Coordinates	56°50′″N60°35′″N
name	Hans Fredrik Gude
birth name	Hans Fredrik Gude
birth date	March 13, 1825
birth place	Christiania, Norway
death date	August 17, 1903
death place	Berlin, Germany
nationality	Norwegian
field	Norwegian romanticist
training	Johannes FlintoeAndreas AchenbachJohann Wilhelm Schirmer
movement	Norwegian romantic nationalism
awards	St. Olav Grand Cross in 1894. }}

Hans Fredrik Gude (March 13, 1825 – August 17, 1903) was a Norwegian romanticist painter and is considered along with Johan Christian Dahl to be one of Norway's foremost landscape painters. He has been called a mainstay of Norwegian National Romanticism.

Gude's artistic career was not one marked with drastic change and revolution, but was instead a steady progression that slowly reacted to general trends in the artistic world. Gude's early works are of idyllic, sun-drenched Norwegian landscapes which present a romantic, yet still realistic view of his country. Around 1860 Gude began painting seascapes and other coastal subjects. Gude had difficulty with figure drawing initially and so collaborated with Adolph Tidemand in some of his painting, drawing the landscape himself and allowing Tidemand to paint the figures. Later Gude would work specifically on his figures while at Karlsruhe, and so began populating his paintings with them. Gude initially painted primarily with oils in a studio, basing his works on studies he'd done earlier in the field. However, as Gude matured as a painter he began to paint en plein air and espoused the merits of doing so to his students. Gude would go on to work with watercolors later in life as well as gouache in an effort to keep his art constantly fresh and evolving, and although these were never as well received by the public as his oil paintings, his fellow artists greatly admired them.

Gude spent forty-five years as an art professor and so he played an important roll in the development of Norwegian art by acting as a mentor to three generations of Norwegian artists. Young Norwegian artists flocked to wherever Gude was teaching, first at the Academy of Art in Düsseldorf and later at the School of Art in Karlsruhe. Gude also served as a professor at the Berlin Academy of Art from 1880 to 1901, although he attracted few Norwegians to the Berlin Academy because by this time Berlin had been surpassed in prestige in the eyes of young Norwegian artists by Paris.

Over the course of his lifetime Gude won numerous medals, was inducted as an honorary member in to many art academies, and was awarded the Grand Cross of the Order of St. Olav.

Early life

Gude was born in Christiania in 1825 the son of Ove Gude, a judge, and Marie Elisabeth Brandt.

Gude began his artistic career with private lessons from Johannes Flintoe, and by 1838 he was attending Flintoe's evening classes at the Royal School of Drawing in Christiania. In the autumn of 1841 Johan Sebastian Welhaven suggested that the young Gude should be sent to Düsseldorf to further his education in the arts.

Academy of Art in Düsseldorf

At the Academy of Art in Düsseldorf Gude encountered Johann Wilhelm Schirmer — a professor in landscape painting — who advised him to give up his ambitions of being a painter and to return to his regular studies before it was too late. Gude was rejected by the academy, but attracted the attention of Andreas Achenbach who provided him with private lessons.

As a student

Gude was finally accepted into the Academy in the autumn of 1842 and joined Schirmer's landscape painting class where he made quick progress. The landscape painting class at the Academy was new at the time, having been founded in 1839 as a counterpart to the more long standing figure painting class. At the time figure painting was considered a more prestigious genre than landscape painting as it was thought only through painting the human body could true beauty be expressed.

Gude, along with most of the class of twelve, received a grade of "good" his first semester and was described as "talented". On his report card for the 1843-1844 school year he was the only student to be described as "very talented", and the report for his fourth year said that he "paints Norwegian scenery in a truthful and distinctive manner".

While Gude was a student, two different trends in landscaping were developing at the Academy: a romantic trend and a classical trend. The romanticists depicted wild, untamed wildernesses with dark forests, soaring peaks, and rushing water to capture the terrifying and overpowering aspects of nature. They used rich, saturated colors with strong contrast of light and shadow. The classicists were more interested in recreating landscapes from the heroic or mythical past and often set them in the midst of religious or historical events. The classicists focused on lines and clarity in their compositions. It was through Achenbach — Gude's first teacher upon arriving in Düsseldorf — that he was exposed to the romanticist tradition, while it was through his classes with and later time teaching for Schirmer that he was exposed to the classicist traditions.

In 1827 Schirmer and Carl Friedrich Lessing founded a Society for Landscape Composition that would meet a few times each year at Schirmer's home where Schirmer would offer advice on the composition of landscape paintings. Fifteen years later Gude began attending the meetings of the society with other students from his class, but as he progressed to greater levels of realism Gude began to make it clear that he did not agree with the ideas of composition Schirmer put forward during the meetings, saying specifically:

In Düsseldorf Gude met Carl Friedrich Lessing who, while initially aloof, became Gude's friend and colleague. Their relationship was such a close one that Gude's eldest daughter eventually married one of Lessing's sons. The two artists differed in style thought, with Lessing painting dramatic, historical works while Gude never once introduced historical events into his own paintings.

Gude served as a student teacher at the Academy until 1844, before leaving to live in Christiania. On July 25, 1850, Gude married Betsy Charlotte Juliane Anker (1830–1912), the daughter of General Erik Anker, in Christian.

Professorship

In 1854 Gude was appointed the professor of landscape painting at the Academy replacing his former teacher Schirmer. Gude was twenty-nine when appointed, making him the youngest professor at the Academy. His appointment was partially political, in a conflict between Rhineland and Prussian interests Gude was seen as a neutral candidate because of his Norwegian roots. Gude was recommended for the position by the current Director of the Academy Wilhelm von Schadow, but only after Andreas Achenbach, Oswald Achenbach, and Lessing had refused the post due to lack of suitable pay. In regards to his position and compensation, Gude wrote:

Throughout his tenure, Gude had private pupils in addition to his normal classes. As a professor Gude taught six hours of class, held two hours of office hours, took turns with other professors supervising the nude drawing class and attended staff meetings. In 1857 Gude handed in his resignation, officially citing family considerations and failing health as his reasons for resigning, although in his memoirs he blamed opposition and backbiting from two of his pupils. The landscape painting professorship was the bottom of the pay scale at the Academy, and Gude was one of the few professors to be refused a raise when others received them in 1855. Others have suggested that Gude wished to leave the Academy for fear for becoming stuck in a rut artistically. Gude received better treatment from the Academy after he turned in his resignation, and it would take him a full five years to finally leave Düsseldorf. Although professors at the Academy complained that their teaching prevented them from undertaking more lucrative endeavors, Gude was able to sell enough works to afford a modest house in Düsseldorf which stood in what is now Hofgarten park.

Norwegian or German art

By the mid-19th century the Academy in Düsseldorf had become a center for training Norwegian artists, but within Norway there arose a debate as to whether the art was truly Norwegian as it did not originate in Norway, and was in fact produced by artists who had been trained in Germany. The debate was sparked by proposals to build an art school in Norway, and it was therefore essential for supporters of a Norwegian academy to argue that Norwegian values could not be instilled in the artists if they had to go abroad.

In a letter to Jørgen Moe Gude writes that he see possibility for his own development in Düsseldorf, and that even if it would cause him to be known as a German artist instead of a Norwegian, he would not be ashamed of the fact. In defense of Norwegian artists at the Academy, Gude writes that they were not simply imitating German artists:

Gude was convinced that for Norwegian artists at the Academy it was impossible to escape their heritage and that Norway influenced their art whether they wanted it to or not. On this subject he wrote:

Von Schadow however argued the Gude's art was in fact German in an attempt to defend his nomination of Gude to succeed Schirmer. He wrote of Gude that "His education is totally German, his style unwontedly elevated."

Wales

image file	Hans Gude--Efoybroen, Nord-Wales--1863.jpg
painting alignment	right
title	Eføybroen, Nord-Wales
artist	Hans Gude
year	1863
type	Oil on canvas
height	41.5
width	55.5
city	Oslo
museum	National Gallery of Norway}}

Many of Gude's peers moved on from the Academy in Düsseldorf to other art institutes, but Gude decided to seek more direct contact with nature. Gude had gained a foothold in the British art market in the 1850s after his works were accepted into the galleries of Francis Egerton, 1st Earl of Ellesmere and the Marquess of Lansdowne, and so when an English art dealer and former student of Gude — Mr. Stiff — suggested Gude might find success in England, he was quick to respond. In the autumn of 1862 Gude set off for the Lledr Valley near Conwy. Wales, a place renowned for its picturesque scenery, was already home to a colony of British plein-air artists. While small groups of artists living in the countryside in order to inspire each other, be closer to their subject and escape the city were common, Gude was one of the first Norwegian artists to live in such a manner. Gude rented a house overlooking River Lledr where he painted one of the ancient Roman bridges which was popular with artists of the time.

Gude reports that the British and Welsh landscape painters were disdainful of artists from the continent, and that they used a very different style of painting from the continental artists. Whereas Gude and fellow continental artists would go out in nature and make sketches to act as studies for studio works, the British and Welsh painters set up their easels in the field and worked on their paintings with their subjects in front of them. Gude attempted to improve his reputation among the local painters with exhibitions at the Royal Academy's spring shows in London in 1863 and 1864, but both were flops that Gude described as "useful but bitter medicine". Despite these setbacks — furthered by the strain the trip had put on Gude's finances due to lack of paintings being sold — Gude felt the trip was of great benefit to himself as an artist, writing to his brother-in-law Theodor Kjerulf:

While in Wales Gude was visited by Adolph Tidemand together with Frederik Collett, and the three traveled to Caernarvon and Holyhead from which Gude observed his first real Atlantic storm.

Baden School of Art

image file	Hans Gude--Fra Chiemsee--1868.jpg
painting alignment	right
title	Fra Chiemsee
artist	Hans Gude
year	1868
type	Oil on canvas
height	145
width	208
museum	Private Collection}}

In December 1863 Gude was offered and accepted a professorship at the Baden School of Art in Karlsruhe where he would once again succeed Schirmer, and so he left Wales. Gude was hesitant to take the position as he felt that it was working for the enemy but was unable to support himself in Norway due to the lack of an art school. He wrote about his thoughts on the position to Kjerulf, stating:

It is suspected that Gude was offered the professorship due to a recommendation from Lessing. When Gude accepted the position at Karlsruhe the flow of Norwegian painters to the Düsseldorf Academy redirected to Karlsruhe, which would produce many of the Norwegian painters of the 1860s and 1870s, among them Frederik Collett, Johan Martin Nielssen, Kitty L. Kielland, Nicolai Ulfsten, Eilif Peterssen, Marcus Grønvold, Otto Sinding, Christian Krohg and Frits Thaulow.

In Karlsruhe Gude continued to faithfully reproduce the landscapes he saw, a style that he passed on to his students by taking them to Chiemsee to paint the lake ''en plein air''. While on these trips Gude and his pupils often encountered Eduard Schleich der Ältere with his own students from Munich who were, as Gude described, only out to capture the mood of the scene and were skeptical of the advantages of painting in the sunshine. Gude also took special interest in how light reflected in water while in Karlsruhe, as well as expanding his study of the human figure. Although Gude rarely portrayed humans for their own sake, he began populating his paintings with convincing, if sometimes anatomically incorrect, individuals.

Gude's painted ''Fra Chiemsee'' while at Karlsruhe. The painting which was shown in Vienna was so enthusiastically received that it was purchased by the Kunsthistorisches Hofmuseum for display, won Gude a number of medals, and earned him membership in the Academy of Fine Arts Vienna.

The school in Karlsruhe was founded by the Grand Duke of Baden whom Gude had good relations with. Because of this fact Gude received better pay than at the Düsseldorf Academy, had spacious and rent-free accommodations and was given generous periods of leave which allowed him to travel in the summer to perform studies for future paintings. Gude served as the director of Karlsruhe from 1866–1868 and again from 1869–1870, where he introduced several of his own educational principles designed to develop pupil's individual talent. But Gude's reign as director at Karlsruhe was not without resistance to his methods, and it is this opposition that he cites as his reason for visiting the Berlin Academy of Art that as early as 1874 in search of better conditions. Because of Gude's visits to Berlin, his relation with the Grand Duke became strained as the Grand Duke felt that the concessions he had made to Gude were so great that Gude should be grateful and not look for a professorships elsewhere. Gude remained at Karlsruhe for six more years after his first visits to the Berlin Academy of Art, but in 1880 he decided to retire from the Karlsruhe school to take up a position in Berlin.

Berlin Academy of Art

In 1880 Gude accepted a position to lead the master studio in landscape painting at the Academy of Art in Berlin, a position which gave him a spot on the Academy's Senate. The Senate was responsible for upholding "all the artistic interests of the state" and membership was a mark of the highest official recognition of Gude's work.

In 1895 the Christiania Art Society held a comprehensive retrospective of Gude's works including his paintings, oil studies, watercolors, sketches and etchings. When asked what should be shown at the exhibition Gude replied that "[...]perhaps room could be found for studies and drawings; I rather think that these will meet with interest. They are also (unfortunately) of greater artistic value." By the time of the exhibition Gude had abandoned his previous style of painting large-scale compositions based on studies, and was working in mediums other than oil. In Berlin Gude began working more heavily in gouache and watercolor in an effort to preserve the 'freshness' of his art. Although Gude did not heavily exhibit his watercolors they still gained admiration from follow painters, including Harriet Backer who said:

Gude would spend a few weeks each summer near the Baltic coast where he drew material for numerous paintings of Ahlbeck and Rügen. Although Gude filled these paintings with more figures than his earlier works, his focus was still on accurately capturing the scene and especially the landscape.

As the century drew to a close the established art academies faced 'secession' movements from groups of artists looking to branch of into different style. Gude rallied around his friend Anton von Werner in defending the academies, going so far as to mock "the so-called Symbolism" movement. As Gude approached the end of his life he felt more and more unable to keep up with the changes in the art world. After a disappointing exhibition in Kristiania in 1902 Gude wrote to Johan Martin Nielssen:

In 1880 Gude had between five and eight students, but this number had shrunk to two or three by 1890. In part this reduction of pupils was due to a lack of interest in the Berlin academy, as explained to Gude by Prince Eugén, Duke of Närke who wrote that he, as well as numerous other young artists, had more of a taste for French art than German.

Gude retired from the Berlin Academy in 1901. He died two years later in Berlin in 1903.

Awards and honors

1852 — Gold medal at Berlin Exhibition 1855 — Medal, 2nd class, Paris Exhibition 1860 — Gold medal at Berlin Exhibition 1861 — Medal, 2nd class, Paris Exhibition 1867 — Medal, 2nd class, Paris Exhibition 1873 — Gold medal at Vienna Exhibition for ''Nødhavn Ved Norskekysten'' 1876 — Medal for ''A Fresh Breeze, Norwegian Coast'' and ''Calm, Chrstianiaford'' in Philadelphia at United States Centennial Commission International Exhibition 1880 — Member of Berlin Academy of Art's Senate 1894 — Grand Cross of the Order of St. Olav

Academy memberships

Gude earned membership in the following art academies: Amsterdam Berlin Copenhagen Rotterdam Stockholm Vienna

List of paintings

Notes

References

External links

Category:1825 births Category:1903 deaths Category:Norwegian romantic painters Category:Norwegian realist painters Category:People from Oslo Category:Knights Grand Cross of the Order of St. Olav Category:19th-century Norwegian people Category:Norwegian expatriates in Germany

da:Hans Gude de:Hans Fredrik Gude es:Hans Gude fr:Hans Fredrik Gude it:Hans Gude no:Hans Gude nn:Hans Gude ru:Гуде, Ханс fi:Hans Gude sv:Hans Gude

Arve Tellefsen (born 14 December 1936) is a Norwegian violinist.

He was born and raised in Trondheim, Norway. When he was 6 years old, he began playing the violin in 'Trondheims musikkskole' (the music school in Trondheim). In 1955, he began his studies at the Music Conservatory of Copenhagen and, in 1959, he had his debut in Universitetets Aula, Oslo.

In his long career as a soloist, he has played with many of the world's greatest orchestras and conductors. He has made many recordings and received many awards, including the Harriet Cohen International Music Award.

In August 2009 he received an honorary degree at the Norwegian Academy of Music. There is a statue of him in Trondheim.

References

Category:1936 births Category:Living people Category:Norwegian classical violinists Category:Spellemannprisen winners Category:People from Trondheim

fr:Arve Tellefsen no:Arve Tellefsen nn:Arve Tellefsen sv:Arve Tellefsen

Coordinates	56°50′″N60°35′″N
Name	Ole Bull
Background	non_vocal_instrumentalist
Birth name	Ole Bornemann Bull
Birth date	February 05, 1810
Death date	August 17, 1880
Origin	Bergen, Norway
Instrument	Violin
Genre	Classical
Occupation	Musician }}

Ole Bornemann Bull (5 February 181017 August 1880) was a Norwegian violinist and composer.

Biography

Background

Bull was born in Bergen. He was the eldest of ten children of Johan Storm Bull (1787–1838) and Anna Dorothea Borse Geelmuyden (1789–1875). His brother, Georg Andreas Bull became a noted Norwegian architect. He was also the uncle of Edvard Hagerup Bull, Norwegian judge and politician.

His father wished for him to become a minister, but he desired a musical career. At the age of four or five, he could play all of the songs he had heard his mother play on the violin. At age nine, he played first violin in the orchestra of Bergen's theatre and was a soloist with the Bergen Philharmonic Orchestra. At eighteen, he was sent to the University of Christiania, but failed his examinations. He joined the Musical Lyceum, a musical society, and after its director Waldemar Thane took ill, Bull became the director of Musical Lyceum and the Theater Orchestra in 1828. He also became friends with Henrik Wergeland, who later wrote a biography of Bull.

Career

After living for a while in Germany, where he pretended to study law, he went to Paris but fared badly for a year or two. In 1832 in Paris he shared rooms with the Moravian violin virtuoso Heinrich Wilhelm Ernst, who introduced Bull to the style of Paganini. He was eventually successful in becoming a high-level virtuoso, giving thousands of concerts. In England alone these included 274 in 1837, during which visit he also travelled to some of the more remote parts of Britain. Bull became very famous and made a huge fortune. He is believed to have composed more than 70 works, but only about 10 are known today. Best known is ''Sæterjentens søndag'' (''The dairymaid's Sunday''). He also was a clever luthier, after studies in Paris with Vuillaume. He collected many beautiful violins and violas of Amati, Gasparo da Salò, Guarneri, Stradivari and others. He was the owner of one of the finest violins of the world, made by Gasparo da Salò about 1574 for Ferdinand II, Archduke of Austria. He played a Guarneri del Gesù. The violin, a gift of his widow to Bull's birthplace, is now in the Bergen Vestlandske Kustindustrimuseum. A commercial signature line of Ole Bull violins was manufactured in Germany.

Bull was caught up in the rising tide of Norwegian romantic nationalism and acclaimed the idea of Norway as a sovereign state, separate from Sweden, an idea which would become reality in 1905. In 1850, he co-founded the first theater in which the actors spoke the Norwegian language, rather than Danish, namely Det Norske Theater in Bergen, which later became Den Nationale Scene.

In the summer of 1858, Bull met the 15-year-old Edvard Grieg. Bull was a friend of the Grieg family, since Ole Bull's brother was married to the sister of Grieg's mother. Bull noticed Edvard's talent and persuaded his parents to send him to further develop his talents at the Leipzig Conservatory.

Robert Schumann once wrote that Bull was among "the greatest of all," and that he was on a level with Niccolò Paganini for the speed and clarity of his playing. Bull was also a friend of Franz Liszt and played with him on several occasions.

Ole Bull Colony

Bull visited the United States several times and was met with great success. In 1852, he obtained a large tract of land in Pennsylvania and founded a colony, which was called New Norway but which is commonly referred to as Ole Bull Colony. On 24 May 1852, he formally purchased for $10,388. The land consisted of four communities: New Bergen, now known as Carter Camp; Oleana, named after him and his mother, six miles (10 km) south of New Bergen; New Norway, one mile south of New Bergen; and Valhalla.

Bull called the highest point in Valhalla, Nordjenskald, which became the location of his unfinished castle. This venture was soon given up, as there was scarcely any land to till, and Bull went back to giving concerts.

Family life

In 1836 Bull married Alexandrine Félicie Villeminot. They had six children, only two of whom survived him. Alexandrine died in 1862. Their children were:

Ole Storm Felix Bull (1837-9)

Alexander Ole Felix Etienne Bull (1839–1914)

Thorvald Bull (1841–1862)

Eleonore Felicie Bull (1843–1923)

Ernst Bornemann Bull (1844; lived only 5 days)

Lucie Edvardine Bull (1846–1868)

In 1868 Bull met Sara Chapman Thorp (1850–1911), the daughter of a prosperous lumber merchant, after a concert in Madison, Wisconsin. On a return visit in 1870 (and despite their age difference; he was 60, she was 20), Bull began a courtship, and the couple was secretly married in Norway in June 1870, with a formal wedding in Madison later that year. They had one daughter, Olea (1871–1913).

In 1871, he bought a summer home on a rise in West Lebanon, Maine. Extolling the purity and health benefits of its well water, he named the property ''Ironwell''.

Sara traveled with Bull for the remainder of his career, sometimes accompanying him on the piano. After Bull's death, the family lived in Cambridge, Massachusetts, where Sara became a figure in local intellectual life. She translated two of the works of Jonas Lie into English. In 1883 she published a memoir of Bull's life. In her later life she became interested in Indian religious thought and helped sponsor early visits to the United States by gurus.

Later years

Ole Bull bought the island of Lysøen in Os, south of Bergen, in 1872. He hired architect Conrad Fredrik von der Lippe to design a residence on the island. Bull died from cancer in his home on Lysøen on 17 August 1880. He had held his last concert in Chicago the same year, despite his illness. A testament to his fame was his funeral procession, perhaps the most spectacular in Norway's history. The ship transporting his body was guided by 15 steamers and a large number of smaller vessels.

Legacy

Ole Bull's villa on the island of Lysøen was donated to the Association of Norwegian Ancient Monuments Conservation. Museet Lysøen consists of violinist Ole Bull's Villa, an old farm from the 17th century.

Oleona, in Potter County, Pennsylvania, is situated in the mountains of northern Pennsylvania at the intersection of Pennsylvania routes 44 and 144 (Ole Bull Road).

Ole Bull State Park in the Susquehannock State Forest is on the original site chosen for Bull's colony. The unfinished Ole Bull Castle is maintained by the park and can be visited by hikers. A monument to honor Ole Bull was placed in the park on the 150th anniversary of New Norway in 2002.

Mammoth Cave in Kentucky has a room called Ole Bull's Concert Hall where he once gave performances.

Loring Park in Minneapolis, Minnesota is the site of a bronze statue memorializing Ole Bull.

Ole Bull Cottage, originally purchased to be a school for music by Ole Bull and his wife, is at Green Acre Baha'i School in Eliot, Maine. Erected in 1896, the Ole Bull Cottage currently serves as the school library building.

Ole Bull Academy (''Ole Bull Akademiet'') in Voss, Norway is a music education institution founded in 1977.

Ole Bull Scene is a stage for cabaret, music and theater at the Ole Bull Plass in Bergen, Norway.

Ole Bull - Gasparo da Salò violin, a wonderful decorated masterpiece of the famous italian maker that the virtuoso used for 40 years of world tournee. Now is in the Vestlandske Kustindustrimuseum in Bergen.

In 2006, director Aslak Aarhus released a motion picture titled ''Ole Bull—The Titan'', the story of Bull's exploits and the impact it had on his French wife and children, who remained neglected in Bergen.

In 2010 the Norwegian record label 2L released world premiere recordings of Ole Bull's violin concertos and his Spanish fantasy ''La Verbena de San Juan'' and a previously unknown version for violin and strings of ''A Sæterbesøg''. The performers on the disc are Annar Follesø, violin, and the Norwegian Radio Orchestra conducted by Ole Kristian Ruud.

Media

References

Further reading

Bull, Sara C. (1883) ''Ole Bull: a memoir by Sara C. Bull''; with Ole Bull's "Violin notes," and Dr. A. B. Crosby's ''Anatomy of the violinist'' (Boston: Houghton Mifflin. 1886 ed. reissued by Da Capo Press, New York, 1981) ISBN 0306761203

*Other editions: London: T. Fisher Unwin, 1886 / Boston: Longwood Press, 1978 / ''Ole Bull, der Geigerkönig. Ein Künstlerleben'' (German version by L. Ottman. Stuttgart, 1886)

Indahl, Trond ''Ole Bull’s Villa '' (Bodoni forlag. 2010)

Linge, Ola ''Ole Bull : livshistoria, mannen, kunstnaren'' (1953)

Hendriksen, Knut: ''Ole Bull'' (2000)

Bjørnstad, Ketil: ''Flammeslukeren Ole Bull - en livshistorie'' (dokumentarroman, 2005)

External links

Ole Bull statue

Google Earth placemark of Lysoen

Lysoen Museum located in Lysefjorden, outside Bergen

Ole Bull pictures on flickr commons by Bergen Public Library

Official Ole Bull 200 year anniversary page

List of compositions by Ole Bull

Ole Bull's melodie La mélancolie arranged for violin and piano by Hurstinen Score from Sibley Music Library Digital Scores Collection

Family Genealogy (vestraat.net)

Category:Norwegian classical violinists Category:Norwegian composers Category:Romantic composers Category:People from Bergen Category:1810 births Category:1880 deaths

ca:Ole Bull da:Ole Bull de:Ole Bull es:Ole Bull eo:Ole Bull fr:Ole Bull it:Ole Bull ka:ოლე ბული lv:Ūle Bulls nl:Ole Bull ja:オーレ・ブル no:Ole Bull nn:Ole Bull pl:Ole Bornemann Bull ru:Булл, Оле fi:Ole Bull sv:Ole Bull

Coordinates	56°50′″N60°35′″N
name	Frank Chacksfield
background	non_vocal_instrumentalist
birth name	Francis Charles Chacksfield
born	May 09, 1914Battle, East Sussex, England
died	June 09, 1995 Kent
instrument	Piano, organ
genre	Easy listening, pop
occupation	Bandleader, conductor, composer
years active	c.1938–1991
label	DeccaPhase 4Starborne Productions
notable instruments	}}

Frank Chacksfield (9 May 1914 – 9 June 1995) was an English pianist, organist, composer and conductor of popular light orchestral easy listening music, who had great success in Britain and internationally in the 1950s and early 1960s.

Life and career

Francis Charles Chacksfield was born in Battle, East Sussex, and as a child learned to play piano and organ. He appeared at Hastings Music Festivals by the time he was 14, and then became deputy church organist at Salehurst. After working for a short period in a solicitor's office he decided on a career in music, and by the late 1930s led a small band at Tonbridge in Kent. At the beginning of World War II he joined the Royal Corps of Signals, and, following a radio broadcast as a pianist, was posted to ENSA at Salisbury where he became the arranger for ''Stars In Battledress'', an armed forces entertainment troupe, and shared an office with comedian Charlie Chester.

After the war, he worked with Chester and on BBC Radio as an arranger and conductor. He also worked as musical director for both Henry Hall and Geraldo, and began recording under his own name in 1951 as "Frank Chacksfield's Tunesmiths". In early 1953 he had his first top ten hit, "Little Red Monkey", on the Parlophone label. This was a novelty recording featuring Jack Jordan on the clavioline, and reportedly the first record featuring an electronic instrument to feature on the UK pop chart. He signed a recording contract with Decca Records in 1953, and formed a 40-piece orchestra with a large string section, the "Singing Strings". His first record release for Decca, Charlie Chaplin's theme for his film ''Limelight'', won him a gold disc in the US, and in the UK, where it reached #2 in the UK Singles Chart, and won him the ''NME'' award as 'Record of the Year'. It spent eight weeks at #2 (an all-time UK chart record), and in all thirteen weeks in the top five chart positions, without dislodging Frankie Laine's, "I Believe". His next 78 single, "Ebb Tide", became the first British instrumental recording to reach #1 in some American charts, providing a second gold disc, and he was voted the most promising new orchestra of the year in the US.

He became one of Britain's most well known orchestra leaders internationally, and is estimated to have sold more than 20 million albums worldwide. His material was "mood music", similar to that of Mantovani, including ballads, waltzes, and film themes. In 1954 he began presenting a series on BBC TV, which continued occasionally until the early 1960s. Chacksfield was responsible for the musical arrangement of the first UK entry into the Eurovision Song Contest 1957; "All" by Patricia Bredin. He continued to write music, release singles and albums through the 1950s and 1960s, and appeared regularly on BBC radio.

He continued to record occasionally until the 1990s, from the 1970s primarily on the Phase 4 label. He also developed business interests in publishing and recorded for Starborne Productions, a company supplying "canned music" for use by easy listening radio stations and others. Many of these recordings were made commercially available in 2007. His last album was ''Thanks for the Memories (Academy Award Winners 1934-55)'', released in 1991. Chacksfield died in Kent in 1995, after having suffered for several years from Parkinson's Disease.

His song, "Après Ski", was featured in the 2006 video game, ''Saint's Row'', for the Xbox 360.

Discography (selected)

Albums

''Ebb Tide'', London LL 1408

''Velvet'', London LL 1443

''Evening in Paris'', Decca LK 4081

''Evening in Rome'', Decca LK 4095

''If I Had a Talking Picture of You'', Decca LK 4135

''Opera's Golden Moments'', London Phase 4 21092

''The New Ebb Tide'', London Phase 4 44053

''Globe-Trotting'', London Phase 4 SP 44059

''The New Limelight'', London Phase 4 SP 44066

''Hawaii'', London Phase 4 SP 44087

''Foreign Film Festival'', London Phase 4 SP 44112

''New York'', London Phase 4 SP 44141

''Beatles Songbook'', London Phase 4 44142

''Simon & Garfunkel & Jimmy Webb'', London Phase 4 44151

''Plays Bacharach'', London Phase 4 44158

''Plays Ebb Tide And Other Million Sellers'', London Phase 4 44168

''Chacksfield Plays Rodgers & Hart'', London Phase 4 SP 44223

''The Glory That Was Gershwin'', London Phase 4 44254

''TV's Golden Hits'', Compleat Records 671020-1

Singles

"Little Red Monkey", Parlophone R3658, 1953, UK # 10

"Terry's Theme from 'Limelight'", Decca F10106, 1953, UK # 2

"Ebb Tide", Decca F10122, 1954, UK # 9, US # 2 (# 1 in some charts)

"In Old Lisbon", Decca F19689, 1956, UK # 15

"Port Au Prince" (with Winifred Atwell), Decca F10727, 1956, UK # 18

"Donkey Cart", Decca F10743, 1956, UK # 26

"On The Beach", (US) London 1901, 1960, US # 47

Recently, Vocalion has been releasing some of the Phase4Stereo (Decca) albums in CD.

References

External links

The Frank Chacksfield Band in the 1930s

The Decca Years 1953-75

Frank Chacksfield Complete Discography

Chacksfield's orchestra rendition of "Mighty Lak' a Rose"

Category:1914 births Category:1995 deaths Category:People from Battle, East Sussex Category:Bandleaders Category:Easy listening music Category:Royal Corps of Signals soldiers Category:English conductors (music)

fr:Frank Chacksfield ja:フランク・チャックスフィールド

Paulo Bellinati (b. São Paulo, 1950) is a classical guitarist from Brazil. He studied classical guitar with Isais Savio and graduated from the Conservatório Dramático e Musical de São Paulo. Bellinati is particularly well-known for three of his compositions, 'Jongo', 'Um Amor De Valsa', and 'Baiao de Gude'.

Career

Bellinati's active international career has taken him to Europe, Asia, and the Americas. Besides performing solo concerts and giving masterclasses in many international guitar festivals, he tours with American bassist Steve Swallow, Brazilian singer Monica Salmaso, Brazilian flutist Antonio Carrasqueira, and many top European musicians. In 1994, he won the Premio Sharp, Brazil's equivalent of a Grammy, for arranging the selections on Gal Costa's CD 'O Sorriso do Gato de Alice'.

In addition to being a performer and arranger, Bellinati is also a respected musical scholar. He rediscovered, transcribed, and recorded the music of the great Brazilian guitarist-composer Annibal Augusto Sardinha (Garoto). His landmark recording, 'The Guitar Works of Garoto', and two-volume edition of Garoto's works have received international critical acclaim and recognition for their significance.

External links

Official Website

Category:Brazilian classical guitarists Category:Brazilian people of Italian descent Category:1950 births Category:Living people

de:Paulo Bellinati pt:Paulo Bellinati