He plays in the trio Koppel-Andersen-Koppel which includes his son, saxophone player Benjamin Koppel. Review Guidelines Explain exactly why you liked or disliked the product. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. This page was last edited on 5 Aprilat From to he was koppwl member of the trio Bazaar.
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His music [ Since his concert debut at the Louisiana Museum of Modern Art in as a year-old clarinetist, his artistic life has revolved around the concert. At first mainly as a performing musician, however later as composer of numerous groundbreaking works written in a contemporary musical idiom in which especially world music and contemporary pop music fertilize the European classical music tradition.
As the son of composer andpianist Herman D. Koppel , Anders Koppel grew up in a musical environment: in his childhood and early youth he played piano and clarinet, and right away became thoroughly familiar with scored music and instrumentation. At the same time Koppel was an active participant in the musical experiments that were part of the youth revolution of the s and s. During the years , as an organist and lyricist, he was a mainstay with the rock group Savage Rose; one of the most prominent and innovative bands on the Danish rock scene.
Since Koppel left Savage Rose in he has been increasingly immersed in the creation of contemporary composition music. Since he has also played with his son, saxophonist and composer Benjamin Koppel,in the trio Koppel-Andersen-Koppel, recently releasing the album Everything is Subject to Change in In addition, Anders Koppel has composed music for roughly films, plays and ballets, which has helped hone his musical vocabulary, which besides the classical forms also comprises a thorough knowledge of Latin American styles such as tango, samba and Cuban music.
His experience as a performing artist is a constant reminder to Koppel about the importance of making music that is meaningful to the audience. The result is a music based on a classical perception of tonality, which at the same time is decidedly outgoing and engaging.
His real breakthrough as a composer of concert music came in with Toccata for Vibraphone and Marimba ; a work in which virtuosic and technically challenging sections alternate with dreamlike passages of truly enchanting beauty. Here Anders Koppel has forged a highly personal idiom that allows the musicians to give a high-standard performance that still appeals directly to the audience.
Koppel is somehow able to endow the central instrumentalist with both intimate human emotions and supernatural power and passion, a quality he has later sublimated in a long series of concertos for soloist and orchestra in which the direct identification with the soloist seems to take place in a fantastic dimension.
Among the approx. Anders Koppel earned a place in the marimba-canon already with Concerto no. Today,the concerto has been performed more than times and is virtually mandatory for young soloistically gifted percussionists. In Concerto no.
And in Concerto no. And in Sinfonia Concertante , in which the orchestra consists of only strings and timpani, a space is created where the four solo players can focus on the contrapuntal interplay between the individual voices and thus, by means of the changing harmonies, create a powerful alternation between light and shadow.
Its sound can be modulated from the most delicate and lucid to the downright aggressive and raw. Benjamin Koppel possesses a rare ability to effortlessly alternate between tightly composed passages and freely fabulating improvisations; a skill which is heavily in demand with Anders Koppel in e.
Concerto for Saxophone and Orchestra , Concerto no. In the first saxophone concerto Anders Koppel makes ample use of the extensive sound palette of the symphony orchestra. In addition to its highly inciting rhythmic passages inspired by both hard-grooving rock rhythms and Bach-inspired fugato, the concerto contains magical night moods in which a celeste and a deep-sounding alto flute are joined by layers of gentle strings.
As such, Koppel bridges the gap between modern musical practice and musical practices of the past in which improvisation was integral to the concerto form. In his double concerto for recorder and saxophone, premiered by Odense Symphony Orchestra with Michala Petri and Benjamin Koppel as soloists, Anders Koppel has staged a magnificent meeting between two instruments that are rarely seen in close contact. Inthe tuba concerto the result is superb. The instrument is exposed in all registers, from the lowest depths — where the tuba is the uncrowned king of the orchestra — up to softly sounding top notes in the higher regions normally populated by other,more nimble instruments.
His Concerto Piccolo is strikingly subdued, however tremendously intense. From a gloomy minor third the solo viola unfurls an elegiac song that later reappears in the guise of a funeral march in which trombones and timpani create a solemn musical setting. Yet, despite its somber mood, the viola concerto becomes an infectious homage to life when the solo instrument is allowed to play the part of the irresistible, giddily dancing fiddler.
His String Quartet no. In String Quartet no. Anders Koppel has added a new dimension to the string quartet with his Le Balajo for four cellos; a tightly crafted work for four musical equals, already from the first note professing to the warm romantic tone inherent in the nature of the cello as well as a bittersweet pain.
Recently, Anders Koppel has continued his work with the classic chamber ensemble in the weighty Piano Quintet containing both passages of Mozartian lightness as well as hard-hitting percussive sections fulfilling the huge dramatic potential of the interplay between the piano and the four strings, and giving the pianist ample opportunity to shine as a true soloist.
In the cantata Saving Every Word , written for choir, brassband and organ in memory of the Battle of Fredericia, the concertante elementis absent. Without indulging in a pompous royal celebration Koppel has managed to compose a music that is at once lush, festive and mild, and which leaves room for reflection in its quietly flowing musical stream. It is both an artistic and social manifestation of the fact that we, the people, still have good things to offer one another.
Anders Koppel: Caprice