{"id":1136,"date":"2023-03-31T11:48:23","date_gmt":"2023-03-31T11:48:23","guid":{"rendered":"https:\/\/staffansandstrom.se\/?p=1136"},"modified":"2023-03-31T11:50:26","modified_gmt":"2023-03-31T11:50:26","slug":"mozart-wikmansson-agrell-with-octavian-leyva-dragomir","status":"publish","type":"post","link":"https:\/\/staffansandstrom.se\/?p=1136","title":{"rendered":"Mozart, Wikmansson, Agrell with Octavian Leyva Dragomir"},"content":{"rendered":"\n

Friday 31 March 2023 <\/p>\n\n\n\n

This semester we have a new student amongst the pianists at the Academy of Music and Opera, M\u00e4lardalen University. <\/p>\n\n\n\n

Octavian Leyva Dragomir<\/a> is a student in the course Main instrument, a continuation course aimed at musicians who have already started their higher education, or even finished it and are working professionally. He has previously studied at the Royal Academy of Music in Stockholm, but also in Barcelona at the Escola Superior de M\u00fasica de Catalunya and at the Academy of Music at \u00d6rebro University. He has lately won many prizes, for example, thanks to his great interest in Lieder, he was 2022 together with Anna Baek Christensen honored as a Dorothy Irving scholarship holder.<\/p>\n\n\n\n

In our work together we were right from the start focused on preparing a themed 18th century program for a not quite ordinary concert in an ordinary concert hall, but for a performance in a period house in front of a society specialized in the era, on a Square piano (Taffel in Swedish) and also in period clothes!<\/p>\n\n\n\n

Three questions to Octavian after the concert:<\/strong><\/p>\n\n\n\n

It’s not every day you play a whole program with repertoire only from the 18th century, what are your own reflections?<\/strong><\/p>\n\n\n\n

It’s so nice that the society Gustaf III<\/a> has me engaged as a kind of house pianist. This is my third concert for them and it’s always exciting. The music of the 18th century and the Gustavian era is often labeled as less interesting music, but for me it is a fantastic era. By focusing on it completely and giving it great importance in these concerts, you really dive into the tonal language. I think to get close to this era and especially Mozart, it is useful to play a complete program. And with that you get a feeling for that time, which is incredibly fascinating. That music was based on completely different traditions.<\/em><\/p>\n\n\n\n

What was it like to play the show on the Taffel?<\/strong><\/p>\n\n\n\n

Playing the music on Taffel is very rewarding. Much of the music seems to fall into place with the taffel, especially the dance movements and the Swedish repertoire. Which was most of the program! In the hall, the sound from the instrument generally sounds quite weak. You have to quickly get used to not having the grand sound of the grand piano. But because the sound is also very clear, in the low register clearer than the grand piano, the music comes out just as clearly. But the drama becomes more muted.<\/em><\/p>\n\n\n\n

The audience you played for I assume has special knowledge of that particular time period; did you get any feedback about your musical choices and your interpretation?<\/strong><\/p>\n\n\n\n

They thought it was fantastic to have such a varied and dramatic program, with both simpler dances and then larger Mozart works. Kristinehov’s Malmg\u00e5rd offered me dance lessons to learn how to dance a minuet with the idea of even more understand early music. Very funny! Apart from that, there was no piano player in the room so mostly I got a positive response to my playing :).<\/em><\/p>\n\n\n\n

Good job Octavian and there will surely be more 18th century music to come!<\/p>\n\n\n\n

Dorothy Irving’s Lieder scholarship<\/a><\/p>\n\n\n\n

The Gustaf III Society<\/a><\/p>\n\n\n\n

<\/p>\n\n\n\n

Fredag 31 mars 2023 <\/strong><\/p>\n\n\n\n

Mozart, Wikmansson och Agrell med Octavian Leyva Dragomir<\/strong><\/p>\n\n\n\n

Nu till v\u00e5rterminen har vi en ny student i pianoklassen vid Musik- och operah\u00f6gskolan, M\u00e4lardalens universitet. <\/p>\n\n\n\n

Octavian Leyva Dragomir<\/a> studerar p\u00e5 kursen Huvudinstrument, forts\u00e4ttningskurs som \u00e4r riktad till musiker som redan p\u00e5b\u00f6rjat sin h\u00f6gre utbildning eller avslutat den och \u00e4r yrkesverksamma. Octavian har tidigare studerat vid Kungliga Musikh\u00f6gskolan i Stockholm, i Barcelona vid Escola Superior de M\u00fasica de Catalunya och p\u00e5 Musikh\u00f6gskolan vid \u00d6rebro Universitet. Han har vunnit flera utm\u00e4rkelser de senaste \u00e5ren, till exempel har hans stora intresse f\u00f6r romanskonserten lett till att han tillsammans med Anna Baek Christensen 2022 blev utsedd till Dorothy Irving-stipendiat.<\/p>\n\n\n\n

Roligt att vi redan fr\u00e5n b\u00f6rjan kunde arbeta p\u00e5 att f\u00f6rbereda ett tematiskt 1700-talsprogram f\u00f6r en inte helt vanlig konsert i en konsertsal, utan i en kulturmilj\u00f6 inf\u00f6r ett s\u00e4llskap riktat till epoken, p\u00e5 ett instrument fr\u00e5n tiden och dessutom i tidstypiska kl\u00e4der<\/p>\n\n\n\n

Det \u00e4r ju inte varje dag man spelar ett helt program med repertoar bara fr\u00e5n 1700-talet, egna reflektioner utifr\u00e5n det?<\/p>\n\n\n\n

Det \u00e4r s\u00e5 roligt att Gustaf III s\u00e4llskap<\/a> har mig lite som deras huspianist. Detta \u00e4r min tredje konsert f\u00f6r dem och det \u00e4r alltid lika sp\u00e4nnande. 1700-talets och den gustavianska erans musik f\u00e5r ofta st\u00e4mpeln som mindre intressant musik, f\u00f6r mig \u00e4r det dock en fantastisk era. Genom att fokusera p\u00e5 den helt och ge den stor betydelse i dessa konserter s\u00e5 dyker man verkligen in i tonspr\u00e5ket.\u00a0Tror f\u00f6r att komma denna eran n\u00e4ra och speciellt Mozart \u00e4r det nyttigt att spela ett helt program.\u00a0Och med det f\u00e5r man en k\u00e4nsla f\u00f6r den tiden, vilket \u00e4r otroligt fascinerande. Man baserade musiken p\u00e5 helt andra traditioner.\u00a0<\/em><\/p>\n\n\n\n

Hur var det att spela programmet p\u00e5 taffel?<\/p>\n\n\n\n

Att spela musiken p\u00e5 taffel \u00e4r mycket givande. Mycket av musiken tycks falla p\u00e5 plats med taffeln, speciellt danssatserna och den svenska repertoaren. Allts\u00e5 det mesta av programmet! I salen allm\u00e4nt klingar ljudet fr\u00e5n instrumentet ganska svagt. Man m\u00e5ste snabbt avv\u00e4nja sig fr\u00e5n flygelns stora ljud. Men eftersom ljudet ocks\u00e5 \u00e4r mycket klart, i det l\u00e5ga registret klarare \u00e4n flygeln, s\u00e5 kommer musiken ut lika tydligt. Men dramatiken blir mer d\u00e4mpad.<\/em><\/p>\n\n\n\n

Publiken du spelade f\u00f6r antar jag har specialkunskaper om just den tidsperioden, fick du n\u00e5gra \u00e5terkopplingar utifr\u00e5n det om ditt musikval\/din interpretation?<\/p>\n\n\n\n

De tyckte att det var fantastiskt med ett s\u00e5 varierat och dramatiskt program, med b\u00e5de enklare danser och sen st\u00f6rre Mozartverk. Kristinehovs Malmg\u00e5rd erbj\u00f6d mig danslektioner f\u00f6r att l\u00e4ra mig dansa menuett med tanken att spela \u00e4nnu b\u00e4ttre tidig musik. Mycket roligt! Bortsett fr\u00e5n det var det ingen klaverspelare i rummet s\u00e5 jag fick fr\u00e4mst positiv respons p\u00e5 mitt spel:). <\/em><\/p>\n\n\n\n

Bra jobbat Octavian och det f\u00e5r bli mer 1700-talsmusik fram\u00f6ver!<\/p>\n\n\n\n

Dorothy Irving’s Lieder scholarship<\/a><\/p>\n\n\n\n

The Gustaf III Society<\/a><\/p>\n\n\n\n