Jon Mostad

Jon Mostad




  1. Reviews

  2. Reviews

  3. Christiania mannskor: Klang, Den klassiske CD-bloggen, Trond Erikson, 22.10.2015 (Norwegian, about LWC

  4.         1076.)

  5. Ny norsk mannskormusikk, Hamar arbeiderblad 09.12.2014 (Norwegian, about LWC 1076.)

  6. Dansk Musik Tidsskrift, 4, 1996-97, s.139-140 by Jens Cornelius (Danish; about ACD 4978, bottom of the  page)

  7.         English translation

  8. Så lenge lyset skinner..., Vårt land, 3rd of July,1996 by Olav Egil Aune (Norwegian, about ACD 4978.)

  9. Filharmonisk hemmelighet, Dagens Næringsliv, 21st of July 1996 by Hugo Lauritz Jenssen (Norwegian, about ACD 4978.)

  10. Fanfare, volume 13, Issues 1-2, s. 62 by Joel Flegler 1989 (about the recording of Towards Balance on NCDB

  11.         4948):

  12.         “Jon Mostad (b 1942) contributes Towards Balance, for orchestra (1977-78), a splendid little piece that re-

  13.         minds me just a bit of a couple of John Adams’s things: The date precludes suspicions of borrowed

  14.         inspirations. More a case of shared Zeitgeist.”

  15. Other texts about Jon Mostad’s music

  16. Brian Dukeshier: A Musicological Journey through Psalm 96. Essay for the Master's Degree in choral conducting,

  17.         Messiah College, Pennsylvania, USA, 2011. The section covering Mostad's O Sing to the Lord

  18.         is higlighted in yellow.

  19. Matthew Berry, Director of Commotio, Oxford, UK, comment after having conducted The Lord is my

  20.         Shepherd (2006) and O Sing to the Lord (2007):

  21.         "I was delighted to have the opportunity to conduct Jon Mostad's very fine Psalm settings, 'The Lord is my

  22.         Shepherd' and 'Sing to the Lord'. The hockets in the latter reverberated beautifully in the generous acoustics

  23.         of Merton College Chapel, Oxford. Both pieces were very well received by choir and audience alike".


  25. Texts by Jon Mostad

  26. Vekkelsen og det kirkelige embete i Norge 1842-ca.1860,

  27.         Contribution to Seminar for Nordic Church History Research, Båstad 26.-28.-aug. 1966.

  28.         Universitetsforlagets trykningssentral, Oslo 1966.

  29. Christopher Bruuns holdning til vekkelsen i "for frisindet Christendom", 1884-1886,

  30.         Tidsskrift for teologi og kirke, Oslo 1968. Separate prints of the article available from the author.

  31. Aleatorisk kontrapunkt. Analyse av Witold Lutoslawski: Symfoni nr. 2, 1. sats: Hésitant med en oversikt

  32.         over oppbygningen av storformen i hele verket. A part of his diploma work, NMH, Oslo, 1974. Ms.

  33. “und Chopin ist auch dabei", et à propos til Bø-Rygg, Ballade nr. 3, Oslo 1982.

  34. Med fanfarer og fyrverkeri – inntrykk fra Nätverk – elektroakustisk musikkfestival i Göteborg, Ballade

  35.         nr. 2, Oslo 1993

  36. Etter postmodernismen, Parergon nr. 10: 81 manifester, Oslo 1999.

  37. Olivier Messiaen – musikk, tid og evighet, Lære og liv, nr 4, Bergen 2008. (The linked text is a slightly revised

  38.         version of the original periodical article.)

  39. Comments on own works:

  40. His Face was Like the Sun for concert band:

  41.         The title is from the Book of Revelation in the Bible. In Rev. 1, 12b-16, John sees seven lampstands, and

  42.         among them someone "like a son of man," A description of his glorious appearance ends up with the phrase:

  43.         “His face was like the sun, shining in all its brilliance."

  44.         I first thought of including a reading of the entire text of Rev. 1,12b-16 in the piece, but finally dropped it. Still,

  45.         the piece is an attempt at giving resonance to the brilliance and beauty described in the text. There is also

  46.         room for episodes of a more meditative character, in the form of static sound fields and a chorale-like section.

  47.         The most direct hint to the text is that seven transitions between sections in the music are marked by strong

  48.         blows on a deep tam-tam. (cfr. "seven lampstands")

  49.         The chorale section becomes an axis which the piece revolves around. Afterwards, much of what happens,

  50.         is a development of ideas from the first part. This includes even fragments from the "chorale", like in the first

  51.         part. One of these fragments is a quotation from a mass for choir and organ that I wrote shortly before this

  52.         work. In the mass, the text of this quotation is: "Born by the virgin Mary." Even if the quotation was as much

  53.         motivated by musical considerations, it also points beyond the music: He who reveals himself in heavenly

  54.         brilliance, is the same that was born into this world as a little human being.

  55. String Quartet No.1: Three Introductions and an Essay:

  56.         The three Introductions focus on different ways of forming music; in the first one, the emphasis is particularly

  57.         on attacks, both as single notes and chords; in the second there is harmony and melody based on the

  58.         harmonic series, which necessarily implies microtonal deviations from the tempered scale; the third focuses

  59.         on polyphonic interplay of musical lines. The Essay moulds all these varieties of texture together on a larger  canvas, and becomes freer and maybe more emotional than the shorter introductions.

  60. Like the Sound of Rushing Waters for piano solo:

  61.         The work came into being in two stages. First, I improvised on the piano and jotted down simplified sketches

  62.         on a piece of paper. After a few years, these sketches became subject to a more systematic further com-

  63.         posing. High-pitched chords and longer lines of melody, in part intertwined in large broken chords, play together

  64.         with scale movements that are caught by the pedal into "rushing", cluster-like sounds.

  65.         This last element brings associations to the many references to sound in the book of Revelation in the Bible,

  66.         like the passage in chapter 1 that describes the voice of the Son of man like the sound of rushing waters.

  67.         (Rev. 1, 13. 15.) That is the way the title came up.

  68.         "Like the Sound of Rushing Waters" was premiered by Einar Røttingen in the home of Harald Sæverud,

  69.         Siljustøl, during the Bergen International Festival of 1999.

  70. O Sing to the Lord, no.1 of Two Psalms for mixed choir SSAATTBB a capella:

  71.         The text of Psalm 96 shouts out "a new song" of praise to the Lord. Once when I heard  it read, I "heard"  

  72.         moving chords and melodies passing between the parts with each part singing one syllable of the text. That

  73.         became a germinal idea for the composition. In the completed song there are also longer melodic lines with

  74.         coherent text in one or more parts. The sound is mostly bright, with a harmony close to parts of the harmonic

  75.         series.

  76. Out of the Tempest, for 'cello and piano:

  77.         On the first page of the score, there is a motto from Job 38,1: "Then the Lord answered Job out of the tempest."

  78.         The phrase is repeated later in the book of Job (40,1.)That explains the title as well as a characteristic element

  79.         of the musical development. The musical narrative twice goes through "tempestuous" passages leading to mu-

  80.         sic evoking a mood of calm and confidence.

  81.         The harmony of the piece fluctuates between a "twelve note" sounding and one based on a close approximation

  82.          to the harmonic series. Towards the end, the latter becomes more and more predominant.

  83. The Enchanted Piano for piano and soundtrack:

  84.           As the title suggests, the tape part presents several “tricks” with piano sound, which is sometimes easily 

  85.         recognizable, other times heavily distorted. The sound processing has been made with very simple

  86.         tools: A sampling keyboard with its built-in processing devices. As in many of M.’s works, the harmonic

  87.         series is an important point of orientation for the harmony of the piece. The short  piece develops towards

  88.         clarity and balance, which is also characteristic of some of M.’s other works.

  89.         The work, completed in 1989, was not premiered till 2001, when GéNIA played it at the Dartington Inter-

  90.         national Summer School in Totnes, England. Since then, it has only been played by the composer himself, a

  91.         fact that proves that the piano part is manageable for amateurs.



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