Smellið á eina af þremur fyrirsögnum: 1) Umsagnir frá 1977 og Gummasögur
Heimsóknir
143368

Höfundaréttur © Guðmundur Emilsson. Allur réttur áskilinn samkvæmt Bernarsáttmálanum, með viðaukum.
Menntastofnunum er heimilt að nota þessa síðu sé eigenda höfundarréttar getið.

Forsíða

 

Greinar um tónlist, viðtöl og sjónvarpsþættir á 25 bls og fer fjölgandi

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Alþjóðleg blaðagagnrýni 1977-2000

 

24.4.2011

 

 Úr bæklingi umboðsmanns míns í Róm. 


The New York Times used the following words to describe the playing of the Baltic Philharmonic Chamber Orchestra under Gudmundur Emilsson's direction in a program of world premier performances:

"...Consistently refined..."
Allan Kozinn, New York Times, November 13, 1999


***
Gudmundur Emilsson Conductor
Orchestral, Choral & Opera Performances
Press Reviews 1977 to the Present
in Chronological Order

"Students of the Eastman School of Music [Chorus and Orchestra] and their conductor, Gudmundur Emilsson, deserve special praise for studying that extraordinary work The Auschwitz Oratorio by the
Polish composer Krzysztof Penderecki
I found it musically very impressive.
Karl Nell, Democrat and Chronicle, 
Rochester, New York, May 6, 1977
***
"Gudmundur Emilsson's strong sensitivity for dramatic elements was obvious [in the Iceland Symphony's performance of Borodin's Second Symphony]."
Jón Ásgeirsson, Morgunblaðið, Reykjavík, April 15, 1982

***
"Gudmundur Emilsson is a meticulous and energetic conductor."
Eyjólfur Melsted, DV, Reykjavík, April 20 , 1982
***
"Gudmundur Emilsson is very confident in his approach, he conducts with reserve but with authority and easily draws from the orchestra his personal interpretation."
Sigurður Steinþórsson, NT, Reykjavík, April 22, 1982
***
"Gudmundur Emilsson's conducting [in the Iceland Symphony's Concert of Nordic works] was agile and and unstrained. He is swiftly approaching the heights in his conducting; his will be an exciting career to follow."
Eyjólfur Melsted, DV, Reykjavík, September 1, 1982
***
"Gudmundur Emilsson lacks neither energy nor confidence; both are superb qualities in young [conductors]."
Sigurður Steinþórsson, NT, Reykjavík, December 7, 1982
***
"Gudmundur Emilsson had the courage and determination to set in motion the events which led to the foundation of the Icelandic Chamber Orchestra. Judging from that which has already been gained, one can affirm that
Gudmundur Emilsson has a future as a conductor."
Jón Ásgeirsson, Morgunblaðið, Reykjavík, December 1, 1982
***
"The Iceland Symphony Orchestra exhibited its best qualities in Mendelssohn's Scottish Symphony; the increasing skill of our fine conductor became very apparent. Whether he leads the orchestra through slow and graceful movements or fast and turbulent ones, all is done thoughtfully and perceptively."
Halldór B. Runólfsson, ÞV, Reykjavík, April 21, 1983.
***
"It must be a pleasure to work with a conductor as fully in command of his orchestra as Gudmundur Emilsson."
Lanstidningen, Sweden, July, 1983
***
"The conductor Gudmundur Emilsson, is endowed with a high degree of rhythmic sensibility and security. His baton technique is delicate and never exaggerated. The sound [produced by the Icelandic Chamber Orchestra] is very homogeneous; the varied program was performed with involving briskness."
Hans-Erik Dahlgren, Östersunds-Posten, Sweden, July 2, 1983
***
"The Icelandic Chamber Orchestra's approach [under the direction of Gudmundur Emilsson] was passionate and courageous, and there was something about it akin to the freshness of the new experience;
the playing was of a high professional standard."
Runar Mangs, Dagens Nyheter, Stockholm, Sweden, July 6, 1983
***
"Although the Philharmonic Chorus has been larger on previous occasions it produced a fuller sound than before and demonstrated fine coordination [in Handel's Judas Maccabæus] . . . . Instead of risking his ship and crew chasing artistic idiosyncrasies, Gudmundur Emilsson chose the calm waters and consequently steered an even voyage, which must be considered a fine achievement by a young conductor while dealing with the most majestic of oratorio composers."
Jón Ásgeirsson, Morgunblaðið, Reykjavík, June 1, 1985
***
"The chorus [The Philharmonic Chorus] was really fine. Intonation was superb and the chorus produced a large sound without ever forcing the vocal style. The balance between the voices was good and the general sound warm and uniform. The singers were well prepared and delivered their parts splendidly."
Eyjólfur Melsteð, DV, Reykjavík, May 31, 1985
***
"[The Chorus of the Icelandic Chamber Orchestra sang Henry Purcell's Fairy Queen] with vitality and produced numerous subtle colors, atmospheric moments and expressive details, more so than previously demonstrated by Icelandic choruses."
Jón Ásgeirsson, Morgunblaðið, Reykjavík, December 30, 1985
***
"[Gudmundur Emilsson replaces an Italian conductor in the National Theatre's production of Tosca]: . . . In general this "third premiere" was much more polished and better performed both vocally and dramatically then the previous ones; the author of these lines particularly enjoyed the fact that this renewed acquaintance with the production made an even stronger impression than the original premiere . . ."
Jón Ásgeirsson, Morgunblaðið, Reykjavík, November 25, 1986
***
"[A concert at the Helsinki Festival]: . . . Hallgrímsson's Violin concerto Poemi is a dazzling piece of music through which the solo instrument speaks in an unusually natural manner . . . The soloist, Sakari Oramo, scored an earth-shattering success with his energetic performance. The composers countryman, [guest conductor] Gudmundur Emilsson, was in subtle contact with the Avanti! orchestra, more so than we are accustomed to. The orchestras immediate response to his gestures was a pleasure to behold and the foundation on which the concert's artistic results was built."
Harri Wessman, Huvedstadsbladed, Helsinki, August, 1989
***
"Although Vaughan-Williams' Fantasy [on a Theme by Thomas Tallis] is frequently performed, orchestras rarely succeed in bringing forth the work's most subtle aspects. Here it was done. The soloist [of the Espoo City Orchestra] presented a fine interpretation, and the double string orchestra a delivered disciplined and refined performance under the direction of Gudmundur Emilsson . . . . [who] displayed a profound understanding of the music of our times."
Johan Tallgren, Huvedstadsbladed, Helsinki, February 18, 1990
***
"Last but not least the Espoo City Orchestra's deserves special praise for its luscious rendition of Vaughan-Williams' serene Fantasy [on a Theme by Thomas Tallis]. Through this performance it became apparent that the Icelandic conductor [Gudmundur Emilsson] is a superior musician, equally at home in modern and classical repertoire."
Olavi Kauko, Helsinki Sanomat, Helsinki, February 18, 1990
***
"The Icelandic Conductor [of Ensemble Instrumental De Grenoble] conducted with modesty, yet his interpretation was self-assured and convincing. No superfluous gestures were given, only those that were needed."
Music critic, Thionville, France, February 4, 1992
***
"Through his meticulous, colourful and passionate conducting, Mr. Gudmundur Emilsson and the instrumentalists
[of the Ensemble Instrumental De Grenoble] lead the listener into and atmosphere of playfulness, melancholy, and dance in compositions by Grieg, Nielsen and Sibelius."
Germaine Vadi, Dauphiné, Grenoble, February 14, 1992
***
"A Master from the North" As I write these lines Maestro Emilsson's noble character comes first to mind as well as his flaming enthusiasm. His bearing is tall - and his voice reveales both a musical personality and a solid character [who] consistently finds the perfect balance between strength and sensitivity, resulting in magnificent interpretation of the music at hand. We were lead into a world far beyond the printed notes. . . . Maestro Emilsson conducted with meticulous clarity and with his hearth and soul."
Gabby Avila Simpson, El Commercio, Quito, Ecuador, November 28. 1993
***

The Swedish and German press used the following words to describe Emilsson's conducting of the the World Premier Performances of Atli Heimir Sveinsson's Opera
The Moonlight Island in Bielefeld, Köln and Bonn in Germany in June of 1995 (concert version):

"Strong leadership."
Carl-Gunnar Åhlen, Svenska Dagbladet, Stockholm, June 21, 1995

"Precise leadership."
Constanze Stratz, General-An§eiger, Bonn, June 19, 1995
***
A fairy-tale concert


"The Grieg (0p. 53) that Emilsson introduced to us [with the Orchestra of the Teatro Lyrico] was one of soft chords and tender melodies that called forth a dream-like atmosphere of Nordic landscapes veiled in fairy-tales. . . . It also was apperent in the Prokofiev [Violin] Concerto [Nr. 2] that tender atmospheres well suit Mr. Emilsson personal style . . . . A totally different character emerged in Beethoven's Symphony [Nr. 2.] in an interpretation which seemed to spring from an applied knowledge of Beethoven's music rather then a calculated approach. . . .
Beethoven's Sympony was the climax of the concert."
Greca Piras, L'Unione Sarda, Sardinia, Italy, March 10, 1996
***
The Chinese Press
discusses the world premier in Beijing's Poly Plaza Theatre
of the staged version of Mr. Sveinsson's Moonlight Island opera:

"The musician's supreme performance and the moving plot left a lasting impression on the audiance."
People's Daily, Beijing, Peking, March 23, 1997
***
The first performance in Iceland was recieved thus:
"Emilsson delivered his part excellently."
Jón Ásgerisson, Morgunblaðið, May 25, 1997
***
[In the youthful and exuberant Seraglio Overture] . . .
"Emilsson used his force well to maximize this exultation. . . . As the Mozart concerto [Nr. V in A major] belonged to [virtuoso] Anton Barachovsky, so the Beethoven Symphony No. 1 in C major belonged to the orchestra [The Oregon Mozart Players] and the conductor. Very ably captained by Emilsson, the musicians came together better than at any other time! . . . The [first movement's] difficult transition from the adagio to allegro was smoothly executed, and we were treated to a bright, gusto-filled performance of the Haydn-like main theme. The violins were crisp and beautifully coordinated through some hurrying, feathery passages, while the woodwinds offered some delightful contrasts and the brass was clear and strong. . . . [The third movement] . . . a full-blown Beethoven Scherzo, was played with power and gusto, it was perhaps the most brilliantly performed movement of the whole concert. . . . In the fourth movement, Emilsson . . . urged the players to give of their best, which they did in full measure. . . . An excellent afternoon's musical entertainment given by some very gifted musicians."
John Farnworth, The Register Guard, Eugene, Oregon, November 3, 1998
***

The New York Times used the following words to describe playing the Baltic Philharmonic Chamber Orchestra under Gudmundur Emilsson's direction in a program of world premier performances:

"...Consistently refined..."
Allan Kozinn, New York Times, November 13, 1999

***
Review of a CD (Skifan label) of Arias and Overtures by W. A. Mozart
performed by the Baltic Philharmonic under the direction of Gudmundur Emilsson:

"The CD commences exuberantly with a very spirited and brilliant rendition of the Overture to Mozart's The Marriage of Figaro, in fine style and character. All the overtures . . . are performed superbly under Emilsson's baton. . . . There is every reasons to praise Gudmundur Emilsson and the Baltic Philharmonic . . . . their
performance here is both daring and of strong features."
Oddur Björnsson, Morgunblaðið, December 16, 1999
***
Review of a unpublished CD of world premiere recordings by international orchestras
of compositions by Atli Heimir Sveinsson:

"[Atli Heimir Sveinsson's] Hlými for orchestra [first performed in 1965, and not again until now] acquires a unexpected freshness in a excellent performance by the Symphony Orchestra of the Polish National Radio and Television under the direction of Gudmundur Emilsson. . . . The interpretation [of Emilsson and the Baltic Philharmonic Chamber Orchestra] of Atli Heimir Sveinsson's Sturla is most impressive. . . . Sveinsson's Doloroso is performed with a wealth of emotions . . . a true jewel of a piece."
Ríkharður Örn Pálsson, Morgunblaðið, June 7, 2000
***
Review of a unpublished CD of world premiere recordings by The Baltic Philharmonic
Orchestra of compositions by Thorkell Sigurbjörnsson:

[In Sigurbjörnsson Flökt from 1962, performed by the Baltic Philharmonic Orchestra]:

"Emilsson's sense of what is and is not important in post-war music vocabulary is evident in a performance that is next to radioactive in character. . . . The Baltic Philharmonic Orchestra [and soloist Ib Lanzky-Otto] perform Sigurbjörnsson's Rúnir [horn concerto] with a vigor and a contagious thirst for life that will ensure a future for this splendid work"
Ríkharður Örn Pálsson, Morgunblaðið, June 14, 2000
***
Review of a unpublished CD of world premiere recordings by international orchestras
of compositions by Mark Phillips:

"[Mark Phillips'] Intrusus, an early work, is superbly performed by the University Orchestra [Bloomington, Indiana] under the direction of Gudmundur Emilsson. . . . Emilsson and the Baltic [Philharmonic Chamber Orchestra] deliver Phillips'
Fire and Ice marvelously."
 Morgunblaðið, June 17, 2000

 

jólatónleikar

Eastman School of Music 1977

 

* * *

 

AF MUNNI FRAM

Fyrri hluti - Nám

 

Guðmundur Emilsson

Til barna minna

 

Jón (Nonni minn!) Steindór Þorsteinsson

Tölvuvinna, umbrot og hjálparhella

1.þáttur

Hljómsveitarstjórinn

In Manus Tuas - 00:00

Þök - 18:53

Svanur - 26:47

Árvogur - 32:58

Hægt er að hlusta á 2.- , 3.- , og 4.þátt í beinu framhaldi hér neðar á síðunni.

2. þáttur

Þögn - 00:00

Athafnir - 22:13

Kjallari - 46:20

Stofumúsík - 1:03:16

Hugljómun - 1:23:19

3.þáttur - Sieben Intermezzi

1. - 00:00

2. - 27:57

3. - 30:45

4. - 37:54

5. - 40:06

6. - 45:22

7. - 45:50

4.þáttur - Upphaf

Leynifundur - 00:00

Sjónvarp - 04:44

La Mer - 06:54

Mygluloft - 11:18

 

5.þáttur - Herfang og ránsfengur

6.þáttur - Vegamót

 

7.þáttur - Árin mótandi

8.þáttur - Fley ok fagrar árar

 

9.þáttur - Framhaldsnámið

 

10.þáttur - Via Appia

11. þáttur - Andhetja?

12. Þáttur - Bréf og ekki bréf

13.þáttur - Önnur viðfangsefni

14.þáttur - Trúnaðarlangloka um klíkuskap á frændsemi ofan

Drangeyjarsundið mikla

Fyrsti hluti

 

Drangeyjarsundið mikla

Annar hluti

 

Drangeyjarsundið mikla 

Þriðji hluti

Blóðrautt rennur fljótið Visla

 

 

Drangeyjarsundið mikla

Fjórði hluti

. . . The Harvard lectures 1973 by Leonard Bernstein
Charles Ives: The Unanswered question . . .

Um gjörvileika dagskrárgerðarmanna RÚV

Drangeyjarsundið mikla

Fimmti hluti

Hillumetrar af Schindlerisma

Píanókonsert nr.2 eftir Beethoven

Drangeyjarsundið mikla

Sjötti hluti

Drangeyjarsundið mikla

Sjöundi hluti

Drangeyjarsundið mikla

Áttundi hluti

Drangeyjarsundið mikla

Níundi hluti

Drangeyjarsundið mikla

Tíundi hluti

Drangeyjarsundið mikla

Ellefti hluti

Drangeyjarsundið mikla

Tólfti hluti

Drangeyjarsundið mikla

Þrettándi hluti

Drangeyjarsundið mikla

Fjórtándi hluti

Drangeyjarsundið mikla

Fimmtándi hluti

Bernstein: Hinsta kveðja

Heiðra skaltu föður þinn og móður og aðra mentora þína. Þetta hef ég gert alla ævi og einnig á heimasíðu minni um árabil. Nú síðast hef ég ítrekað birt myndir af merkasta mentor mínum, Leonard Bernstein, sem er heimsþekktur og skráður í tónlistarsöguna til frambúðar sem hljómsveitarstjóri, pedagók og tónskáld. Með þessum ljósmyndum öllum í meira en mánuð vildi ég minnast þess að þrír áratugir eru liðnir frá andláti Bernsteins 1990. Tíminn flýgur. Ég geri ekki ráð fyrir að geta minnst hans 2030 eður 2040.

Sannast sagna hef ég gert ítarlega grein á heimasíðunni fyrir öllum mentorum mínum. Birt heimildarmyndir, birt viðtöl, ljósmyndir, hljóðrit og fleira og fleira; en fremur fátt sagt um Bernstein, síðasta læriföður minn, þann áttunda og merkasta. Hillur bókasafna eru ekki beinlínis að svigna undan gögnum um Þorkel, Atla Heimi og Jón Nordal. Ég hef reynt að bæta úr því. Hillur Bernsteins eru aftur troðfullar og endalausar.

Ástæðan fyrir því að ég hef lítið talað um Bernstein er sú að það sem okkur fór í milli á níunda áratug 20. aldar var tveggja manna persónulegt trúnaðartal sem ekki var ætlað til fjölmiðlabrúks – slúðurblöð eru enn spennt fyrir honum - hvar í liggur vandi minn. Hvernig fer ég að því að ræða um Bernstein án þess að rjúfa trúnað hans? Er það yfirleitt hægt? Já, sennilega ef maður fer í kringum umræðuefnið líkt og köttur í kringum heitan graut. Svona, til dæmis:

Ég tók viðtal, sem er að finna hér á heimasíðunni, við vin minn Tryggva M. Baldvinsson, forseta tónlistardeildar Listaháskóla Íslands. Um tvítugt var Tryggvi nemandi minn í hljómsveitarstjórn í Tónlistarskólanum í Reykjavík, að taka fyrstu skrefin á þeirri braut. Tryggvi var eiginlega furðu lostinn í heilt skólamisseri, því kennarinn bar ítrekað upp sömu spurninguna frá öllum hugsanlegum sjónarhornum: Hvert er hlutverk stjórnandans? Við hvað starfar hann? Þetta ætlaði aldrei að taka enda fannst Tryggva blessuðum.

Það sem Tryggvi og bekkjarfélagar hans vissu ekki og vita ekki enn, er að við Bernstein ræddum einmitt þessa spurningu og nokkrar aðrar í næstum áratug, frá sjónarmiði túbuleikarans (Tryggva), frá sjónarmiði konsertmeistarans, frá sjónarmiði fimmta kontrabassa og síðast en ekki síst frá sjónarmiði viðkomandi tónskálds, einleikara, einsöngvara eða kórs. Okkur Bernstein þótti þetta botnlaust umræðuefni.

Í lok þessarar skólaannar í Tónó bætti ég um betur og sagði nemendum mínum hvert væri aðalhlutverk flugstjóra! Þá féll nemendum allur ketill í eld. Hlutverk flugsstjórans, að sögn kennarans, er í sem fæstum orðum, að halda réttri flugstefnu, flughæð, flughraða og jafnvægi vélarinnar (sb ofris). En síðast en ekki síst síst að huga stöðugt að eldsneytinu. Þessi aðalhlutverk ber flugstjóra að rækja af stakri kostgæfni, en láta aðstoðarflugmann og flugþjóna annast allt annað.

Þota hrapaði á Heathrow í London, segir kennarinn. Allir fórust, nema flugstjórinn, sem neyddist til að viðurkenna fyrir rétti að hann hefði ekki fylgst með eldsneytismælinum síðasta spölinn (sjá bókina Airport Intenational, 1978), enda hefði hann verið að laga salernið aftast í vélinni. Flugstjórinn missti sumsé sjónar á aðalhlutverki sínu gerðist flugvirki. Forstjórar, framkvæmdastjórar og hljómsveitarstjórar geta mikið lært af þessari sönnu og sorglegu sögu.

Að lokum þetta að auki: Aðalhlutverk hljómsveitarstjórans er ekki það að vera taktmælir. Þeir slá ekki taktinn líkt og Jón Múli orðaði það í sífellu í árdaga útsendinga frá tónleikum Sinfóníuhljómsveitar Íslands, sennilega af stakri vanþekkingu. Viðfang stjórnandans er mun víðfeðmara, líkt og bent var á hér að ofan. Gamlir djasstrommarar frá 1940 slá hins vegar taktinn, en það er annar handleggur.

Flest annað sem okkur Bernstein fór á milli, umfram það sem fram hefur komið í fyrri grein, hef ég unnið úr í fjóra áratugi í starfi mínu um víða veröld, en þau ferðalög farandsöngvans voru ekki síst Bernstein að þakka.

Kæri Bernstein, ég þakka þér handleiðsluna og að sýna mér í hugarheim þinn, en ekki síst fyrir að hvetja mig til dáða umfram alla aðra mentora mína. Nú get ég sjötugur sagt með sanni - It took Bernstein to know one.

Það eru forréttindi að dvelja í skugga vængja þinna. Hvíl í ró.

Drangeyjarsundið mikla

Sextándi hluti

 

Drangeyjarflugsundið mikla

Sautjándi hluti

Íslenska Hljómsveitin 1980-90 í tónum, tali og myndum

Átjándi hluti

Íslenska Hljómsveitin 1980-90 í tónum, tali og myndum 2. hluti; og jafnframt 2. þáttur óperu Purcells Dido og Eneas

Nítjándi hluti

Íslenska Hljómsveitin 1980-90 í tónum, tali og myndum 3. hluti; og jafnframt 3. þáttur óperu Purcells Dido og Eneas

Tuttugasti hluti

Íslenska Hljómsveitin 1980-90 í tónum, tali og myndum (4. hluti )

Tuttugasti og fyrsti hluti

Í minningu stjórnar

Tuttugasti og annar hluti

Riga í 5 ár+

Tuttugasti og þriðji hluti

Riga í 5 ár+

Tuttugasti og fjórði hluti

Riga í 5 ár+

Portrait af ÞS

Óútgefin diskur, höfundaréttur © Guðmundur Emilsson

Upptökur af verkum Þorkels Sigurbjörnsson

Tuttugasti og fimmti hluti Gummasagna