Pianist Sveinung Bjelland is in the forefront of classical musicians in Norway. His recording of Scarlatti and Mendelssohn (on Simax) was received with enthusiasm in Norway and internationally and was nominated for the Norwegian Grammy Award (Spellemannprisen 2006).
Musicweb International writes: 'These performances have many subtleties and the imagination of the coupling is reflected in the taste and imagination of the playing.' Classics Today also praises the recording, referring to 'Sveinung Bjelland's cultivated, imaginative, and poetic artistry', concluding: 'No self-respecting piano connoisseur should let this truly distinctive release slip away'.
Sveinung has most of his musical background from Central Europe, mainly through studies with Hans Leygraf at Mozarteum, Salzburg and Hochschule der Künste in Berlin. He finished his studies in Berlin with the highest degree and with distinction, and he put himself strongly on the map in 1999 when he was named 'Young Musician of the Year' by the Norwegian Concert Institute, beside the numerous other prizes he has been awarded.
Sveinung has now developed into an unusually interesting, prolific and versatile artist. He has been a soloist with the leading Norwegian orchestras, with distinguished guest conductors, and visited various concert series and festivals in Europe where he has made his mark as much as a soloist as in a chamber music setting. He has performed with artists like Pahud, Collins, Mørk and Wispelwey. In October 2008 he made his debut in London with a Chamber Music Recital at Wigmore Hall.
His duo partnership with the young violinist Alina Pogostkin (the 2005 winner of the Sibelius Competition in Helsinki) has made a particular impact. Together they have made a brilliant recording of Mendelssohn's Concerto for Violin and Piano, adding to the pianist's series of successful recordings which covers a wide and varied repertoire. In duo with Alina Pogostkin, Sveinung recently performed at the Helsinki Festival and the Beethovenfest in Bonn.
Sveinung must have given listeners with preconceived notions some surprises when he recently featured in the violinist Atle Sponberg's concert project 'Atle Live' on tour in Norway, flinging himself elegantly from Bach and Mozart to Argentine, Brazilian and jazzy piano virtuosity with the greatest of ease, sounding as though in the past he had only ever played a Latin American repertoire.
In addition to being a frequent festival artist, Sveinung was from 2002-2008 himself a festival director. The artistic profile of the Gloger Festival in Kongsberg has now developed into one of the most interesting among Norwegian music festivals, with the exquisite and inspiring space of the beautiful Kongsberg Church as its main arena.
- Warsaw Concerto
- Piano Concerto no.3 in E-dur
Beethoven, Ludwig van
- Piano Concerto no.1 in C major
- Piano Concerto no.3 in c minor
- Piano Concerto no.1 in e-minor
- Nights in the gardens of Spain
- Rhapsody in Blue
- Piano Concerto in a-minor
- Piano Concerto no.18 D-dur
- Piano Concerto no. 2 in A major
- Piano Concerto no.2 in d-minor
- Piano concerto no.1 g-moll
- Concerto for violin, piano and orchestra, d-minor
- Concert a quatre
Mozart, Wolfgang Amadeus
- Piano Concerto KV 537 (Krönungskonzert) D-major
- Piano Concerto nr. 13Kv 595 C-dur
- Piano Concerto nr. 23, KV 488 in A-major
- Piano Concerto nr. 27 KV 595 in B-major
- Piano Concerto for two pianos
- Piano Concerto no. 20 d-minor
- Klaverkonsert i C-dur nr. 21
- Klaverkonsert i Ess-dur nr. 22
- Piano Concerto no.2 in c-minor
- Piano Concerto no.2 in g-minor
- Klaverkonsert a-moll
- Konzertstück op. 92
- Konsert for klaver og blåsere
- Concerto no. 2 opus 102, F major
- Concerto for two pianos and orchestra (Variations on a Folk song from Hardanger)
- Piano Concerto no.1
No cuts or alterations of any kind should be made to this biography without the consent of Sveinung Bjelland.
Brahms: Die Schone Magelone
Chopin & Schumann: Piano Works
New South American Discoveries
Okkehaug - Chamber Works; Piano Works; Songs
Rachmaninoff / Shostakovich: Cello Sonatas - Sandvik, Audun
Scarlatti, Mendelssohn: Sonatas
Trace of Impressions
Tveitt - Piano Concerto No 5
Tveitt - Piano Concertos Nos 1 & 4; The Turtle
Sveinung Bjelland events
28 April 2018: Concert – Rockefeller, Oslo, Norway
Rhapsody in Blue
29 April 2018: Concert – Asker Kulturhus, Asker, Norway
Schubert: Forellen Quintet
4 May 2018: Concert – Fagerborg Church, Oslo, Norway
Schumann Piano Quintet
6 May 2018: Concert – Wiener Konzerthaus, Austria
Die schöne Müllerin with Daniel Behle
12 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
Lunchtime concerts at Grieg's home Troldhaugen outside Bergen.
13 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
14 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
15 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
16 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
17 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
18 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
19 August 2018: Lunchtime concerts 2018 – Troldhaugen, Bergen, Norway
- Rachmaninoff/Shostakovich: Cello Sonatas
Sveinung Bjelland is a distinguished pianist but, as a sensitive musician collaborating with an instrumentalist, ensemble or orchestra he is renowned for his ability to form a successful partnership.
- PIZZICATO Five star review by Uwe Krusch, January 2018
- Rachmaninoff/Shostakovich: Cello Sonatas
Cello and piano are equal partners on this disc, and both players find admirable delicacy. Compelling interpretations of 20th-century Russian classics.
- FP, BBC Music Magazine, January 2018
- Rachmaninov: Cello Sonata op. 19, Shostakovich: Cello Sonata on. 40, Audun Sandvik - Cello, Sveinung Bjelland - Piano (LAWO Classics LWC 1131) (CD)
It strikes against you from the first note: A plaintive song.
The singing and melancholy are prominent in these two works. Audun Sandvik gets the song, it just appears in his cello.
There is a big age difference between the two composers. Rachmaninov boarded the boat to America - Bergen Fjord - Oslo in 1919 while Shostakovich grew up and remained in the Soviet Union throughout its lifetime. He was also seen as a strong supporter of the regime as his programmatic symphonies (Nos. 7 "Leningrad" and 11 "The Year 1905" in extremely extent) experienced in the struggle against fascism and for socialism. Rachmaninov chose his US citizenship and was thus in many years not played in the Soviet Union.
There is also a certain span of years that separates these two sonatas. Rachmaninov wrote his sonata in 1901 while Shostakovich composed his works in the turbulent 30s. When he had experienced the regime's relentless criticism of his opera Lady Macbeth and pulled consequently his fourth symphony back.
Both composers were at home for many years regarded as not serious enough. Rachmaninov because he lets the seemingly sugary often get prominent role and Shostakovich because he (until Mariss Jansons time in Oslo from 1979) was conceived as a poster artist and propagandist in its tribute by the Soviet regime.
Today it is quite widely conducted. Rachmaninov is considered one of the 1900s great composers and Shostakovich is often perceived as a worthy successor to Mahler.
This is wonderful music. Melodious and highly melodious. It is music that creeps on you and stays there. It invokes the soft sides with us and can actually experienced little sacred.
Two works that are good to each other and two performers who know how to take care of taxes like this.
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- Kulturspeilet - Kjell Moe
- Stavanger Symphony Orchestra Concert
The Stavanger Symphony Orchestra's programmes in the autumn last year presented many important Schumann works including three of his Symphonies.
On Thursday February 23 this year it was time for one of the composer's less well known and seldom performed works, his Introduction and Allegro Appasionato (Konzertstuck Op.92) to be included in the Schumann Festival. The soloist was pianist Sveinung Bjelland who has a natural delicacy for Schumann as displayed by his perfect retention of the structure and virtuosity of the work without any ill effects. The crucial balance between the piano and the orchestra Bjelland maintained superbly.
This is a work that deserves more frequent programming in the concert hall. Bjelland further delighted the audience by giving a beautifully performed Schumann encore.
- Stavanger Aftenblad, 25 February 2017
- Trace of Impressions (CD)
"The very opening piano phrase - a round, warm tone as rich as dark chocolate - makes it instantly clear that this is going to be a superior disc, and so it proves. I've long admired Sveinung Bjelland's pianism: it's alert and sensitive and thoroughly intelligent. Andres Kjellberg Nilsson proves just as good a violinist, with an unusual range of colour and effect: the expressive range he brings to the 'Blues' central movement of the Ravel G major Sonata typifies his ability to let you hear more than you realised was there. In a CD of music as well known as the two grand-daddies of French impressionism it's not easy to make the music sound completely fresh, but Kjellberg Nilsson and Bjelland do just that. You can hardly ask for more."
- Martin Anderson, Classisk Music Magazine, November 2013
- Trace of Impressions (CD)
The program on this new CD is made up of the best known and most frequently performed works by the two great French masters, with two sonatas by Ravel and one by Debussy. Ravel's "Sonata posthumous" is rather rare, but in return we get served the known and beloved audience favorites "The Girl with the Flaxen Hair", "Pavan for a Dead Princess" and "Vocalize in the form of a habanera". The whole release is a delight from beginning to end.
Anders Kjellberg Nilsson was born with a lyrical and poetic vein. His tone is sweet but not sentimental, and he makes music with a sensibility that is both heart stopping as well as grabbing and touching the listener. In Sveinung Bjelland, Anders has found a partner who really is taking note. They match each other perfectly. The sound, signed "Lindberg", provides a natural and clear overall impression and it's interesting to have the Ravel and Debussy sonatas so close to each other. You are amazed at how different they are, despite the fact that they belong to the same musical 'region', and Ravel's 'Blues' is an irresistible creation.
- Kjell Hillveg, Dagsavisen (Oslo), April 2014