Eksempler på brug af Carl nielsen had på Engelsk og deres oversættelser til Dansk
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Carl Nielsen had the honour of making his debut at this place with a new symphony.
Carl Nielsen havde Æren af at debutere paa dette Sted med en ny Symfoni.More or less all the reviewers were however agreed that Carl Nielsen had retained a youthful freshness at the age of sixty.
Stort set alle anmeldere var imidlertid enige om, at Carl Nielsen som tresårig havde bevaret en ungdommelig friskhed.In April 1904 Carl Nielsen had to take over at short notice as deputy conductor at the Royal Theatre.
I april 1904 måtte Carl Nielsen med kort varsel begynde at vikariere som kapelmester ved Det kgl.The most critical review is however to be found in Dagbladet(the same review appeared in Dagens Nyheder and Nationaltidende), written by Angul Hammerich:Mr. Carl Nielsen had the honour of making his debut at this place with a new symphony.
Den mest kritiske anmeldelse er dog at finde i Dagbladet(den samme anmeldelse forekommer også i Dagens Nyheder og Nationaltidende) skrevet af Angul Hammerich:Hr. Carl Nielsen havde Æren af at debutere paa dette Sted med en ny Symfoni.Carl Nielsen had only composed three short works for orchestra when he wrote his First Symphony in 1891-92.
Carl Nielsen havde kun komponeret tre korte værker for orkester, da han i 1891-92 skrev sin 1. Symfoni.The musical world fol lowed the norms andthe aesthetic paths that Carl Nielsen had laid out, and there was no place for an eccentric Romantic like Langgaard.
Musiklivet fulgte de normer ogdet æstetiske spor, Carl Nielsen havde udstukket, og der var ikke plads til en excentrisk romantiker som Langgaard.Carl Nielsen had begun to formulate ideas for a new symphony before he left the Royal Theatre.
Allerede inden Carl Nielsen helt havde sluppet Det kgl. Teater, begyndte ideer til en ny symfoni at rumstere i ham.Together, composer and sculptor had a great and loving artistic vision and three children, butthe marriage also had serious crises when Anne Marie Carl-Nielsen took long study trips and Carl Nielsen had difficulty in taking care of the admiring glance of the many women.
Sammen Carl Nielsen had built up his first three symphonies from individual move ments, but from the start he planned the new Symphony No. 4 as one uninterrupted process.
Carl Nielsen havde opbygget sine tre første symfonier i enkeltsatser, men planlagde altså fra starten den nye Symfoni nr. 4 som ét uafbrudt forløb.I can't properly explain what I want, butwhat I want is good."Carl Nielsen had built up his first three symphonies from individual move ments, but from the start he planned the new Symphony No. 4 as one uninterrupted process.
Jeg kan ikke rigtig forklare, hvad jeg vil, mendet jeg vil, er godt."Carl Nielsen havde opbygget sine tre første symfonier i enkeltsatser, men planlagde altså fra starten den nye Symfoni nr.4 som ét uafbrudt forløb.Although Carl Nielsen had tried to protect himself with a very detailed contract, his position as conductor at the Royal Theatre soon caused him more trouble than satisfaction.
Skønt Carl Nielsen havde forsøgt at gardere sig gennem en meget udførlig kontrakt, blev hans kapelmester-stilling ved Det kgl. Teater relativt snart til mere sorg end glæde for ham.After writing his Wind Quintet in 1922 Carl Nielsen had the urge to write a concerto for each of the quintet's five instruments, and at the same time to portray the personalities of the musicians who had given his chamber music work its first performance.
Efter at have skrevet sin Blæserkvintet i 1922 fik Carl Nielsen lyst til Carl Nielsen had already conducted the symphony with the Concertgebouw Orchestra in Amsterdam on 28 April, where both audience and press had given it a positive reception.
Teater havde Carl Nielsen den 28. april dirigeret Then the philologist J. L. Heiberg(1854-1924)translated the text into Latin. Carl Nielsen had prepared himself by studying the choral style of the old polyphonic masters, and this cantata, which he dedicated to his old theory teacher Orla Rosenhoff, was a great success at its first performance, which he conducted in person at the Music Society on 27 April 1897.
Filologen J. L. Heiberg(1854-1924)oversatte derefter teksten til latin. Carl Nielsen havde i øvrigt forberedt sig gennem studier af de gamle polyfone mestres korstil, og værket, som han tilegnede sin gamle teorilærer Orla Rosenhoff, blev en smuk succes ved uropførelsen, som han i Musikforeningens regie selv dirigerede den 27. april 1897.Carl Nielsen had begun to formulate ideas for a new symphony before he left the Royal Theatre. At the beginning of May 1914 he wrote to his wife who was in Celle to sculpt the horse for the equestrian statue of Christian IX.
Allerede inden Carl Nielsen helt havde sluppet Det kgl. Teater, begyndte ideer til en ny symfoni at rumstere i ham. I begyndelsen af maj 1914 skrev han til sin kone som var i Celle for at modellere hingsten til rytterstatuen af Christian IX.A good month before the premiere Carl Nielsen had tried out the first movement of the symphony at a concert at Musikaliska Akademien in Stockholm, but apart from these no other performances conducted by the composer are known.
Godt en måned før uropførelsen havde Carl Nielsen afprøvet 1. sats af symfonien ved en koncert i Musikaliska Akademien i Stockholm, men herudover kendes ingen opførelser under komponistens ledelse.After Carl Nielsen had taken the Copenhagen musical scene by storm in 1916 with the first performance of his Fourth Symphony, The Inextinguishable, Langgaard's mother Emma Langgaard wrote:"Poor Rued, it is not easy to be an artist now.
Efter at Carl Nielsen i 1916 havde taget det københavnske musikliv med storm med uropførelsen af sin 4. Symfoni Det uudslukkelige, skrev Langgaards mor Emma Langgaard:"Arme Rued, det er ikke let at være Kunstner nu.Even before“Saul and David” was completed, Carl Nielsen had started work in 1901 on his Second Symphony which, unlike the first, was a piece of programme music, that is to say an evocation of the four temperaments as in pictures he saw hanging in an inn during an excursion to the Zealand countryside.
Endnu inden han havde gjort“Saul og David” færdig, påbegyndte Carl Nielsen i 1901 sin Anden Symfoni, der i modsætning til den første Carl Nielsen had a distinctive literary talent which resulted in the childhood memoirs Min fynske barndom(My Childhood on Funen) which is amazingly objective and unsentimental, and the essay collection Levende musik(Living Music), where his anti-Romantic aesthetics were clearly expressed.
Carl Nielsen havde et udpræget litterært talent, der udmøntede sig i barndomserin drin ger ne Min fynske Barndom, som er forbløffende nøg terne og usentimentale samt i essaysamlingen Levende Musik, hvor hans antiromantiske æstetik klart kommer til udtryk.There was a professional crisis as well. Although Carl Nielsen had tried to protect himself with a very detailed contract, his position as conductor at the Royal Theatre soon caused him more trouble than satisfaction. Frederik Rung was quite often ill, and he apparently did not much appreciate Nielsen's interpretations either.
Også professionelt var der krise. Skønt Carl Nielsen havde forsøgt at gardere sig gennem en meget udførlig kontrakt, blev hans kapelmester-stilling ved Det kgl. Teater relativt snart til mere sorg end glæde for ham. Førstekapelmesteren, Frederik Rung, var ganske ofte syg og brød sig tilsyneladende heller ikke meget om Carl Nielsen had prepared himself by studying the choral style of the old polyphonic masters, and this cantata, which he dedicated to his old theory teacher Orla Rosenhoff, was a great success at its first performance, which he conducted in person at the Music Society on 27 April 1897.
Carl Nielsen havde i øvrigt forberedt sig gennem studier af de gamle polyfone mestres korstil, og værket, som han tilegnede sin gamle teorilærer Orla Rosenhoff, blev en smuk succes ved uropførelsen, som han i Musikforeningens regie selv dirigerede den 27. april 1897.More or less all the reviewers were however agreed that Carl Nielsen had retained a youthful freshness at the age of sixty. Like several of the other reviewers, Seligmann compared the humoresque to music by another of the leading figures of contemporary music, Igor Stravinsky, who had at that time just had some of his own works performed in Copenhagen.
Stort set alle anmeldere var imidlertid enige om, at Carl Nielsen som tresårig havde bevaret en ungdommelig friskhed. Som flere af de øvrige anmeldere sammenlignede Seligmann humoresken med musik af en anden af den ny musiks førstemænd, Igor Stravinsky, som på daværende tidspunkt netop In April 1904 Carl Nielsen had to take over at short notice as deputy conductor at the Royal Theatre. Johan Svendsen was ill and Frederik Rung(1854-1914) was on leave. He continued to replace Svendsen in the following season until March, when he received a letter notifying him that from the start of the next season he was again only to play the violin in the orchestra. He regarded this as so insulting that he tendered his resignation.
I april 1904 måtte Carl Nielsen med kort varsel begynde at vikariere som kapelmester ved Det kgl. Teater- Johan Svendsen var syg og Frederik Rung(1854-1914) havde fået orlov. Vikariatet fortsatte i den følgende sæson, indtil han i marts fik brev om, at han fra den følgende sæsons begyndelse igen kun skulle spille violin i Kapellet. Dette opfattede han som så fornærmende, at han opsagde sin ansættelse helt.Oddly enough Carl Nielsen had to write the next work, the prelude to Sir Oluf, and all the other stage music for the piece, at the same time as he was rehearsing Masquerade.
Det traf sig så mærkeligt, at Carl Nielsen blev nødt til at skrive det følgende værk, forspillet til Hr. Oluf han rider, og hele den øvrige scenemusik, samtidig med, at han var ved at indstudere Maskarade.Carl Nielsen has also appa rently returned to the classical virtues with four separate movements, and in comments in the press he emphasized the lightness and straightforwardness of the symphony.
Carl Nielsen er tilsyneladende også vendt tilbage til de klassiske dyder med fire adskilte satser, og i pressen fremhævede han det lette og ligetil ved symfonien.But both in the introductory movement, an Allegro which rightly bore the designation"proud" and in a whimsically formed third movement, Allegro piacevole, which the designation explicitly protected from being perceived as a Scherzo, and then in a Finale appassionata, there was so much spirit and power, so much new and distinctive, fine and fertile,that no one could be in any doubt that Carl Nielsen has here, in the most beautiful and convincing way, honoured the many great promises of the past.
Men baade i Indledningssatsen, en Allegro, der med Rette bar Betegnelsen"stolt" og i en lunefuldt formet tredje Sats Allegro piacevole, som Betegnelsen udtrykkelig værnede mod at opfattes som en Scherzo- endelig i en Finale appasionata var der saa megen Aand og Ævne, saa meget nyt og ejendommeligt, fint og frodigt, atIngen kunde være i Tvivl om, Carl Nielsen her paa den skønneste og mest overbevisende Maade havde indfriet de mange store Løfter fra tidligere.
