Sigvart Høgh-Nilsen (April 29, 1880 - ?) was a Norwegian pianist and composer.[1]
Biography[]
He was born on April 29, 1880 in Ålesund, Norway to Captain Sigvart Nilsen (1852-1906) and Sofie Marie Pedersen (1852-1924).[2] His mother was the daughter of Ole Mathias Pedersen (1822-1914). He studied music in Berlin.
Concerts[]
- Franz Liszt, Ballade in B minor for piano (January 26, 1904)
- Franz Liszt, Ballade in B minor for piano (April 15, 1904)
- Johannes Brahms, Rhapsody in B-minor for piano, opus 70 (1906)
- Richard Wagner, Träume, with Anna Jensen (1906)
- Franz Liszt, Franciskus Legend (1906)
Compositions[]
- 2 Deutsche Lieder nr. 1 Ich hab' im Traum geweinet Heine (1906)
Memories about Sigvart Høgh-Nilsen[]
- Maria Elizabeth Winblad (1895-1987) told a story of a family member from Norway playing music for the king of Norway or king of Sweden. This may be about him or about one of the siblings of Andrew Havig Jensen (1861-1930).
Norwegian biography[]
"Blandt vort Lands dygtige og teknisk langt fremskredne Pianister indtager Hogh-Nilsen naermest en Saerstilling. Det har flere Gange slaat mig, hvor igrunden søger ud fra Kunstens graa Almindelighed hvor han laenges efter at finde noget nyt, noget, som ikke til Stadighed blir fortalt, men som peger bort fra de engang opstukne Linjer. Dette kunde jo se ud som Affektation eller opkonstruerede Originalitets-Idéer. Men paa Høgh-Nilsen finder ikke denne Saetning Anvendelse. Hans Musik er saa aegte som vel nogens. Det er i Kraft af Talentets Instinkt og Natureiendommelighed, at den unge Pianist finder Udtryk og Former for sin Sjael, som ikke er gjaengse og engang givne. Sigvart Høgh-Nilsen er født i Ålesund 1880, men kom umiddelbart efter sin Indtljaeden i denne Verden til Bergen, hvor han opholdt sig lige til sit syttende Hans Far er den tidligere Faster af <<Vesteraalen>>, Kaptain Sigvart Nilsen, som har vundet megen Sympati og Agtelse ved sit elskvaerdige Vasen og sin noble Personlighed. Ved Siden af Pianoet dyrkede Høgh-Nilsen ogsaa Malerkunsten, og der var en Tid, da han tasnkte paa at uddanne sig i den Retning. Men Kjaerligheden til Tangenterne seirede omsider, og efter cndt Skoleuddannelse drog han, sytten Aar gammel, til Berlin, hvor han begyndte Studierne under den fortrseffelige Lzerer anseede Professor Oscar Raif, hvis Ledelse visselig har vwget af dybtgaaende Betydning for den unge Kunstner. Raif havde i saerlig Grad Omtaqke og Lydhurhed for Anslagets Bladhed og Klangskjsanhed, og lzeser man Anmeldelserne af Høgh-Nilsens Ydelser, saa falder de sammen der, hvor det gjaelder at fremhmve naevnte tekniske Egenskaber i hans Spil. Efter 'to Aars Studietid under Ra han spilte for Edvard Grieg. Den gamle Mester fik megen Interesse for den energiske, alvorlige unge Mand og gav ham en meget smigrende Anbefaling. Saa gik Veien atter til Berlin, hvor den eminente Professor Ernest Jedliztca ledede hans videre Uddannelse. Han søgte hans Veiledning i over tre Aar og vendte saa, rigt udrustet baade i musikalsk og teknisk Henseende, hjem til Norge, hvor han gav sin Debutkonsert. Denne fandt Sted i Kristiania Høsten 1902. Han vakte megen Opmarksomhed som en Pianist, der baade vilde og kunde noget. Februar 1904 gav han atter en egen Konsert i Kristiania, og endelig optraadte han som Solist paa Nationalteatret Februar 1905 med Beethovens C-Moll Konsert, efter hvilken Sukces han opnaaede usadvanligt stnigrende og anerkjendende Anmeldelser i Pressen. Alle var enige om at fremhave Anslagets Fortraffelig-hed, Spillets Sarprag og hans betydelige tekniske Dygtighed. Dertil heftede man sig specielt ved den Frem-stillingskunst og Modenhed, som gav sig Udtryk gjennem Spillet. Siden har Hogh-Nilsen sammen med den meget lovende unge Sangerinde, Frk. Anna Jensen, foretaget en 3-Maaneders Tourra fra vore nordligste Byer og Kysten nedover til og med Stavanger. Her i Bergen — og vi Bergensere var sarlig spandt paa at hore ham, da vi regner ham som en af vore, og Hogh-Nilsen selv vil vaere Bergenser — vakte hans Debut megen Opmarksomhed. Samtlige Blade betegnede hans Konsert som en afgjort Seir og spaaede ham megen Glade af Fremtiden. Som Komponist har Hogh-Nilsen ogsaa vundet Forstaaelse. Baade hans Klaversager og Romancer fortaller om et ikke almindeligt Talent, som gaar sine egne Veie og har sine egne Maal. Hogh-Nilsen har personlige Egenskaber, som kommer vel med i den kunstneriske Kappestrid. Han eier et Fond af Karakterfasthed, som visselig har sin store Betydning for de Kunstnere, der vil noget. Desuden er han et beskedent og fint Menneske, som vinder Venner, hvor han kommer. Vi ønsker den unge, allerede betydelige og eiendommelige Pianist alt Held paa Veien fremover mod de Maal, vi ved, han har stillet sig."
Translation[]
Among our country's skilled and technologically advanced pianists, Høgh-Nilsen occupies almost one sore position. Several times have struck me where the goblet seeks out of the gray general of the art where he walks to find something new, something that is not continually being told but pointing out the once-outline lines. This could look like Affection or Constructed Originality Ideas. But at Høgh-Nilsen this application does not apply. His music is as good as ever. It is in the power of the instincts of instinct and nature that the young pianist finds expressions and shapes for his shawl, which is not gay and once given. Sigvart Høgh-Nilsen was born in Ålesund in 1880, but immediately after his arrival in this world he went to Bergen, where he stayed until his seventeenth birthday. His father is the former [captain] of the Vesteraalens, Kaptain Sigvart Nilsen, who won much sympathy and respect by his loving vase(?) and his noble person equality. Next to the piano, Høgh-Nilsen also cultivated painting, and there was a time when he began to study in that direction. But the mercy of the keys finally lasted, and after graduation of school he went, seventeen years old, to Berlin, where he began the studies under the Reverend Lzerer, Professor Oskar Raif, whose leadership has certainly been of profound significance for the young artist, considered Professor. Raif had a particularly high degree of ambiguity and audaciousness for the patience and clarity of the appeal, and the results of Høgh-Nilsen's services are summarized, where they relate to the above-mentioned technical characteristics of his game. After 'two years of study during Ra he played for Edvard Grieg. The old master gained much interest in the energetic, serious young man and gave him a very flattering recommendation. Then the road went back to Berlin, where the eminent Professor Ernest Jedliztca led his further education. He sought his guidance for over three years and turned so well equipped for musical and technical purposes, home to Norway, where he gave his debut concert. This took place in Kristiania in the autumn of 1902. He attracted much attention as a pianist who both wanted and could do something. In February of 1904 he again gave his own concert in Kristiania, and finally he acted as a soloist at the National Theater in February of 1905 with Beethoven's C-Moll Concert, after which Sukces(?) gained unusually stifling and acknowledging reviews in the press. Everyone agreed to reveal the excellency of the attack, the game's Sarprag(?) and his significant technical skill. In addition, it was especially emphasized by the art of development and maturity, which expressed itself through the game. Since then Høgh-Nilsen, together with the very promising young singer, Frk. Anna Jensen, has made a 3-month tour from our northernmost cities and the coast down to Stavanger. Here in Bergen - and we Bergensers were hardly excited to hear him when we count him as one of ours, and Høgh-Nilsen himself wants to be mountain-minded - his debut raised much attention. All the papers referred to his concert as a definite victory and gave him a great deal of joy in the future. As a composer Høgh-Nilsen has also gained understanding. Both his piano and romances tell of a common talent that goes on its own way and has its own goal. Høgh-Nilsen has personal attributes that come well with the artistic cappuccino. He owns a Fund of Character(?), which certainly has its great significance for those artists who want something. In addition, he is a modest and fine man who wins friends wherever he comes. We wish the young, already significant and peculiar pianist all the way forward on the way we know he has stood up.
Relationships[]
Sigvart Høgh-Nilsen (1880-?) was the first cousin twice removed of Richard Arthur Norton (1958- )
Research[]
Researched and written by Richard Arthur Norton (1958- ) for Findagrave starting on January 29, 2011 and transferred here on December 24, 2011.
External links[]
- Sigvart Høgh-Nilsen at Wikipedia
- Sigvart Høgh-Nilsen at Wikidata
- Sigvart Høgh-Nilsen at Findagrave
- Sigvart Høgh-Nilsen at Geni
- Sigvart Høgh-Nilsen at Familysearch
- Sigvart Høgh-Nilsen at Genealogy.com
References[]
Documents[]
| Persondata | |
|---|---|
| NAME | Hogh-Nilsen, Sigvart |
| ALTERNATIVE NAMES | |
| SHORT DESCRIPTION | |
| DATE OF BIRTH | 1880 |
| PLACE OF BIRTH | |
| DATE OF DEATH | |
| PLACE OF DEATH | |
| This page uses content from the English language Wikipedia. The original content was at Sigvart Høgh-Nilsen. The list of authors can be seen in the page history. As with this Familypedia wiki, the content of Wikipedia is available under the Creative Commons License. |