Jablonski, Marek (Michael)

WRITINGS Edvard Grieg (Oslo, 1934, 3/1956; Eng. trans., 1938/R) BIBLIOGRAPHY

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Edvard Grieg (Oslo, 1934, 3/1956; Eng. trans., 1938/R)


K. Egge: ‘David Monrad Johansen: Symfonisk fantasi’, Tonekunst, xxx (1937), 167–8

T. Fischer: ‘David Monrad Johansens Pan’, Norsk musikktidsskrift, v (1968), 62–5

T. Fischer: ‘David Monrad Johansens Ignis ardens’, Norsk musikktidsskrift, v (1968), 128–33

Ø. Gaukstad and O.M. Sandvik: David Monrad Johansen i skrift og tale (Oslo, 1968)

Ø. Sommerfeldt: ‘David Monrad Johansen’, Norsk musikktidsskrift, v/5 (1968), 145–8

B. Wallner: Vår tids musik i Norden [Nordic music of today] (Stockholm, 1968)

N. Grinde: Norsk musikkhistorie (Oslo, 1971, 4/1993; Eng. trans., 1991)

B. Kortsen, ed.: Musikkritikeren og skribenten David Monrad Johansen (Bergen, 1979)


Johansen, Gunnar

(b Copenhagen, 21 Jan 1906; d Blue Mounds, WI, 25 May 1991). American pianist and composer of Danish birth. From the age of ten he received lessons in piano and theory from his violinist father, and at 12 he made his first public appearance, inspired by the example of Ignaz Friedman, whom he had heard the previous year. Friedman’s student Victor Schiøler persuaded Johansen’s parents to allow their son to study in Berlin, first with Frederic Lamond and then with Egon Petri at the Hochschule für Musik (1922–4). The studies with Petri not only enabled Johansen to refine his technical command of the instrument but they also formed the basis of many of his subsequent musical and aesthetic values. During this period he moved among the Busoni circle, and in May 1923 gave the première of Busoni’s Zehn Variationen über ein Präludium von Chopin. Between 1924 and 1929 he toured Europe before moving to the USA, where he made weekly radio broadcasts for NBC (1930–36) in addition to championing recent works such as Ravel’s G major Concerto and Rachmaninoff’s Fourth Concerto. In 1935 he presented a cycle of 12 historical recitals, with music ranging from Frescobaldi to Stravinsky, and he repeated the feat in several cities across the USA. He was also active as a chamber musician. From 1939 Johansen was artist-in-residence at the University of Wisconsin, a position he held until his retirement in 1976. In the earlier part of his tenure (1946–53) he presented broadcast series in which he performed the complete piano works of Beethoven, Mozart, Schubert, Chopin and Bach, as well as a cycle devoted to the development of the piano sonata. He also became involved in the technical possibilities of recording offered by magnetic tape, and from his private studio he issued a series devoted to the complete keyboard works of Bach and one devoted to the piano music of Busoni, Friedman and, most notably, Liszt. In addition, he recorded works by Grieg, Chopin, Reger, Godowsky and himself. His own compositions, many of which were improvised directly on to tape, reveal a remarkable assimilation of diverse styles yet with a distinctively personal voice. All these performances are notable for Johansen’s technical mastery and questing intellect, an intellect not only directed towards music but also to a wide-ranging field of scholarship and interdisciplinary research through his own Leonardo Academy.


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