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Upham, Finn & Christophersen, Bjørn Morten
(2023).
Bodies in Concert: RITMO project with the Stavanger symfoniorkester.
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Christophersen, Bjørn Morten
(2018).
Heimferd i et kompositorisk perspektiv.
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Christophersen, Bjørn Morten
(2018).
Workshop med live orkster (ung.kom 2018).
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Christophersen, Bjørn Morten
(2018).
5 orkestreringer for ung.kom 2018.
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Christophersen, Bjørn Morten
(2018).
Vil du høre?
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Christophersen, Bjørn Morten
(2017).
Orkestreringsforedrag med live orkester.
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Christophersen, Bjørn Morten
(2017).
Bak notene 4. mai 2017.
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Christophersen, Bjørn Morten
(2017).
Bak notene 12. januar 2017: .
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Christophersen, Bjørn Morten
(2017).
5 arrangementer for ung.kom 2017.
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Christophersen, Bjørn Morten
(2017).
Så seile vi på Mjøsa.
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Christophersen, Bjørn Morten
(2017).
Five Very Short Pieces for Brass Quintet.
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Christophersen, Bjørn Morten
(2017).
Fanfarefull kantilene.
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Christophersen, Bjørn Morten
(2017).
Chaconne.
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Christophersen, Bjørn Morten
(2017).
Helliget vorde dit navn.
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Christophersen, Bjørn Morten
(2017).
Woven Brass Quintet.
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Christophersen, Bjørn Morten
(2017).
Woven Brass.
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Christophersen, Bjørn Morten
(2017).
Dagvise.
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Kvalbein, Astrid; Christophersen, Bjørn Morten & Kverndokk, Kristin
(2017).
Norsk komponistforening 100 år - vi oppsummerer historien, og ser på tendensene i vår egen tid. Det siste av ti programmer.
[Radio].
NRK P2 Spillerom søndag.
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Christophersen, Bjørn Morten
(2017).
Norsk komponistforening gjennom 100 år: NRK P2, Spillerom søndag. 10 Programmer.
[Radio].
https://radio.nrk.no/serie/spillerom-soendag/MKRM03003517/03.
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Christophersen, Bjørn Morten
(2017).
Concerto for Violin and Strings.
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Christophersen, Bjørn Morten
(2016).
Ohrwrumer Fantasie.
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Christophersen, Bjørn Morten
(2016).
Johan Svendsen as Autodidact and Conservatory Trained Composer.
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Christophersen, Bjørn Morten
(2016).
6 orkestreringer for Ung.kom.
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Christophersen, Bjørn Morten
(2016).
Xenophobian Melomania.
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Christophersen, Bjørn Morten
(2016).
Johan Svendsen: Sketches, Exercises and Compositional Methods.
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Christophersen, Bjørn Morten
(2016).
Kortmesse langt borte frå.
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Christophersen, Bjørn Morten
(2015).
Vårklokken vår.
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Christophersen, Bjørn Morten
(2015).
5 orkestreringer for Ung.kom.
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Christophersen, Bjørn Morten
(2014).
Oak and Mayfly.
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Christophersen, Bjørn Morten
(2014).
Spelldåsen.
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Christophersen, Bjørn Morten
(2014).
Tango for to.
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Christophersen, Bjørn Morten
(2014).
Norsk kunstnerkarneval.
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Christophersen, Bjørn Morten
(2013).
The Lapse of Time.
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Christophersen, Bjørn Morten
(2013).
Ung.kom 2013. 6 arrangementer.
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Christophersen, Bjørn Morten
(2013).
Datarock - The Musical.
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Christophersen, Bjørn Morten
(2012).
Fru Andersen har hump i halen.
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Christophersen, Bjørn Morten
(2012).
Sentimental Pebbles - Version for Brassband.
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Christophersen, Bjørn Morten
(2012).
INTERMEZZO.
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Christophersen, Bjørn Morten
(2012).
The Moment Symphony.
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Christophersen, Bjørn Morten
(2012).
Smørkrise.
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Christophersen, Bjørn Morten
(2012).
OBS OBS.
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Christophersen, Bjørn Morten
(2012).
KONSERT FOR PANFLØYTE OG ORKESTER.
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Christophersen, Bjørn Morten
(2012).
DOLOREM INCIDUNT.
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Christophersen, Bjørn Morten
(2012).
Skisser som kilder i musikkedisjon – eksemplene Svendsen og Valen.
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Byrkjeland, Hallgjerd; Dybwik, Siri & Christophersen, Bjørn Morten
(2011).
HAUGTUSSA - ei vandring i Veslemøy sitt rike. 2011.
Show summary
HAUGTUSSA - ei vandring i Veslemøy sitt rike - er ei teatervandring i landskapet ved Knudaheio, Arne Garborg si sommarstove på Jæren. Spelet har utvikla seg gjennom fleire år, men fekk ei stor fornying i kulturbyåret; Stavanger 2008. Eg utvikla nytt manus og utvida ensemblet bl.a. med eit kor på 12 songarar. B.M.Christophersen skapte ny musikk som blei brukt i kombinasjon med deler av Grieg sine Haugtussasongar i nye arrangement. Det fysiske uttrykket blei også utvida ved at Siri Dybwik tok hand om koreografien. Oppsettinga i september 2011 bygde på forma frå 2008, men med ytterlegare utvikling og utviding, bl.a. fem barn frå lokal barnehage/barneskule. Det blei også skapt heilt nye kostymer til spelet. Handlinga utspelar seg tre ulike stader i landskapet, og publikum si vandring frå den eine spelstaden til den andre blir ein del av den dramatiske opplevinga.
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Christophersen, Bjørn Morten
(2011).
Symfoniskisse (Eksposisjon og Coda til 1. sats) (bearbeidelse av Johan Svendsens skisser til en symfoni).
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Christophersen, Bjørn Morten
(2010).
Recitatives (for orkester).
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Christophersen, Bjørn Morten
(2010).
Audiens.
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Christophersen, Bjørn Morten
(2016).
Panoramic Constraints: A Study of Johan Svendsen's Musical Sketches and Exercises.
Universitetet i Oslo.
Full text in Research Archive
Show summary
Johan Svendsen is one of the most influential Scandinavian composers of the nineteenth century. He contributed in particular to the orchestral repertoire in Scandinavia and he was a celebrated conductor throughout Europe.
This thesis presents the first thorough examination of all surviving sketches and compositional exercises from Svendsen’s hand. The study has two main objectives: first a philological mapping of the physical sources and, second, a discussion of the act of writing music, and how this act influenced the composer’s imagination, musical style and aesthetics. It is also discussed whether Svendsen’s relatively limited repertoire of sketching methods impacted on his compositional drought from his fourties.
The central sources, found in 2007, are six notebooks containing both exercises written in Leipzig in 1864–65 and sketches written mainly in Christiania in the 1870s and 80s. Otherwise, sketches survive on loose leaves, in almanacs and autograph scores for a number of completed works.
This material emerged over Svendsen’s lifetime, but it presents itself as a landscape of fixed objects today. What the sketches ‘express’ is interpreted based upon their visual appearance, physical position, musical content, relationship to other sources, and knowledge of Svendsen’s life and oeuvre.
The genesis of Svendsen’s mature works is elucidated through his sketching habits, compositional exercises and juvenilia. Works have emerged from broad perspectives, from a host of alternatives to a set of ‘aesthetically harmonised solutions’ represented in the fixed objects of published scores. Musical ideas have wandered from one work to another, even over the course of decades before they found their ‘home’ in a completed work, and some ideas are ‘still circling’ with their immanent potentialities, such as in the drafts for a lost or unfinished symphony.
The ‘openness’ that sketches present in relation to completed scores distorts our understanding of the intention behind them. This study of the fixed documents proposes a dialectical understanding of the open and the hidden, of possibilities and restrictions, as panoramic constraints.