Post is not available in the requested languageTorstein Aagaard-Nilsen (b. 1964, Norway) is a composer, arranger, brass tutor, conductor and teacher. He grew up in Lofoten, but he now lives on the island Radøy, not far from Bergen. Aagaard-Nilsen has gained an international reputation for his music for Brass- and Wind Bands and Ensembles. The contact with some of the best brass players in Europe has, among other works, resulted in several concertos for brass instruments. The broad spectre of…
Torstein Aagaard-Nilsen (b. 1964, Norway) is a composer, arranger, brass tutor, conductor and teacher. He grew up in Lofoten, but he now lives on the island Radøy, not far from Bergen. Aagaard-Nilsen has gained an international reputation for his music for Brass- and Wind Bands and Ensembles. The contact with some of the best brass players in Europe has, among other works, resulted in several concertos for brass instruments. The broad spectre of musical activity, the versitality in his production and his interest in working with amateurs and young musicians, can be explained by the fact that Aagaard-Nilsen sees composition as a kind social activity. "The composers (and artists in general) play a an important role in the society as a guide to experiences". His contact with the contemporary music scene in Bergen resulted in commissions from the Norwegian section of ISCM, the BIT 20 Ensemble and festivals Music Factory, Autunnale. In recent times his music has been performed at Borealis (Bergen International Contemporary Music Festival) and the International Festival of Bergen (Festspillene). From the work «The Fourth Angel» (for Trumpet and Sinfonietta), which he commenced in 1992 (finished in 2001), a line of development goes though the 90s, in which the form endeavours to express both a narrative and a visual aspect in an attempt to reach a music with an impulsive and communicative appearance. From 1998 (Crossing Lines) his style has slightly changed. With the Euphonium Concerto "Pierrot´Lament" (2000/01), the harmonic structure reaches a new level by the use of coherent rows of harmonies developed by advanced computer programs. The music tends to get more complex and multi-layered as you can explore in works like "Aubade" (2002/03). In "Cantilena III" (2006) and "Blue Phrases" (2007) the harmonies get even more extended by use of micro tonality. (updated 2008)