Ann-Marie Orbeck Symphony in D

[Marcus]

Ann-Marie Orbeck was born in Oslo in 1911. She studied piano & composition  in Oslo & Berlin.In 1958, she studied in Paris with Nadia Boulanger & Milhaud. She won a Norwegian state scholarship in 1958, and used the time to study twelve tone technique with Hans Jelinek in Paris. In spite of that, the twelve tone idoim does not feature in any of her works. She decided to remain faithful to the romantic style, with tonality & melody important for her.
She was not a prolific composer, particularly of larger works, and most of her compositions are songs, choral works & piano pieces. However, she did write a Piano Concertino (1938), a Miniature Suite for Orchestra (1945),  a Pastorale & Allegro for Flute & String Orchestra (1959), and her most ambitious work, the Symphony in D major(1944), first performed in Oslo in 1958.
The Symphony is in three movements, and is notable for its lyrical character, and displaying the composer's excellent grasp of writing for orchestra. It  is regrettable, that she did not write more for the larger forms.
The first movement Intrada-Andante Allegro vivace, (16'28"), opens slowly with a wistful tune on the oboe,before two themes are introduced, the first, joyful which  contrasts with the beautiful, more dramatic 2nd.The movement is built around these themes, and it ends with orchestra in full cry.
The second movement, Larghetto tranquillo, (10'14"), is aptly named. This is "meditation music", & opens quietly with  a meandering theme in the strings, building up to a short outburst from the orchestra, and then resuming the quiet tranquil music of the beginning, with a dialogue between strings, flute and harp.
The final  movement,Allegro giocoso,(11'30"), is a jaunty piece and closer to the neo-classical idiom than the previous two movements, which belong more to the late romantic era. Two themes are introduced, and they  skillfully interact throughout the movement, which ends in a final blaze of glory by the brass and full orchestra.
The Cd, which I think is still available ?, is filled out with 13 of her songs. (Aurora CD# ACD-4925)
There is very little written about Ann-Marie Orbeck, who died in 1996,with  a brief note in Groves Dictionary of Women Composers, the only reference I could find among my books. The booklet notes with this Cd are a little more informative, but  sparse when compared with the information provided by major labels.The booklet mentions a  national (norwegian) character to her music, but I feel it is closer to the English, perhaps Bax or Moeran in places, but as I am not familiar with norwegian folk melodies, I will happily take them at their word.
Whatever, this is a work which should be better known, and is reported to be the first symphony written by a norwegian woman, although Agathe Backer-Grondahl (1847-1907),wrote a Sherzo for orchestra, Pauline Hall (1890-1969), wrote the Verlaine Suite for Orchestra,but I believe there may be others ?
As this CD was relaesed some years ago, does anyone agree, or disagree with my brief summation ?
Marcus.

[gentile]

Hello Marcus!

Thank you for your comprehensive summation of the available information about Anne Marie Orbeck. I have been looking at the International Encyclopedia of Women Composers but it doesn't provide further information not collected by you. I agree that the symphony is well worth hearing. I also enjoy the songs on the CD  (specially the one entitled "A prayer to the heavens") even if the singer is not top-notch.

gentile

[masterclassicalmusic]

does anyone have her music? please share me !!! (

[M. Henriksen]

I read your post with great interest Marcus. First just a couple of minor details: It's Anne-Marie, and the surname is Ørbeck (Ø is pronounced like the U in Underground).

As you rightly say, she was the first Norwegian woman that composed a Symphony, but she regarded herself more as a pianist. I do not have that Aurora-CD you mention, but I used a couple of Norwegian sources to find some analysis of her musical idiom. Not very much to be found, but Ørbeck was a great admirer of Norwegian folk-music. However, she didn't use authentic tunes in her music but tried to create a "Nordic sound" (that's what she said herself), which is most prominent in her songs.


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