Knut Nystedt: Ave Maria - Sheet music | Carus-Verlag

Knut Nystedt Ave Maria

op. 110

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  • Ave Maria
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Score Carus 9.913/00, ISMN 979-0-007-03419-1 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
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Individual part, violin Carus 9.913/11, ISMN 979-0-007-23952-7 4 pages, 23 x 32 cm, without cover
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Individual part digital (download), pdf file, violin Carus 9.913/11-010-000, ISMN 979-0-007-36604-9 4 pages, 23 x 32 cm Provisionally available from 06/2026
  • During the 'thirties Knut Nystedt studied organ in Oslo with Arild Sandvold, composition with Bjarne Brustad and conducting with Ølvin Fjelstad. He also studied composition with Aaron Copland and organ with Ernest White. From 1950 until 1990 he conducted the vocal ensemble "Det norske solistkor," and from 1964 until 1985 he conducted the Schola Cantorum of Oslo University. Nystedt's more than 300 choral compositions consist of liturgical music, secular choral pieces, "American motets," larger a cappella compositions, and major works for chorus with orchestra or instrumental groups. Knut Nystedt passed away on 8 December 2014 at the age of 99 Personal details

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Knut Nystedt: Ave Maria

Knut Nystedt: Ave Maria

Die Reihe „Carus novus” bringt mit drei Kompositionen von Knut Nystedt (geb. 1915 in Oslo, Organist der Torshov-Kirche in Oslo, Dirigent des „Norske Solistkor”, Kompositionsstudium bei P. Steenberg, B. Brustad und Copland) drei ansprechende Werke, die auch guten Kirchenchören zugänglich sind. Bei seiner 1985 in den USA erschienenen „Missa brevis” vertont er die üblichen Ordinariumsteile (inkl. Credo), wobei der Chorpart überall gut singbar bleibt und durch fallweise Stimmteilung (vor allem in Sanctus und Agnus) große Wirkung erzielt wird. Von großer Ausdrucksstärke aber auch seine Vertonung der ersten 12 Verse von Psalm 86 in der Motette „Herr, neige deine Ohren” (englische Version von Robert Scandrett) oder sein „Ave Maria”, das für den Sologeiger eine lohnende Aufgabe mit nicht unbeträchtlichen Anforderungen parat hält, während der Chor in beiden Fällen die Fähigkeit der sauberen Intonation und der Ausnutzung aller klanglichen Schattierungsmöglichkeiten in der gesamten dynamischen Bandbreite besitzen muss!

Walter Sengstschmid
Quelle: Singende Kirche 2/04

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