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'''Magnús Blöndal Jóhannsson''' (8 September 1925 - 1 January 2005)<ref name="tónskáld">{{cite news|title=Magnús Blöndal Jóhannsson tónskáld|url=http://timarit.is/view_page_init.jsp?pageId=5495386|accessdate=13 March 2014|newspaper=Dagblaðið Vísir|date=4 January 2005|page=25|language=Icelandic}}</ref> was an Icelandic composer, pianist and conductor.
'''Magnús Blöndal Jóhannsson''' (8 September 1925 - 1 January 2005)<ref name="tónskáld">{{cite news|title=Magnús Blöndal Jóhannsson tónskáld|url=http://timarit.is/view_page_init.jsp?pageId=5495386|accessdate=13 March 2014|newspaper=Dagblaðið Vísir|date=4 January 2005|page=25|language=Icelandic}}</ref> was an Icelandic composer, pianist and conductor.


Jóhannsson studied with Franz Mixa and Victor Urbancic at the Reykjavík College of Music (1935–7, 1939–45) and with Bernard Wagenaar and Marion Bauer at the Juilliard School (1947–53). He was active as répétiteur and conductor at the Icelandic National Theatre (1956–61),<ref name="tónskáld" /> and was a producer at the Icelandic State Broadcasting Service until 1974;<ref name="tónskáld" /> he was also a founder member of Musica Nova in 1959.<ref>[http://www.artnews.is/issue008/008_Paik.htm LIST Icelandic Art News<!-- Bot generated title -->]</ref> After a period in the USA (1977–87), he took up residence again in Iceland.
Jóhannsson studied with Franz Mixa and Victor Urbancic at the [[Reykjavík College of Music]] (1935–7, 1939–45) and with Bernard Wagenaar and Marion Bauer at the Juilliard School (1947–53). He was active as répétiteur and conductor at the Icelandic National Theatre (1956–61),<ref name="tónskáld" /> and was a producer at the Icelandic State Broadcasting Service until 1974;<ref name="tónskáld" /> he was also a founder member of Musica Nova in 1959.<ref>[http://www.artnews.is/issue008/008_Paik.htm LIST Icelandic Art News<!-- Bot generated title -->]</ref> After a period in the USA (1977–87), he took up residence again in Iceland.


In the 1950s and early 60s Jóhannsson was at the forefront of the Icelandic avant garde. His Fjórar abstraksjónir (‘Four Abstractions’, 1950) for piano was the first Icelandic 12-note composition;<ref name="tónskáld" /> he was also a pioneer in electronic music,<ref>[http://icelandreview.com/news/2012/03/03/harpa-celebrates-alternative-music Harpa Celebrates Alternative Music] ''Iceland Review Online'' 3 March 2012</ref><ref>[http://www.electronicbeats.net/en/features/interviews/pythagoras-saw-the-cosmos-similarly-hans-ulrich-obrist-talks-to-bjork/ Hans Ulrich Obrist talks to Björk – Electronic Beats<!-- Bot generated title -->]</ref> composing his Elektrónísk stúdía for woodwind quintet, piano and tape in 1958. In 1971 he stopped composing for almost a decade; this extended silence was eventually broken with his Adagio (1980) for strings, celesta and percussion, which marks a significant stylistic shift in his music. Like the works which followed, it abandons his earlier experimental style for a more simple, neo-romantic lyricism.
In the 1950s and early 60s Jóhannsson was at the forefront of the Icelandic avant garde. His Fjórar abstraksjónir (‘Four Abstractions’, 1950) for piano was the first Icelandic 12-note composition;<ref name="tónskáld" /> he was also a pioneer in electronic music,<ref>[http://icelandreview.com/news/2012/03/03/harpa-celebrates-alternative-music Harpa Celebrates Alternative Music] ''Iceland Review Online'' 3 March 2012</ref><ref>[http://www.electronicbeats.net/en/features/interviews/pythagoras-saw-the-cosmos-similarly-hans-ulrich-obrist-talks-to-bjork/ Hans Ulrich Obrist talks to Björk – Electronic Beats<!-- Bot generated title -->]</ref> composing his Elektrónísk stúdía for woodwind quintet, piano and tape in 1958. In 1971 he stopped composing for almost a decade; this extended silence was eventually broken with his Adagio (1980) for strings, celesta and percussion, which marks a significant stylistic shift in his music. Like the works which followed, it abandons his earlier experimental style for a more simple, neo-romantic lyricism.


In 1995 Jóhannson handed over his works to the National and University Library of Iceland for preservation.<ref>{{cite news|title=Handrit í þjóðarbókhlöðuna|url=http://timarit.is/view_page_init.jsp?pageId=2731723|accessdate=13 March 2014|newspaper=Dagblaðið Vísir|date=25 August 1995|page=13|language=Icelandic}}</ref>
In 1995 Jóhannson handed over his works to the [[National and University Library of Iceland]] for preservation.<ref>{{cite news|title=Handrit í þjóðarbókhlöðuna|url=http://timarit.is/view_page_init.jsp?pageId=2731723|accessdate=13 March 2014|newspaper=Dagblaðið Vísir|date=25 August 1995|page=13|language=Icelandic}}</ref>
Works (selective list):
Works (selective list):
*Ballet: Frostrósir [Frostwork], dancers, chbr orch, tape, lighting, 1968
*Ballet: Frostrósir [Frostwork], dancers, chbr orch, tape, lighting, 1968

Revision as of 04:52, 29 March 2014

Magnús Blöndal Jóhannsson (8 September 1925 - 1 January 2005)[1] was an Icelandic composer, pianist and conductor.

Jóhannsson studied with Franz Mixa and Victor Urbancic at the Reykjavík College of Music (1935–7, 1939–45) and with Bernard Wagenaar and Marion Bauer at the Juilliard School (1947–53). He was active as répétiteur and conductor at the Icelandic National Theatre (1956–61),[1] and was a producer at the Icelandic State Broadcasting Service until 1974;[1] he was also a founder member of Musica Nova in 1959.[2] After a period in the USA (1977–87), he took up residence again in Iceland.

In the 1950s and early 60s Jóhannsson was at the forefront of the Icelandic avant garde. His Fjórar abstraksjónir (‘Four Abstractions’, 1950) for piano was the first Icelandic 12-note composition;[1] he was also a pioneer in electronic music,[3][4] composing his Elektrónísk stúdía for woodwind quintet, piano and tape in 1958. In 1971 he stopped composing for almost a decade; this extended silence was eventually broken with his Adagio (1980) for strings, celesta and percussion, which marks a significant stylistic shift in his music. Like the works which followed, it abandons his earlier experimental style for a more simple, neo-romantic lyricism.

In 1995 Jóhannson handed over his works to the National and University Library of Iceland for preservation.[5] Works (selective list):

  • Ballet: Frostrósir [Frostwork], dancers, chbr orch, tape, lighting, 1968
  • Orch: Punktar [Points], orch, tape, 1961; Adagio, str, cel, perc, 1980
  • Inst and tape: Fjórar abstraksjónir [4 Abstractions], pf, 1951; Ionization, org, 1957; Elektrónísk stúdía, ww qnt, pf, tape, 1958; 15 Minigrams, fl, ob, cl, bn, 1960; Samstirni [Constellations], tape, 1961; Sonorities III, pf, tape, 1972; Solitude, fl, 1983; Sonorities VI, vn, 1989
  • Songs, incid music, music for film and TV[6][7][8][9]

References

  1. ^ a b c d "Magnús Blöndal Jóhannsson tónskáld". Dagblaðið Vísir (in Icelandic). 4 January 2005. p. 25. Retrieved 13 March 2014.
  2. ^ LIST Icelandic Art News
  3. ^ Harpa Celebrates Alternative Music Iceland Review Online 3 March 2012
  4. ^ Hans Ulrich Obrist talks to Björk – Electronic Beats
  5. ^ "Handrit í þjóðarbókhlöðuna". Dagblaðið Vísir (in Icelandic). 25 August 1995. p. 13. Retrieved 13 March 2014.
  6. ^ 93.9 BOB FM - 80's...90's...& WHATEVER! :: Motorlab #3 :: AMG Album
  7. ^ The Reykjavik Grapevine Album Review / A Peek At Dark Music Days 2012
  8. ^ Bibliography of Icelandic Sound Recordings Landsbókasafn Íslands, 2000
  9. ^ "Icelandic Music for Solo violin" Record Review: Volume 19, Det Virtuelle MusikBibliotek


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