What is the translation of " WHICH LANGGAARD " in Danish?

• som langgaard

Examples of using Which langgaard in English and their translations into Danish

Stockholm, which Langgaard visited in connection with the following concerts.
Stockholm, som Langgaard besøgte i forbindelse med følgende koncerter.

In the long,'lean' interval, therefore, there was a period of 14 years in which Langgaard composed no symphonies.
I den lange'magre' mellemperiode gik der således 14 år, hvor Langgaard ikke komponerede symfonier.

Södervik(Värmland), which Langgaard and his mother visited in the summer of 1914 two months.
Södervik(Värmland), som Langgaard og hans mor tog til i sommeren 1914 to måneder.

The example shown below is from Symphony No. 8, which is one of those to which Langgaard gave the most titles.
Nedenfor vises et eksempel fra symfoni nr.8, som er et af de værker, Langgaard har forsynet med flest titler.

After the performance, which Langgaard himself conducted, there was loud hissing and only lukewarm applause.
Efter opførelsen, som Langgaard selv dirigerede, var der voldsom hyssen og kun et forkølet bifald.

In the long,'lean' interval, therefore, there was a period of 14 years in which Langgaard composed no symphonies.
Orkestermusikken følger det samlede produktionsmønster.I den lange'magre' mellemperiode gik der således 14 år, hvor Langgaard ikke komponerede symfonier.

The occasion was a couple of radio broadcasts in which Langgaard's music was presented, after it had been almost completely forgotten in the preceeding decade.
Anledningen var et par radioudsendelser, hvor Langgaards musik blev præsenteret efter i det forløbne tiår næsten at være gået i glemmebogen.

This novel forms the background of the piano piece, Le Béguinage(1948-49), and of Symphony No. 15, in which Langgaard depicts Ribe as"Denmark's Brügge.
Romanen danner baggrund for klaverværket Le Béguinage(1948-49) og symfoni nr.15, hvor Langgaard skildrer Ribe som"Danmarks Brügge.

The first major chamber music work on which Langgaard began in the wake of his grandiose B minor Symphony no.
Det første større kammermusikværk, Langgaard påbegyndte i forlængelse af sin grandiose h-mol-symfoni nr.

And one asks again: why did he concentrate all his effort on Antichrist? The word itself- Antichrist- was in fact not so unusual in the fin-de-siècle culture from which Langgaard came.
Og man spørger igen, hvorfor det lige var Antikrist, han samlede sig om. Nu lød selve ordet- Antikrist- ikke helt så usædvanligt i den århundredskiftekultur, Langgaard kom fra.

Towards the end four extra tubas enter, which Langgaard wanted placed in front of the orchestra.
Hen mod slutningen indtræder fire ekstra tubaer, som Langgaard ønsker placeret foran orkestret.

The educational system to be used was to be that found in the Exercitia spiritualia(Spiritual Exercises, published 1522) of Ignatius Loyola, the founder of the Society of Jesus(Jesuits), which Langgaard partially translated and adapted to this purpose.
Det pædagogiske system skulle være jesuiterordenens grundlægger Ignatius Loyolas' Exercitia spiritualia(Åndelige øvelser, udgivet 1522), som Langgaard tildels oversatte og bearbejdede med dette formål for øje.

The second performance of the symphony in 1917, which Langgaard conducted, was an audience success, and in 1920 the work was presented in the Tivoli Concert Hall.
Den anden opførelse af symfonien i 1917, hvor Langgaard dirigerede, blev en publikumsmæssig succes, og i 1920 blev værket præsenteret i Tivolis Koncertsal.

At the same time, however, it is a massive reflection on the period around the turn of the century, which Langgaard, using a biblical phrase, called"The Harvest Time.
Men det er også en gigantisk reflektion over tiden omkring århundredeskiftet, som Langgaard med reference til en bibelsk lignelse kalder"høstens tid.

Three concerts were held in 1927/28, in which Langgaard presented works by Beethoven, Schumann, Wagner, Liszt, Max Bruch and Bruckner- as well as his own 1st Symphony.
Der blev afholdt tre koncerter i 1927/28, hvor Langgaard fremførte værker af Beethoven, Schumann, Wagner, Liszt, Max Bruch og Bruckner- samt sin egen første symfoni.

This situation changed in 1968, when the Swedish musicologist Bo Wallner published a history of Nordic music in which Langgaard was singled out and aptly described as an"ecstatic outsider.
Situationen ændrede sig i 1968, hvor den svenske musikforsker Bo Wallner udgav en nordisk musikhistorie i hvilken Langgaard blev fremhævet og træffende karakteriseret som en"ekstatisk outsider.

Three concerts were held in 1927/28, in which Langgaard presented works by Beethoven, Schumann, Wagner, Liszt, Max Bruch and Bruckner- as well as his own 1st Symphony. After this the Society folded up, and Langgaard was left with debts he had difficulty in paying.
Der blev afholdt tre koncerter i 1927/28, hvor Langgaard fremførte værker af Beethoven, Schumann, Wagner, Liszt, Max Bruch og Bruckner- samt sin egen første symfoni. Derefter gik foreningen ind, og Langgaard stod med en gæld, han havde svært ved at betale.

Langgaard must have imagined this was the same outer darkness in which Lazarus found himself- and for that matter the darkness into which Langgaard himself thought he had been cast by the musical establishment in Denmark.
Langgaard må have forestillet sig, at det var i det samme mørke udenfor, som Lazarus befandt sig i- og for den sags skyld det mørke, Langgaard selv syntes, han var stødt ud i i relation til musiklivet i Danmark.

After the first performance in 1917, which Langgaard himself conducted, the reviewer Hagen Hohlenberg characterized the work as follows:\\true subjects hardly appear at all in Langgaard's work[…]; on the other hand he exploits his fragmentary leitmotifs in the spirit of Wagner with great aplomb and from these he creates his tonal weave, multicoloured and diverse as a flowery tapestry.
Efter uropførelsen i 1917, som Langgaard selv dirigerede, gav anmelderen Hagen Hohlenberg følgende karakteristik af værket:"… egentlige temaer forekommer overhovedet næppe hos Langgaard[…]; derimod udnytter han sine stumpede ledemotiver i wagnersk ånd med stor overlegenhed og fletter af dem sit tonevæv broget og mangfoldigt som et blomstret gobelin.

The original intro-duction, which had evidently been lost, was now replaced by a new introduction in the form of a reworking of an organ prelude to\\Mig hjertelig nu længes\\ which Langgaard had written for a funeral in 1931.
Den oprindelige introduktion, som åbenbart var bortkommet, blev nu erstattet af en ny indledning i form af en bearbejdelse af et orgelpræludium til"Mig hjertelig nu længes", som Langgaard havde skrevet til brug for en begravelse i 1931.

The far more personal and melancholy Symphony No. 4 Løvfald(Autumn), which Langgaard wrote at 24 in 1916, marks the first shift in the composer's anything but regular artistic development.
Løvfald, som Langgaard skrev som 24-årig i 1916, markerer det første skred i komponistens alt andet end regelrette kunstneriske udvikling.

Langgaard found support for his forebodings in a collection of contemporary literature concerned with politics and the philosophy of culture- in books by authors such as Albert Schweizer, Walther Rathenau, Gerhard von Mutius and of course Oswald Spengler, whose famous work, Der Untergang des Abendlandes(finished in 1922), is the archetypal expression of the cultural pessimism to which Langgaard subscribed.
Langgaard fandt bekræftelse på sine anelser i den samtidige politiske og kulturfilosofiske litteratur, i bøger af bl.a. Albert Schweizer, Walther Rathenau, Gerhard von Mutius og selvfølgelig Oswald Spengler, hvis berømte Der Untergang des Abendlandes(færdigskrevet 1922) er et typisk udtryk for den kulturpessimisme, Langgaard tilsluttede sig.

On their way there they used to stay with friends in Helsingborg, which Langgaard found an attractive city, and which lent its name to the title of his Symphony No. 12(Hélsingeborg) in 1946.
På vejen opholdt de sig gerne nogle dage hos bekendte i Helsingborg, som Langgaard anså for en dejlig by og som gav titel til hans symfoni nr. 12(Hélsingeborg) i 1946.

A first version had been completed in 1950, but the composition was revised as late as April 1952, when Langgaard added a new ending composed to a single line from the Dies irae text:\\Mihi quoque spem de-disti\\(\\To me also hope Thou gavest\\)- a concluding, personal religious affirmation which Langgaard stages very effectively with an a cappella choir accompanied by regular, death-symbo-lizing tom-tom beats.
En førsteversion forelå i 1950, men kompositionen blev revideret så sent som i april 1952, hvor Langgaard tilføjede en ny slutning, komponeret til en enkelt linje fra Dies irae-teksten:"Mihi quoque spem de-disti"("Også mig førte du til håb")- en afsluttende personlig, religiøs bekendelse, som Langgaard iscenesætter meget virkningsfuldt med a cappella kor ledsaget af regelmæssige, dødssymboliserende tam-tam-slag. Bendt Viinholt Nielsen, 2010 Release date: august 2010Cat.

The symphony was begun in 1915 in the form of a solo piano work which Langgaard expanded so that, at the beginning of 1916, he was able to finish the work under the title Symphony No. 3,"La melodia.
Symfonien blev påbegyndt i 1915 i form af et soloklaverværk, som Langgaard udvidede, således at han i begyndelsen af 1916 kunne afslutte værket under titlen Symfoni nr. 3"La melodia.

The concert took place in the large Philharmonia Hall in Berlin, and comprised Præludio patetico for organ, which Langgaard had composed for the organ in the Hall, and which he played himself, followed by the tonal picture, Sfinx.
Koncerten fandt sted i filharmoniens store sal i Berlin og omfattede Præludio patetico for orgel, som Langgaard havde komponeret til filharmoniens orgel og selv fremførte, dernæst tonebilledet Sfinx og- efter pausen- den timelange symfoni nr. 1 i h-mol.

The far more personal and melancholy Symphony No. 4 Løvfald(Autumn), which Langgaard wrote at 24 in 1916, marks the first shift in the composer's anything but regular artistic development.
Den langt mere personlige og melankolske symfoni nr. 4 Løvfald, som Langgaard skrev som 24-årig i 1916, markerer det første skred i komponistens alt andet end regelrette kunstneriske udvikling.

This opera was inspired amongst other things by Richard Strauss' musical idiom, which Langgaard undoubtedly imitated because he found it attractively decadent, and at the same time typical of the decline of the anti-Christian period.
Den er inspireret af bl.a. Richard Strauss' tonesprog, som Langgaard utvivlsomt har lagt sig op ad, fordi han fandt det tiltrækkende dekadent og samtidig typisk for antikristtidens forfald.

Today's renewed interest in the Symbolist culture of around 1900, to which Langgaard refers almost throughout his output, has led to a far deeper understanding of the composer's universe with its conflicts and subjective values.
Den fornyede interesse for den symbolistiske kultur omkring 1900, som Langgaard gennem næsten hele sin produktion refererer til, har i dag medført en langt dybere forståelse af komponistens univers med dets modsætninger og subjektive værdinormer.

The concert begins with Den store Mester kommer(The great Master comes), which for Langgaard was a musical signature.
Koncerten indledes med Den store Mester kommer, der for Langgaard var en musikalsk signatur.