my heart is ever present

tinething

helsethisa katharina gericke

elise båtnesnorwegian chamber orchestra

PSC1276

my heart isever present

tine thing helseth, trumpet

isa katharina gericke, sopranoelise båtnes, leader and violin solo · norwegian chamber orchestrabirgitte volan håvik, harp · christian kjos, organ and harpsichord

1 In the bleak midwinter 02:49gustav holst · arr. gaute storaas

2 Et lite barn så lystelig / A tiny child so full of joy 02:07trad. · arr. gaute storaas

3 Mitt hjerte alltid vanker / My heart is ever present 04:14trad. · arr. gaute storaas

4 Maria Wiegenlied 02:12max reger · arr. gaute storaas

5 Angels from the realms of glory 02:37henry thomas smart · arr. gaute storaas

6 Ode for the birthday of Queen Anne “Eternal source of light divine” 02:53georg friedrich händel

7 Sinfonia in D, g. 8 04:54giuseppe torelli

8 Ave Maria 02:57bach/gounod · arr. gaute storaas

9 Engledans / Angels dance 02:50tine thing helseth · arr. gaute storaas / jarle storløkken

10 Kirken den er et gammelt hus / Buildt on the Rock the church doth stand 03:13trad. · arr. gaute storaas

11 “Let the bright seraphim” from Samson 05:30georg friedrich händel

12 Hymn 03:28nils larsen · arr. gaute storaas

13 Ingen vinner frem til den evige ro / None shall win eternal peace 02:03trad.

14 Eg veit i himmelrik ei borg / I know a stronghold in heaven 03:44trad. · arr. gaute storaas

15 O holy night 04:14adolphe adam · arr. gaute storaas

16 In dulci jubilo 02:28johannes klotz · arr. gaute storaas

17 Deilig er jorden / How wonderful is the earth 03:23trad. breslau · arr. gaute storaas

0302

my heart isever present

tine thing helseth, trumpet

isa katharina gericke, sopranoelise båtnes, leader and violin solo · norwegian chamber orchestrabirgitte volan håvik, harp · christian kjos, organ and harpsichord

1 In the bleak midwinter 02:49gustav holst · arr. gaute storaas

2 Et lite barn så lystelig / A tiny child so full of joy 02:07trad. · arr. gaute storaas

3 Mitt hjerte alltid vanker / My heart is ever present 04:14trad. · arr. gaute storaas

4 Maria Wiegenlied 02:12max reger · arr. gaute storaas

5 Angels from the realms of glory 02:37henry thomas smart · arr. gaute storaas

6 Ode for the birthday of Queen Anne “Eternal source of light divine” 02:53georg friedrich händel

7 Sinfonia in D, g. 8 04:54giuseppe torelli

8 Ave Maria 02:57bach/gounod · arr. gaute storaas

9 Engledans / Angels dance 02:50tine thing helseth · arr. gaute storaas / jarle storløkken

10 Kirken den er et gammelt hus / Buildt on the Rock the church doth stand 03:13trad. · arr. gaute storaas

11 “Let the bright seraphim” from Samson 05:30georg friedrich händel

12 Hymn 03:28nils larsen · arr. gaute storaas

13 Ingen vinner frem til den evige ro / None shall win eternal peace 02:03trad.

14 Eg veit i himmelrik ei borg / I know a stronghold in heaven 03:44trad. · arr. gaute storaas

15 O holy night 04:14adolphe adam · arr. gaute storaas

16 In dulci jubilo 02:28johannes klotz · arr. gaute storaas

17 Deilig er jorden / How wonderful is the earth 03:23trad. breslau · arr. gaute storaas

0302

Det er noe helt spesielt med musikk som snakker til deg. Musikk som griper, rører ved deg, som gir deg styrke og håp.

Musikk som får deg til å le og smile for deg selv. Musikk som får deg til å glemme det uviktige, som får deg

til å huske de små gleder, de du ikke kan leve uten. Musikk som får deg til å se hele bildet, samtidig som den

minner deg om å leve her og nå. For meg har julen alltid vært full av slik musikk, og jeg har spilt og sunget denne musikken så lenge jeg kan huske. Da jeg var liten var musikken den største

julepresangen jeg kunne få, ingen av pakkene under juletreet gav meg den samme følelsen av trygghet og glede.

There is something very special about music that speaks directly to you. Music that grips you, moves you, gives you strength and hope. Music that makes you laugh and smile to yourself. Music that helps you forget the unimportant things but recall life's small pleasures, the ones you cannot live without. Music that enables you to see the whole picture, while at the same time reminding you to live here and now. For me, Christmas has always been

full of music like this, and I have been playing and singing it for as long as I can remember. When I was young, music was the best Christmas present of all - none of the presents under the tree

gave me such a feeling of security and joy.

0504

Det er noe helt spesielt med musikk som snakker til deg. Musikk som griper, rører ved deg, som gir deg styrke og håp.

Musikk som får deg til å le og smile for deg selv. Musikk som får deg til å glemme det uviktige, som får deg

til å huske de små gleder, de du ikke kan leve uten. Musikk som får deg til å se hele bildet, samtidig som den

minner deg om å leve her og nå. For meg har julen alltid vært full av slik musikk, og jeg har spilt og sunget denne musikken så lenge jeg kan huske. Da jeg var liten var musikken den største

julepresangen jeg kunne få, ingen av pakkene under juletreet gav meg den samme følelsen av trygghet og glede.

There is something very special about music that speaks directly to you. Music that grips you, moves you, gives you strength and hope. Music that makes you laugh and smile to yourself. Music that helps you forget the unimportant things but recall life's small pleasures, the ones you cannot live without. Music that enables you to see the whole picture, while at the same time reminding you to live here and now. For me, Christmas has always been

full of music like this, and I have been playing and singing it for as long as I can remember. When I was young, music was the best Christmas present of all - none of the presents under the tree

gave me such a feeling of security and joy.

0504

0706

quite remarkable. Henry Smart, born into an English composer and organ dynasty, was considered in his day (1860-70) “second only to Bach as a composer of organ music” (Spark). Today only two of his hymns are in regular use, but the one presented here has become something of a Christmas hit!

6 Ode for the birthdayof Queen Anne–“Eternal source of light divine”Handel never became fully at home with the English language, but his relationship with the last Stuart on the throne of England, Queen Anne (daughter of James II), was of the very best. �ere is disagreement as to whether it was on the occasion of the queen’s last birthday on 5 February 1714 or the year before that the newly-immigrated Handel wrote his tribute to the queen. �e opening addresses the birthday girl directly: “Eternal Source of Light Divine.”

7 Sinfonia in DGiuseppe Torelli has perhaps been overshadowed by his predecessor Corelli and not least by his successor Vivaldi, but he had without any doubt a greater role than either of the other two in developing trumpet technique and integrating trumpet with strings. �e basis for his reputation in Europe

is �ve collections of “Sonatas, Sinfonias and Concerti”. His interest in and contribution to the trumpet’s place in the musical texture is due to one person, namely Giovanni Pellegrini Brandi. Torelli proved himself to be a true experimenter with an open mind when it came to new textures.

8 Ave MariaMusic history o�ers many settings of the angel Gabriel's greeting to Mary: Ave Maria. An 'alloy' comprising elements from di�erent centuries became one of the best known and most loved versions, namely Gounod's melody borrowing the �rst prelude from Bach's “Das wohltemperierte Klavier” as a perfect accompaniment. �ose broken chords, �owing freely in a steady rhythm, were a well-crafted foundation for the melodic skills of the romantic composer Charles Gounod.

9 Engledans�e nature and actions of angels has received renewed focus in recent times. Inspiration comes from above, in a double sense: the angels dance incessantly. In a pleasant waltz they hover weightless above the earth in Tine �ing Helseth’s performance. A contrasting section, which does not depart from their heavenly dignity – in favour of earthly skills – is successfully brought o�. We can but con�rm that this virtuoso trumpeter also

1 In the bleak midwinterIf you try to �nd this much-loved Christmas carol in Gustav Holst’s own list of his compositions, you will look in vain. Shortly after the turn of the previous century Holst’s composer friend Ralph Vaughan Williams was engaged to edit the musical material for the English Hymnal, and asked his friend Gustav Holst to contribute. Holst produced three hymns, of which In the bleak midwinter is the �rst (no. 25 in the English Hymnal). It was subsequently published in a collection of six Christmas carols by Oxford University Press and thus began its journey to becoming one of the most-loved carols of all times. �e beautiful poem which inspired Gustav Holst was written by Christina Rosetti, sister of the great Raphaelite Dante Gabriel Rosetti and one of the noblest woman poets of the Victorian age.

2 Et lite barn, så lystelig�is tune, which is usually associated with Grundtvig’s words, has deep roots in Nordic soil. It was given Nordic words as early as during the renaissance; the tune has the character of a Norwegian folk melody.

3 Mitt hjerte alltid vankerWe take the most established hymns in the hymn-book for granted – words and melody are part and parcel of the same entity. Often,

however, they are the result of a fusing of very di�erent ages and spiritual climates – as is the case with the wonderful ‘hand in glove’ tune to Brorson’s hymn “Mitt hjerte alltid vanker”. �e words were written during Brorson’s period as pastor in southern Jutland in the 1730s. �e link-up with the present tune did not, however, happen until 80-90 years later after Norway had parted with Denmark and entered into a union with Sweden. �e editors of the hymn-book gave the tune’s origins as being in Vestergotland, but the form in which it exists with Brorson’s words is an adapted, Norwegian folk song version. Apart from its deeply pious mood, it is probably safest to say that we know nothing for certain of the tune’s origins; the index in the hymn-book gives the origin as ‘unknown’ – which does not at all detract from its qualities.

4 Maria Wiegenlied Mary’s song at the crib is the beloved subject of a German folk song that has been set to music by both Brahms and Max Reger. Reger’s usual megalomania is totally absent here, in what is perhaps his �nest single Lied.

5 Angels from the realms of gloryAlmost a Christmas national anthem in certain parts of the English-speaking world, this carol is a product of Victorian England. �e disparagement of this era in retrospect is

0706

quite remarkable. Henry Smart, born into an English composer and organ dynasty, was considered in his day (1860-70) “second only to Bach as a composer of organ music” (Spark). Today only two of his hymns are in regular use, but the one presented here has become something of a Christmas hit!

6 Ode for the birthdayof Queen Anne–“Eternal source of light divine”Handel never became fully at home with the English language, but his relationship with the last Stuart on the throne of England, Queen Anne (daughter of James II), was of the very best. �ere is disagreement as to whether it was on the occasion of the queen’s last birthday on 5 February 1714 or the year before that the newly-immigrated Handel wrote his tribute to the queen. �e opening addresses the birthday girl directly: “Eternal Source of Light Divine.”

7 Sinfonia in DGiuseppe Torelli has perhaps been overshadowed by his predecessor Corelli and not least by his successor Vivaldi, but he had without any doubt a greater role than either of the other two in developing trumpet technique and integrating trumpet with strings. �e basis for his reputation in Europe

is �ve collections of “Sonatas, Sinfonias and Concerti”. His interest in and contribution to the trumpet’s place in the musical texture is due to one person, namely Giovanni Pellegrini Brandi. Torelli proved himself to be a true experimenter with an open mind when it came to new textures.

8 Ave MariaMusic history o�ers many settings of the angel Gabriel's greeting to Mary: Ave Maria. An 'alloy' comprising elements from di�erent centuries became one of the best known and most loved versions, namely Gounod's melody borrowing the �rst prelude from Bach's “Das wohltemperierte Klavier” as a perfect accompaniment. �ose broken chords, �owing freely in a steady rhythm, were a well-crafted foundation for the melodic skills of the romantic composer Charles Gounod.

9 Engledans�e nature and actions of angels has received renewed focus in recent times. Inspiration comes from above, in a double sense: the angels dance incessantly. In a pleasant waltz they hover weightless above the earth in Tine �ing Helseth’s performance. A contrasting section, which does not depart from their heavenly dignity – in favour of earthly skills – is successfully brought o�. We can but con�rm that this virtuoso trumpeter also

1 In the bleak midwinterIf you try to �nd this much-loved Christmas carol in Gustav Holst’s own list of his compositions, you will look in vain. Shortly after the turn of the previous century Holst’s composer friend Ralph Vaughan Williams was engaged to edit the musical material for the English Hymnal, and asked his friend Gustav Holst to contribute. Holst produced three hymns, of which In the bleak midwinter is the �rst (no. 25 in the English Hymnal). It was subsequently published in a collection of six Christmas carols by Oxford University Press and thus began its journey to becoming one of the most-loved carols of all times. �e beautiful poem which inspired Gustav Holst was written by Christina Rosetti, sister of the great Raphaelite Dante Gabriel Rosetti and one of the noblest woman poets of the Victorian age.

2 Et lite barn, så lystelig�is tune, which is usually associated with Grundtvig’s words, has deep roots in Nordic soil. It was given Nordic words as early as during the renaissance; the tune has the character of a Norwegian folk melody.

3 Mitt hjerte alltid vankerWe take the most established hymns in the hymn-book for granted – words and melody are part and parcel of the same entity. Often,

however, they are the result of a fusing of very di�erent ages and spiritual climates – as is the case with the wonderful ‘hand in glove’ tune to Brorson’s hymn “Mitt hjerte alltid vanker”. �e words were written during Brorson’s period as pastor in southern Jutland in the 1730s. �e link-up with the present tune did not, however, happen until 80-90 years later after Norway had parted with Denmark and entered into a union with Sweden. �e editors of the hymn-book gave the tune’s origins as being in Vestergotland, but the form in which it exists with Brorson’s words is an adapted, Norwegian folk song version. Apart from its deeply pious mood, it is probably safest to say that we know nothing for certain of the tune’s origins; the index in the hymn-book gives the origin as ‘unknown’ – which does not at all detract from its qualities.

4 Maria Wiegenlied Mary’s song at the crib is the beloved subject of a German folk song that has been set to music by both Brahms and Max Reger. Reger’s usual megalomania is totally absent here, in what is perhaps his �nest single Lied.

5 Angels from the realms of gloryAlmost a Christmas national anthem in certain parts of the English-speaking world, this carol is a product of Victorian England. �e disparagement of this era in retrospect is

0908

14 Eg veit i himmerik ei borgSome might choose to nominate this beautiful folk melody from Hallingdal as the ultimate Norwegian sacred folk song, for it sounds undoubtedly like a tune we could call our own. However, as with so many aspects of culture, the origins of the words can be traced to Germany and the century of the Reformation. �e structure of the dialogue in the hymn between the Christian people and Christ is also to be found in the original German folk song.

15 O holy nightToday Adolphe Adam is remembered outside France for just one song, known in the Scandinavian countries by the �rst line in the Swedish translation; “O Helga Natt”. �is is �rst and foremost due to the incomparable voice of Jussi Björling. �ere are few who are aware of the composer’s name at all, but Adam in fact wrote a number of songs, choral works and sacred music in addition to the stage works which enjoyed enormous popularity in his day. Today it is perhaps the music to the ballet “Giselle” which is most familiar. Adam simply called “O Holy Night” “Christmas Song” (Cantique de Noël).

16 In dulci jubiloBach treated this Latin extolment of Christmas as a four-part chorale. All in all Bach wrote more of these chorales than, for example, cantatas. Bach did not present the chorales as a collection, that task befell the next generation (Carl Philip Emanuel Bach and Johan Philip Kirnberger). �e origins of In Dulci Jubilo predate Bach’s transcription by almost a quarter of a millennium, in the work of a composer in Germany at the time of the Reformation, Johannes Kloz.

17 Deilig er jorden�is hymn belongs to a select group of tunes which evoke in any gathering a powerful sense of togetherness. Many might think that this hymn, with its noble melody, has its origins in the Middle Ages – but they would be wrong. Both the words and the tune were composed during the Romantic Movement. Belasslassrnhard(!) Severin Ingemann, a renowned Danish author and Holberg’s successor at the Sorø Academy, wrote his words to a German tune of unknown origin. We do know, however, that the tune originated in Breslau (now Wroclaw in Poland) during the golden decade of Romanticism, the 1840s.

handles the mournful side of her instrument and her personality with the greatest skill. We can lean back and look forward to the results, including Helseth’s compositional skill with pleasure and anticipation.

10 Kirken den er et gammelt husDuring the 1840s Ludvig Mathias Lindeman composed his distinctive melodic tribute to the Church. Grundtvig’s wonderful hymn was aptly suited to Lindeman’s tune. �e essence of the hymn is not an extolment of the Church as a building, but the church that is us – you and I – a church built of “living stones” (verse 3). None other in the realm of Norwegian music could have been more suited to giving the genius of Grundtvig the monumentality it deserves than L. M. Lindeman.

11 Let the bright seraphimHandel’s famous concert tour to Dublin, where he brought along singers and musicians and staged the world premiere of the “Messiah”, took place in 1742. When he returned triumphant from Ireland he had a new Oratorio completed. “Samson” was performed to great acclaim in the presence of members of the royal family at Covent Garden. Only one aria was composed after Handel returned from Dublin, and it might be supposed that this single contribution lifted the entire performance.

12 HymneNils Larsen was the leading piano teacher of the years between the two wars. At his private piano school he taught virtually all of Norway’s talented musicians of the time – including composers such as Ludvig Irgens Jensen and Klaus Egge. Despite having produced a fair number of works, all that remains today from Nils Larsen the composer is a single brief, yet inspired piece. It is su¥cient to secure for posterity Norway’s most prominent piano teacher throughout three decades a reputation as a composer.

13 Ingen vinner frem til den evige roIf one looks up hymn number 108 in the Norwegian hymnal, he or she will be presented with not only a 210 ten-year-old text by the eighteenth century Swedish hymnodist Leo Linderot, but also with the music to one of the �nest examples of a sacred Norwegian folk song. �roughout this tender, mournful tune from Hallingdal runs a feeling of deep fervour. �e structure of the tune is very simple: �e �rst four bars are repeated and followed by two bars which are also repeated, then returning to the opening four bars, without repetition. �is is all it takes to bare the untainted depths of the soul of the Norwegian people.

0908

14 Eg veit i himmerik ei borgSome might choose to nominate this beautiful folk melody from Hallingdal as the ultimate Norwegian sacred folk song, for it sounds undoubtedly like a tune we could call our own. However, as with so many aspects of culture, the origins of the words can be traced to Germany and the century of the Reformation. �e structure of the dialogue in the hymn between the Christian people and Christ is also to be found in the original German folk song.

15 O holy nightToday Adolphe Adam is remembered outside France for just one song, known in the Scandinavian countries by the �rst line in the Swedish translation; “O Helga Natt”. �is is �rst and foremost due to the incomparable voice of Jussi Björling. �ere are few who are aware of the composer’s name at all, but Adam in fact wrote a number of songs, choral works and sacred music in addition to the stage works which enjoyed enormous popularity in his day. Today it is perhaps the music to the ballet “Giselle” which is most familiar. Adam simply called “O Holy Night” “Christmas Song” (Cantique de Noël).

16 In dulci jubiloBach treated this Latin extolment of Christmas as a four-part chorale. All in all Bach wrote more of these chorales than, for example, cantatas. Bach did not present the chorales as a collection, that task befell the next generation (Carl Philip Emanuel Bach and Johan Philip Kirnberger). �e origins of In Dulci Jubilo predate Bach’s transcription by almost a quarter of a millennium, in the work of a composer in Germany at the time of the Reformation, Johannes Kloz.

17 Deilig er jorden�is hymn belongs to a select group of tunes which evoke in any gathering a powerful sense of togetherness. Many might think that this hymn, with its noble melody, has its origins in the Middle Ages – but they would be wrong. Both the words and the tune were composed during the Romantic Movement. Belasslassrnhard(!) Severin Ingemann, a renowned Danish author and Holberg’s successor at the Sorø Academy, wrote his words to a German tune of unknown origin. We do know, however, that the tune originated in Breslau (now Wroclaw in Poland) during the golden decade of Romanticism, the 1840s.

handles the mournful side of her instrument and her personality with the greatest skill. We can lean back and look forward to the results, including Helseth’s compositional skill with pleasure and anticipation.

10 Kirken den er et gammelt husDuring the 1840s Ludvig Mathias Lindeman composed his distinctive melodic tribute to the Church. Grundtvig’s wonderful hymn was aptly suited to Lindeman’s tune. �e essence of the hymn is not an extolment of the Church as a building, but the church that is us – you and I – a church built of “living stones” (verse 3). None other in the realm of Norwegian music could have been more suited to giving the genius of Grundtvig the monumentality it deserves than L. M. Lindeman.

11 Let the bright seraphimHandel’s famous concert tour to Dublin, where he brought along singers and musicians and staged the world premiere of the “Messiah”, took place in 1742. When he returned triumphant from Ireland he had a new Oratorio completed. “Samson” was performed to great acclaim in the presence of members of the royal family at Covent Garden. Only one aria was composed after Handel returned from Dublin, and it might be supposed that this single contribution lifted the entire performance.

12 HymneNils Larsen was the leading piano teacher of the years between the two wars. At his private piano school he taught virtually all of Norway’s talented musicians of the time – including composers such as Ludvig Irgens Jensen and Klaus Egge. Despite having produced a fair number of works, all that remains today from Nils Larsen the composer is a single brief, yet inspired piece. It is su¥cient to secure for posterity Norway’s most prominent piano teacher throughout three decades a reputation as a composer.

13 Ingen vinner frem til den evige roIf one looks up hymn number 108 in the Norwegian hymnal, he or she will be presented with not only a 210 ten-year-old text by the eighteenth century Swedish hymnodist Leo Linderot, but also with the music to one of the �nest examples of a sacred Norwegian folk song. �roughout this tender, mournful tune from Hallingdal runs a feeling of deep fervour. �e structure of the tune is very simple: �e �rst four bars are repeated and followed by two bars which are also repeated, then returning to the opening four bars, without repetition. �is is all it takes to bare the untainted depths of the soul of the Norwegian people.

1110

Tine Thing Helseth, born 1987, started to play trumpet at the age of 7 and is today one of the leading soloists of her generation. Helseth has appeared as a soloist with various orchestras including Wiener Symphoniker, Vienna Chamber Orchestra, Zürcher Kammerorchester, Staatsphilharmonie Rheinland Pfalz, Cappella Cracowiensis, Shanghai Symphony Orchestra, Camerata Nordica, Nordwestdeutsche Philharmonie, and all the major Norwegian symphony orchestras. She currently studies in Oslo with Arnulf Naur Nilsen. Tine �ing Helseth’s debut album with trumpet concertos by Haydn, Hummel, Neruda and Albinoni was released in November 2007 (PSC1292) and has received excellent reviews. Helseth was awarded ”Newcomer of the Year in every genre” at the Norwegian Grammy Award 2007 (Spellemann), the �rst classical performer ever to be nominated. In 2006 she was awarded 2nd prize in “Eurovision Young Musicians Competition” in Vienna. �e same year she received the prestigious “Prince Eugen´s Culture Prize” in Stockholm awarded by Crown princess Victoria of Sweden, the “Norwegian Soloists Prize”, “�e Norwegian Broadcasting (P2) soloist”. In 2005 she was appointed ”Musician of the Year” in Norway. She is also a 2009 Borletti-Buitoni Trust Fellowship winner.

Her festival appearances includes Schleswig-Holstein Music Festival, Festspiele Mecklenburg-Vorpommern, Usedom musikfestival, Bergen International Festival, Risør Festival of Chambermusic and Kissinger Summer Festival, were she in 2007 was awarded ”the Luitpold Prize” as the most outstanding and interesting young artist of the year. Tine �ing Helseth is an active advocate for classical music among the younger generations, and was recently made “Born to Play” ambassador for �e Norwegian Band Federation. Helseth is also artistic leader of the all female ten-piece ensemble ten�ing Brassensemble.

www.tinethinghelseth.com

1110

Tine Thing Helseth, born 1987, started to play trumpet at the age of 7 and is today one of the leading soloists of her generation. Helseth has appeared as a soloist with various orchestras including Wiener Symphoniker, Vienna Chamber Orchestra, Zürcher Kammerorchester, Staatsphilharmonie Rheinland Pfalz, Cappella Cracowiensis, Shanghai Symphony Orchestra, Camerata Nordica, Nordwestdeutsche Philharmonie, and all the major Norwegian symphony orchestras. She currently studies in Oslo with Arnulf Naur Nilsen. Tine �ing Helseth’s debut album with trumpet concertos by Haydn, Hummel, Neruda and Albinoni was released in November 2007 (PSC1292) and has received excellent reviews. Helseth was awarded ”Newcomer of the Year in every genre” at the Norwegian Grammy Award 2007 (Spellemann), the �rst classical performer ever to be nominated. In 2006 she was awarded 2nd prize in “Eurovision Young Musicians Competition” in Vienna. �e same year she received the prestigious “Prince Eugen´s Culture Prize” in Stockholm awarded by Crown princess Victoria of Sweden, the “Norwegian Soloists Prize”, “�e Norwegian Broadcasting (P2) soloist”. In 2005 she was appointed ”Musician of the Year” in Norway. She is also a 2009 Borletti-Buitoni Trust Fellowship winner.

Her festival appearances includes Schleswig-Holstein Music Festival, Festspiele Mecklenburg-Vorpommern, Usedom musikfestival, Bergen International Festival, Risør Festival of Chambermusic and Kissinger Summer Festival, were she in 2007 was awarded ”the Luitpold Prize” as the most outstanding and interesting young artist of the year. Tine �ing Helseth is an active advocate for classical music among the younger generations, and was recently made “Born to Play” ambassador for �e Norwegian Band Federation. Helseth is also artistic leader of the all female ten-piece ensemble ten�ing Brassensemble.

www.tinethinghelseth.com

1312

she has also held with the Denmark Radios Symphony Orchestra, WDR Sinfonieorchester Cologne and Trondheim Symphony Orchestra.

The Norwegian Chamber Orchestra was founded in 1977 under the leadership of Terje Tønnesen, who still works as the orchestra’s Music Director. For many years he worked in parallel with Iona Brown, who was Music and Artistic Director until 2001. From season 09/10 Isabelle van Keulen will share the position as Music Director with Tønnesen and with Leif Ove Andsnes as Principal Guest Director.

�e NCO is made up of the very best musicians in Norway who come together for speci�c projects. �e vision we have given ourselves is to be specialists in the entire range of classical music repertoire, from early music to contemporary, from serious church music to light music. Our goal is to do everything with the highest possible musical standard. At the same time we strive to present our music and concerts in new ways and challenge our audience with new ideas and concepts.

�e orchestra regularly records and has a large number of recordings on labels like EMI, Virgin, Chandos, BIS and Simax. �e NCO’s very �rst recording quickly established the orchestra’s international reputation: the Gramophone critic simply wrote “No record has given me more pleasure and few as much”. EMI’s recording of three Haydn Concertos with Leif Ove Andsnes received the Gramophone Concerto Award for 2000. �is was followed up by two recordings of Mozart Piano Concertos (Nos. 9 & 18 and Nos.17 & 20). Both received fantastic reviews in the British magazine Gramophone, and in the New York Times, and were also nominated for the prestigious Grammy award for 2005 and 2008. For the �rst time, Andsnes and the NCO are also available on DVD (EMI) with music by Mozart and Bach.

�e orchestra tours regularly and have several times visited Halls and Festivals like the Proms and Carnegie Hall, and toured with artists like Mstislav Rostropovich, Joshua Bell, Radu Lupu, Joanna MacGregor and Leif Ove Andsnes. Concert appearances include visits to USA, Canada, UK, Central Europe and Asia.

NCO regularly gives a series of subscription concerts in Oslo and frequently performs in other cities in Norway and Scandinavia. Since 1995 the orchestra has presented their own ‘Oslo Winter Nights’ festival every second year.

Isa Katharina Gericke studied at the Norwegian Academy of Music and the Hochschule der Künste, Berlin. She was awarded �rst prize in the national round of the Queen Sonja International Music Competition in Oslo/Trondheim 2001. �e following year she received the 'Newcomer of the Year' award at the Kissinger Sommer festival in Germany. In the autumn of 2003 Isa made her début at the Norwegian National Opera as Gretel in Humperdinck's Hänsel und Gretel, and in 2008 she sang the role of Euridice in Monteverdi's L'Orfeo during the opening season of the new opera house in Oslo. Isa Katharina Gericke has performed as a soloist with the Oslo Philharmonic Orchestra, the BBC Symphony Orchestra, �e Czech Philharmonic Orchestra, the Akademie für alte Musik Berlin, and Stavanger Symphony Orchestra among others. She has collaborated with conductors including Sir Andrew Davies, Manfred Honeck, Franz Brüggen, Rinaldo Alessandrini and Philipe Herreweghe. Isa has specialized in romantic Lieder and has appeared at numerous festivals in Norway and abroad. In the autumn of 2008 she made her London début with a recital at Wigmore Hall. Isa Katharina Gericke released the critically acclaimed CDs 'Waldabendlust' (PSC1231) and ‘Til Eva’ (PSC1238) for Simax. She is also singing the role of Solveig in a 2008 recording of Grieg's Peer Gynt for Naxos. Isa is one of founders of Oslo BarokkOpera, and since 2001 she has been artistic director of the annual Glogerfestspillene festival at Kongsberg.www.isagericke.com

Elise Båtnes (b 1971 in Trondheim) started playing the violin at the age of four. She has studied with Dorothy DeLay in USA, Ruggiero Ricci in Salzburg, David Takeino in London and Arve Tellefsen in Oslo.

Båtnes performs as soloist with all Norwegian symphony orchestras in concertos including Alban Berg, Sibelius, Tchaikovsky, Beethoven, Mendelssohn, Bernstein, Mozart and Bruch. Soloist activities abroad include playing with orchestras in Scandinavia and Germany, Belgium and France. Furthermore she has made numerous recital concerts and TV/Radio performances in Europe and USA.

Since 2007 Elise Båtnes is 1st concertmaster of the Oslo Philharmonic Orchestra, a position

1312

she has also held with the Denmark Radios Symphony Orchestra, WDR Sinfonieorchester Cologne and Trondheim Symphony Orchestra.

The Norwegian Chamber Orchestra was founded in 1977 under the leadership of Terje Tønnesen, who still works as the orchestra’s Music Director. For many years he worked in parallel with Iona Brown, who was Music and Artistic Director until 2001. From season 09/10 Isabelle van Keulen will share the position as Music Director with Tønnesen and with Leif Ove Andsnes as Principal Guest Director.

�e NCO is made up of the very best musicians in Norway who come together for speci�c projects. �e vision we have given ourselves is to be specialists in the entire range of classical music repertoire, from early music to contemporary, from serious church music to light music. Our goal is to do everything with the highest possible musical standard. At the same time we strive to present our music and concerts in new ways and challenge our audience with new ideas and concepts.

�e orchestra regularly records and has a large number of recordings on labels like EMI, Virgin, Chandos, BIS and Simax. �e NCO’s very �rst recording quickly established the orchestra’s international reputation: the Gramophone critic simply wrote “No record has given me more pleasure and few as much”. EMI’s recording of three Haydn Concertos with Leif Ove Andsnes received the Gramophone Concerto Award for 2000. �is was followed up by two recordings of Mozart Piano Concertos (Nos. 9 & 18 and Nos.17 & 20). Both received fantastic reviews in the British magazine Gramophone, and in the New York Times, and were also nominated for the prestigious Grammy award for 2005 and 2008. For the �rst time, Andsnes and the NCO are also available on DVD (EMI) with music by Mozart and Bach.

�e orchestra tours regularly and have several times visited Halls and Festivals like the Proms and Carnegie Hall, and toured with artists like Mstislav Rostropovich, Joshua Bell, Radu Lupu, Joanna MacGregor and Leif Ove Andsnes. Concert appearances include visits to USA, Canada, UK, Central Europe and Asia.

NCO regularly gives a series of subscription concerts in Oslo and frequently performs in other cities in Norway and Scandinavia. Since 1995 the orchestra has presented their own ‘Oslo Winter Nights’ festival every second year.

Isa Katharina Gericke studied at the Norwegian Academy of Music and the Hochschule der Künste, Berlin. She was awarded �rst prize in the national round of the Queen Sonja International Music Competition in Oslo/Trondheim 2001. �e following year she received the 'Newcomer of the Year' award at the Kissinger Sommer festival in Germany. In the autumn of 2003 Isa made her début at the Norwegian National Opera as Gretel in Humperdinck's Hänsel und Gretel, and in 2008 she sang the role of Euridice in Monteverdi's L'Orfeo during the opening season of the new opera house in Oslo. Isa Katharina Gericke has performed as a soloist with the Oslo Philharmonic Orchestra, the BBC Symphony Orchestra, �e Czech Philharmonic Orchestra, the Akademie für alte Musik Berlin, and Stavanger Symphony Orchestra among others. She has collaborated with conductors including Sir Andrew Davies, Manfred Honeck, Franz Brüggen, Rinaldo Alessandrini and Philipe Herreweghe. Isa has specialized in romantic Lieder and has appeared at numerous festivals in Norway and abroad. In the autumn of 2008 she made her London début with a recital at Wigmore Hall. Isa Katharina Gericke released the critically acclaimed CDs 'Waldabendlust' (PSC1231) and ‘Til Eva’ (PSC1238) for Simax. She is also singing the role of Solveig in a 2008 recording of Grieg's Peer Gynt for Naxos. Isa is one of founders of Oslo BarokkOpera, and since 2001 she has been artistic director of the annual Glogerfestspillene festival at Kongsberg.www.isagericke.com

Elise Båtnes (b 1971 in Trondheim) started playing the violin at the age of four. She has studied with Dorothy DeLay in USA, Ruggiero Ricci in Salzburg, David Takeino in London and Arve Tellefsen in Oslo.

Båtnes performs as soloist with all Norwegian symphony orchestras in concertos including Alban Berg, Sibelius, Tchaikovsky, Beethoven, Mendelssohn, Bernstein, Mozart and Bruch. Soloist activities abroad include playing with orchestras in Scandinavia and Germany, Belgium and France. Furthermore she has made numerous recital concerts and TV/Radio performances in Europe and USA.

Since 2007 Elise Båtnes is 1st concertmaster of the Oslo Philharmonic Orchestra, a position

1514

Helseth relishes Haydn’s epoch-making excursions into chromaticism with alacrity, especially in the slow movement which she shapes with disarming naturalness.A splendid début disc. More please! [International Record Review]

The dialogue between orchestra and soloist is first rate. But most convincing is the virtuosic and elegant expression of Helseth. [Dagsavisen]

The four classics of the repertoire on her debut CD suit her nimble technique and light tone, and she is ably partnered by the pin-point precision of the Norwegian players who offer far more than a mere backdrop.[5 stars Classic FM Magazine]

At this rate, Tine is destined to follow in the path of ther fellow countrymen, Truls Mørk and Leif Ove Andsnes.[Inside Track Classic FM]

…plays with an especially beguiling, sweet and shimmering line, nonchalant technical authority and stylish understatement.[�e Gramophone]

Recorded 10-13 June 2009 in Jar church, NorwayProducer and Editor: Jørn PedersenBalance engineer: Arne Akselberg

Liner notes: August AlbertsenTranslation: Andrew SmithPhoto: ObservatorietClothing: Tulip og Tatamo Trikotasje ASCover design: Martin KvammeExecutive producer: Erik Gard Amundsen

Released with support from Statoil

©&π2009 Grappa Musikkforlag ASAll trademarks and logos are protected. All rights of the producer and of the owner of the work reproduced reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited.ISRC: NOFZS0976010-170PSC1276

Statoil supports the heroes of tomorrow!Innovation is dependent on new talent, whether it involves playing the trumpet or developing new energy. In our everyday lives, we see how innovative and talented colleagues and solutions are helping to meet the world's energy needs in an environmentally friendly way. As the proud sponsor of Tine �ing Helseth, we would like to express our thanks for many great musical experiences. We are looking forward to creating positive synergies together in future.

JOSEPH HAYDN: Trumpet Concerto in E ¡at · TOMASO ALBINONI: Concerto in B ¡at · JOHANN BAPTIST GEORG NERUDA: Trumpet Concerto in E ¡at · JOHANN NEPOMUK HUMMEL: Trumpet Concerto in E ¡atPSC1292

1514

Helseth relishes Haydn’s epoch-making excursions into chromaticism with alacrity, especially in the slow movement which she shapes with disarming naturalness.A splendid début disc. More please! [International Record Review]

The dialogue between orchestra and soloist is first rate. But most convincing is the virtuosic and elegant expression of Helseth. [Dagsavisen]

The four classics of the repertoire on her debut CD suit her nimble technique and light tone, and she is ably partnered by the pin-point precision of the Norwegian players who offer far more than a mere backdrop.[5 stars Classic FM Magazine]

At this rate, Tine is destined to follow in the path of ther fellow countrymen, Truls Mørk and Leif Ove Andsnes.[Inside Track Classic FM]

…plays with an especially beguiling, sweet and shimmering line, nonchalant technical authority and stylish understatement.[�e Gramophone]

Recorded 10-13 June 2009 in Jar church, NorwayProducer and Editor: Jørn PedersenBalance engineer: Arne Akselberg

Liner notes: August AlbertsenTranslation: Andrew SmithPhoto: ObservatorietClothing: Tulip og Tatamo Trikotasje ASCover design: Martin KvammeExecutive producer: Erik Gard Amundsen

Released with support from Statoil

©&π2009 Grappa Musikkforlag ASAll trademarks and logos are protected. All rights of the producer and of the owner of the work reproduced reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited.ISRC: NOFZS0976010-170PSC1276

Statoil supports the heroes of tomorrow!Innovation is dependent on new talent, whether it involves playing the trumpet or developing new energy. In our everyday lives, we see how innovative and talented colleagues and solutions are helping to meet the world's energy needs in an environmentally friendly way. As the proud sponsor of Tine �ing Helseth, we would like to express our thanks for many great musical experiences. We are looking forward to creating positive synergies together in future.

JOSEPH HAYDN: Trumpet Concerto in E ¡at · TOMASO ALBINONI: Concerto in B ¡at · JOHANN BAPTIST GEORG NERUDA: Trumpet Concerto in E ¡at · JOHANN NEPOMUK HUMMEL: Trumpet Concerto in E ¡atPSC1292

my heart is ever present

tinething

helsethisa katharina gericke

elise båtnesnorwegian chamber orchestra

PSC1276