau. This record was praised as well. The 9 /13 issue o{ the paper Dagens Nyheder commended the recording technique and wrote of Selbiger: "Les folies frangaises", played by <strong>Li</strong>selotte Selbiger on the reaerse side of the record, demonstrqtes Couperin's masterly art of charac terisation ctt its best, and Mrs Selbiger plays the piquant melodic ministures with a stylistically consistent and nunnced timbre and elegance. She concludes zoith the big " Passncaille" , in which her lury sicltor d resembles a u eritable organ peal and she demonstrates her outstanding command of the
Page 1 and 2: Li..l'tt" S.lLiger Phyt ll),r...,11
Page 3 and 4: From Four Duets (Klavieriibung III)
Page 5 and 6: forsiringer af det akkordiske skele
Page 7 and 8: fransk musik pA Musikhistoriska mus
Page 9 and 10: med et soloprogram, og efter sin st
Page 11 and 12: ikke har bevaret optagelser af sA s
Page 13 and 14: men her fer vi dem pA cembalo, hvil
Page 15 and 16: Liselotte Selbiger's Career as a Mu
Page 17 and 18: Italion Concerto. That the harpsich
Page 19: and solo music, includlng two Cymna
Page 23 and 24: The Music Of the six composers repr
Page 25 and 26: {However, Selbiger doesn't repeat t
Page 27 and 28: Volume 1 DACOCD 556 |ohann Sebastia

Li..l'tt" S.lLiger - Chandos

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?