Øyvin Dybsand

• Dybsand, Øyvin (2021). Johan Halvorsen as Young Violin Student in Leipzig, “The City of Music”, in the Late 1880s. In Dinslage, Patrick & Keym, Stefan (Ed.), Edvard Grieg und seine skandinavischen Kollegen in ihren Beziehungen zu Leipzig: 8. Deutscher Edvard-Grieg-Kongress vom 15. bis 17. Oktober 2020 in Leipzig. Gudrun Schröder Verlag. ISSN 9783926196828. p. 243–261.
• Dybsand, Øyvin (2016). Johan Halvorsen og Musikkfesten i Bergen 1898. Studia Musicologica Norvegica. ISSN 0332-5024. 42, p. 7–26. doi: 10.18261/issn.1504-2960-2016-01-03.
• Dybsand, Øyvin (2004). The Allegretto movement of Reger‚s Piano Trio Op. 102 – a musical game at the intersection between Brahms and Messiaen. Reger-Studien 7 - Festschrift für Susanne Popp (=Schriftenreihe des Max-Reger-Instituts Karlsruhe, bd. XVII). 17, p. 265–285.
• Dybsand, Øyvin (2004). Arvid Kleven (1899–1929) : Symphonic Fantasy Opus 15. In Sandmo, Erling Sverdrup (Eds.), Et eget århundre. Norsk orkestermusikk 1905 - 2005 / Music in a free state. Norwegian orchestral music 1905 - 2005 (dobbeltspråklig utgivelse). Music Information Centre Norway/Press forlag. ISSN 82-7547-157-5. p. 50–55. Show summary

  (Utgitt dobbeltspråklig, på norsk og engelsk.)

• Dybsand, Øyvin (2004). Leif Halvorsen (1887–1959) : Music for the Film of Knut Hamsun’s Growth of the Soil. In Sandmo, Erling Sverdrup (Eds.), Et eget århundre. Norsk orkestermusikk 1905 - 2005 / Music in a free state. Norwegian orchestral music 1905 - 2005 (dobbeltspråklig utgivelse). Music Information Centre Norway/Press forlag. ISSN 82-7547-157-5. p. 44–49. Show summary

  (Utgitt dobbeltspråklig, på norsk og engelsk.)

• Dybsand, Øyvin (2004). Johan Halvorsen : Cantata at the Coronation in Trondheim Cathedral, 22 June 1906. In Sandmo, Erling Sverdrup (Eds.), Et eget århundre. Norsk orkestermusikk 1905 - 2005 / Music in a free state. Norwegian orchestral music 1905 - 2005 (dobbeltspråklig utgivelse). Music Information Centre Norway/Press forlag. ISSN 82-7547-157-5. p. 22–27. Show summary

  (Utgivelsen er dobbeltspråklig, norsk og engelsk.)

• Dybsand, Øyvin (1999). "Musikken til det indiske skuespillet Vasantasena. Johan Halvorsens første større orkesterverk. Studia Musicologica Norvegica. ISSN 0332-5024. p. 284–312.
• Dybsand, Øyvin (1991). Noen særdrag i Max Regers musikk, med særlig vekt på Pianotrio i e, op. 102. Studia Musicologica Norvegica. ISSN 0332-5024. p. 7–30.

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• Engeset, Bjarte; Fossheim, Jørn & Dybsand, Øyvin (2016). Johan Halvorsen: Fiolinkonsert, op. 28, kritisk utgave. Norsk Musikforlag A/S. ISBN 978-82-00-01246-7. 150 p.
• Molde, Audun & Dybsand, Øyvin (2004). Musikkhistorisk oversikt - 2. utg. Finn Benestad revidert i samarbeid med Øyvin Dybsand; med bidrag fra Yngve Blokhus og Audun Molde. Universitetsforlaget. ISBN 82-15-00612-4. 109 p.
• Dybsand, Øyvin (2000). Johan Halvorsens musikalske virksomhet i 1890-årenes Bergen. Troldhaugens venner. ISBN 8291738130. 5 p.
• Dybsand, Øyvin (1993). Regers Klaviertrio op. 102 - eine Komposition 'der Nase nach, ohne Inspiration, ohne wesentlichen Plan, ohne Pointen und erkennbare Ziehle'? i Reger-Studien 5 - Beträge zur Regerforschung. Breitkopf & Härtel Verlag. ISBN 3765102938. 30 p.

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• Dybsand, Øyvin (2020). Johan Halvorsen in Leipzig: His Study Time and Later Contacts with C. F. Peters.
• Dybsand, Øyvin (2018). Johan Halvorsen - «født i 4/4-takt», men uskikket som militærmusiker. In Persen, Niels Kristian (Eds.), I storm og stille (Forsvarets musikk 1818-2018). Forsvarets musikk. ISSN 9788230339275.
• Dybsand, Øyvin (2017). Konsertforedrag om norske komponisters tonesettinger av tekster av Henrik Wergeland, Aasmund Olavsson Vinje, Bjørnstjerne Bjørnson og Henrik Ibsen.
• Lie, Marit Christina & Dybsand, Øyvin (2016). Fiolinkonserten som forsvant. [TV]. NRK.
• Dybsand, Øyvin; Homzy, Andrew; Sawa, Suzanne Meyers; Behzadi, Houman; Mason, James & Engeset, Bjarte [Show all 8 contributors for this article] (2016). Johan Halvorsen’s Violin Concerto rediscovered after being “lost” for more than 100 years (International Panel).
• Dybsand, Øyvin (2016). Halvorsen & Nielsen violin concertos. Naxos CD Booklet.
• Dybsand, Øyvin (2016). Innledning om Johan Halvorsen og hans Konsert caprice over norske melodier for to fioliner.
• Dybsand, Øyvin (2016). «Johan Halvorsen: Kva ville han med livet?». Dag og Tid. ISSN 0803-334X. p. 26–26.
• Dybsand, Øyvin (2012). Konfransier ved "Johan Halvorsens Fødselsdagskonsert".
• Dybsand, Øyvin (2012). Johan Halvorsen’s Rhapsody Air norvégien, “a Folk-tune Medley, … so well done that the Result is a Work of Art”? Show summary

  In 1896 the Norwegian Composer, Violinist and Conductor Johan Halvorsen (1864-1935) received a travel scholarship and stayed several weeks in Germany where he had opportunity to attend Joseph Joachim’s violin classes and listen to great musical performances in Bayreuth and Berlin. Far away from his native Norway he wrote several violin pieces, among them a “Norwegian Rhapsody”, later to be given the French title Air norvégien. Halvorsen scored it originally for violin and piano, completing the orchestration in 1903. In his diary Edvard Grieg describes the work as “a folk-tune medley, but so well done that the result is a work of art”. Like his predecessors Halvorsen picked the melodies from Lindeman’s collection: • The opening section combines “St. Thomas-Klukkelåten” (“The Ringing of the St Thomas Bells”) and a ‘Huldrelokk’, imitating the attractive song of the hulder, a kind of witch, or temptress of the woods or mountains. • The middle section uses the troll song ‘Åsmund Frægdegjæva’ from Telemark, known from Johan Svendsen’s Norwegian Rhapsody No. 3. • The last part of Air norvégien is mainly based on the halling-dance “Underjordisk musikk” (“Subterranean music”), notated as early as 1695 and published by Johann Mattheson in Hamburg in 1740. All the original tunes are associated with Christian mysticism or fabled creatures from Norwegian folklore. One can only wonder why Halvorsen’s publisher, Wilhelm Hansen in Copenhagen, did not suggest a more fancy title of the work. “Air norvégien” is a virtuosic violin piece in the tradition of Ole Bull, whose rhapsody Et Sæterbesøg [A Mountain Vision] Halvorsen often played at his concerts. The first part of the rhapsody allows the violinist to evoke the sound of bells through the playing of harmonics as well as passages imitating and exaggerating the characteristics of a rather virtuosic cow-call of vocal origin. In the middle section it is interesting to note how Halvorsen adopts a slow harmonic rhythm that leads to many expressive, late-romantic dissonances against the melody, quite unlike Svendsen, who harmonised the same melody more or less note by note in his rhapsody. The thrilling dance of the third part is very suggestive, built up as a long crescendo. After a while the halling-dance theme is intertwined with the themes from the first part of the rhapsody, the violinist’s the virtuosic playing building up a brilliantly effective finale. A main question in analyzing a showpiece like Air norvégien, is to evaluate the use of virtuosic effects. As stated by Adorno in «Das Schema der Massenkultur» the bourgeois class of the 19th century were more attracted to the instrumental soloists’ exhibition of their personas and virtuosic skills than the «music itself». Hence, many Halvorsen’s contemporary music critics were sceptical towards music composed by amazing instrumentalists, and during the following, style-historical aera scholars tended to categorize such instrumental-technical elements as empty figurations not being capable of constituting a true, «organic» work of art. The paper will aim to prove that such elements also could be used as integrated parts of the structural and inner-dynamic development of the musical piece.

• Dybsand, Øyvin (2011). The influence from Grieg in Johan Halvorsen's Symphonies.
• Dybsand, Øyvin (2011). Johan Halvorsen’s music to the “Troll-play” Fossegrimen – a conversion with nature and Norwegian folklore.
• Dybsand, Øyvin (2009). Traces of Delicate Lyricism among Sausages, Kohlrabi Stew and Plum Pudding? - On possible Grieg-influences in Max Reger‟s Chamber music. Full text in Research Archive
• Dybsand, Øyvin (2007). “Johan Halvorsen’s music to the ‘Troll-play’ Fossegrimen – a conversion with Grieg as well as Norwegian Folk music”.
• Dybsand, Øyvin (2006). Teatermusikeren Johan Halvorsen og hans forhold til å skrive symfonier og annen musikk i de ’store’ former.
• Dybsand, Øyvin (2004). Johan Halvorsen - nordmann og skandinavist.
• Guldbrandsen, Erling E. & Dybsand, Øyvin (1996). Johan Halvorsen, i lyset fra Grieg - Del 2. [Radio]. NRK P2.
• Guldbrandsen, Erling E. & Dybsand, Øyvin (1996). Johan Halvorsen, i lyset fra Grieg - Del 1. [Radio]. NRK P2.
• Dybsand, Øyvin & Wikshåland, Ståle (2016). JOHAN HALVORSEN (1864-1935). An examination of his artistic work and a stylistic tour of his compositions, with a thematic overview over his works and a chronological record of Halvorsen's concerts. Universitetet i Oslo. Full text in Research Archive Show summary

  The violinist, conductor and composer Johan Halvorsen (1864–1935) was a central figure in Norwegian music. For a period of 36 years he worked as a musical director at theatre and opera houses in Bergen and Kristiania (Oslo). Hence he was a central figure in the emergence of our national Norwegian cultural heritage. As a composer Halvorsen was an autodidact. The vast majority of his music, composed within short deadlines and between his other duties, has been labelled as ‘Kapellmeister music’. Basically, fitting this part of his œuvre into our Norwegian canon of music of ‘lasting value’ proves to be problematic. Instead focus has been drawn to works like his three symphonies. Emphasising on his intertwined and interrelated multidimensional professional violinist and conductor duties along with his works’ astonishing adaptability and imagination, my dissertation does not spring out from such perspectives. The main interest centres on a conglomerate of heterogeneous elements within the single works as well as in Halvorsen’s production as a whole. One can hardly understand Halvorsen’s music without seeing the totality of his different professional tasks. His roles in his contemporary culture’s musical, material, institutional, sociological and economical discourses are fundamentally intertwined and interdependent with his entire production – and vice versa. Important events like the Music Festival in Bergen in 1898 and the processes leading up to his appointments as conductor at the National Theatre in 1899 and Philharmonic Society in 1919 are discussed thoroughly. A barrier for studies of Halvorsen’s music has been the lack of a systematic review of all his published and unpublished works. Examining manuscripts in Norwegian and foreign archives, my dissertation include a new, chronologically ordered list of works, as well as an overview of Halvorsen’s musical tasks day by day in the period 1876–1935.

• Dybsand, Øyvin (1990). En presentasjon av komponisten Max Reger, med utgangspunkt i en analyse av hans Pianotrio i e-moll op. 102. Universitetet i Oslo.

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