Håvard Gimse, Piano

Biography

Håvard Gimse

Håvard Gimse is now firmly established as one of Norway’s leading musicians with a bold and expansive repertoire, including an impressive list of 30 performed piano concertos, he is heavily in demand as both soloist and chamber musician.

After gaining his Diploma at the Hochschule der Künste Berlin in 1995 with Hans Leygraf, he continued his studies with the revered piano Professor Jiri Hlinka in Norway. He is the recipient of 1st Prize in the Jugend Musiziert Competition from 1987, and since then has been awarded many of Norway and Scandinavia’s most prestigious awards including the Steinway Prize in 1995, the Grieg Prize in 1996, the Sibelius Prize in 2004 and most recently the Norwegian Critics Prize for his performances of all of Beethoven´s Cello Sonatas with Truls Mørk at the Bergen International Festival in 2011.

Håvard’s great affinity with Scandinavian, and particularly Norwegian music, means he has become one of the arenas most influential and significant recording artists. His sympathetic approach and intelligent partnering of lesser known Scandinavian and Norwegian works, arrangements and composers always receive unanimously superb reviews and prizes including Diapson d’Or and Gramophone’s Critics Choice, encouraging and creating new and enthusiastic audiences. His most recent recordings include discs of Schubert and Schumann with Henning Kraggerud for NAIM, which was nominated for the Spellemanpris (the Norwegian Grammy) in 2011 and his recording of Grieg pieces with Truls Mørk. Recent solo discs include repertoire by Chopin and Grieg for NAIM, Sibelius, Grieg and Tveitt for Naxos and Grieg Violin Sonatas for Sony, and his concerto discs include all five of the 5 Tveitt Piano Concertos for Naxos, Grieg with the Royal Scottish National Orchestra and he will record Poulenc’s Double Concerto with Christian Ihle Hadland with the Norwegian Radio Orchestra in January 2011. In December 2012 he released "Arvesylv" on Fabra Records, containing works by Tveitt, Sæverud and Mørk Karlsen.

As a concerto artist, Håvard Gimse has performed extensively throughout Scandinavia, with recent and future invitations from the Stockholm Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Bergen Philharmonic Orchestra, Finnish Radio and Danish Radio Symphony Orchestra and Norrkoping Symphony. Further afield he has performed with the Baltimore and Birmingham Symphony Orchestras, the Royal Philharmonic Orchestra and the Royal Liverpool Philharmonic Orchestras, Japan Philharmonic Orchestra, Prague Symphony, Frankfurt Radio the Konzerthausorchester Berlin and Belgian National Philharmonic Orchestras. In 2016 Håvard will, among other things, be the solo pianist of the ballet performance "Anna Kerenia" at the Norwegian Opera and Ballet, and he will also perform with orchestras in Bonn, Kristiansand, Oslo and Trondheim, as well as attending chamber music festivals in Bergen, Trondheim and Oslo.

Håvard Gimse has performed on many of the world’s most prestigious stages including the Wigmore Hall and Carnegie Hall in New York, Palais des Beaux Arts in Brüssels, and the Concertgebouw in Amsterdam. Recent solo appearances include the Recital Hall in St Petersburg, Suk Hall in Prague, and the Konzerthaus in Berlin. Recent partnerships include appearances with Truls Mørk across Spain, Italy and Germany, Berlin Konzerthaus and Carnegie Hall with Tine Thing Helseth, recitals in Germany with Alina Pogotskina and the Wigmore Hall with Marianne Thoresen.

In Norway he is in continual demand for his themed recital programmes with musicians, actors and other artists. He has just completed a highly successful tour throughout the whole country performing a programme of Ole Bull’s music in his 200 year anniversary with the eminent Norwegian violinist Arve Tellefsen.

He was Artistic Director of the Elverum Festival and now sits on the Artistic Board of the Oslo Chamber Music festival. He performs regularly at all of the Norwegian festivals including the Bergen, Trondheim, Oslo, Risør and Stavanger Chamber Music Festivals where he is called upon to perform varied and extensive programmes with many combinations of artists.

Born in Kongsvinger, about an hour drive east from Oslo, Håvard is the middle child of 3 brothers, his younger brother being a cellist and Artistic Director of the Trondheim Soloists. Håvard Gimse combines his hectic concert schedule with a Professorship at the Oslo Music Conservatoire as well as giving regular master classes across Norway and beyond. Håvard’s high level of artistry, broad experience, easy going and positive nature means his creative output has a significant and far reaching effect on audiences both at home in Norway and abroad.

Biografi

Håvard Gimse har etablert seg som en av Norges fremste musikere med et ekspansivt repertoar som favner over 30 fremførte pianokonserter. Han er ettertraktet både som solist og som kammermusiker.

Etter sin diplomeksamen ved Hochschule der Künste Berlin under Hans Leygraf i 1995 fortsatte han sine studier med professor Jiri Hlinka i Norge. I 1987 mottok Håvard førsteprisen i Jugend Misiziert Competition,og siden har han mottatt en rekke av de mest prestisjetunge priser i Norge og Skandinavia, blant andre Steinwayprisen i 1995, Griegprisen i 1996 og Sibeliusprisen i 2004. Under Festspillene i Bergen i 2011 ble han sammen med Truls Mørk tildelt Kritikerprisen for sin framførelse av Beethovens samlede cellosonater.

Håvard Gimses forkjærlighet for skandinavisk og norsk klassisk musikk har gjort han til en av de mest innflytelsesrike artister på denne arenaen. Gjennom sitt arbeid med å fremme mindre kjent musikk fra denne regionen har han høstet gode kritikker. Han har mottatt både Sibelius og Grieg Prisen for sine interpretasjoner, og priser fra Diapson og Gramophone Chritics Choice.

Av nylig utgitte innspiller kan nevnes Schubert og Schumann med Henning Kraggerud, nominert for Spellemannsprisen 2011, hans innspilling av Grieg-stykker med Truls Mørk, soloplate med musikk av Chopin og Grieg for NAIM, Sibelius, Grieg og Tveitt for Naxos og Grieg fiolinsonater for Sony. I tillegg har han spilt inn Geirr Tveitts fem pianokonserter for Naxos, Griegs pianokonsert med Royal Scottish National Orchestra og Poulencs Dobbeltkonsert med Christian Ihle Hadland og Kringkastingsorkestret. I desember 2012 ga han ut albumet Arvesylv på Fabra Records, med verker av Tveitt, Sæverud og Mørk Karlsen.

Som konserterende pianist har Håvard gjort omfattende turneer i Skandinavia, og spilt med orkestre som Stockholm Filharmoniske Orkester, Oslo- og Bergen Filharmoniske orkestre, Finske Radio, Århus Symfoniorkester og Norrkøping Symfoniske Orkester. Videre har han gjestet Baltimore og Birmingham Symphony Orchestras, Royal Philharmonic Orchestra og Royal Liverpool Philharmonic Orchestras, Japan Philharmonic Orchestra, Tokyo Symphony Orchestra, Prague Symphony, Frankfurt Radio og Konzerthausorchester Berlin og Belgian National Philharmonic Orchestras. Her i Norge gjorde Håvard Gimse nylig stor suksess med Rachmaninovs 3. klaverkonsert med Oslo Filharmoniske Orkester i 2015. Sesongen 2015-2016 gjennomfører han en ekstensiv Norges-turne med en helaftens Beethoven-konsertforestilling. Vår-sesongen 2016 inkluderer bl.a. Festspillene i Bergen, konserter ved den Norske Opera og solo-oppdrag med Gøteborg Symfoniker.

Håvard Gimse har gitt konserter på mange av verdens mest prestisjetunge konsertscener.
Som kammermusiker gjester han jevnlig Wigmore Hall, hvor han spiller flere konserter inneværende år. Listen over andre konsertscener han har gjestet inkluderer Carnegie Hall (New York), Palais des Beaux Arts (Brüssel), og Concertgebouw (Amsterdam). Nylige soloopptredener inkluderer the Recital Hall i St. Petersburg, Suk Hall i Praha, og Konzerthaus i Berlin. Av kammermusikk kan nevnes samspill med Truls Mørk i en årrekke, med flere turnèer bl.a. til USA, Japan og Italia. Berlin Konzerthaus og Carnegie Hall med Tine Thing Helseth kan også nevnes, samt nylige konsertopptredner i Beethovenhaus Bonn med Alina Pogostkina og Wigmore Hall med Marianne Thorsen.

Gjennom samarbeid med andre musikere, skuespillere og andre kunstnere har Håvard utviklet flere suksessfulle og etterspurte konsertkonsept. Her kan blant annet nevnes hans samarbeid med Arve Tellefsen i anledning Ole Bulls 200-årsdag, og hans forestilling med skuespiller Lise Fjeldstad som presenterer klavermusikk og poesi under ulike tema. Håvard var tidligere kunstnerisk leder for Festspillene i Elverum og sitter i dag i styret for Oslo Kammermusikkfestival. Han er en svært ettertraktet festivalmusiker både for sine soloprestasjoner og sine kammermusikalske evner, og han er jevnlig gjest ved de norske musikkfestivalene, så som Festspillene i Bergen og kammermusikkfestivalene i Trondheim, Risør, Stavanger og Oslo.

Håvard er professor ved Norges Musikkhøyskole, og gir i tillegg jevnlige masterclasser i inn- og utland.

Calendar

Repertoire

Bach: Concerto No. 5 f-moll

Bartok. Concerto nr. 1
Concerto for 2 Pianos, 2 Percussion and Orchestra

Beethoven: Concerto No 1 C-dur
Concerto No 3 c-moll
Concerto No 4 G-dur
Triple Concerto C-dur

Brahms: Concerto nr. 1 d-moll
Concerto nr. 2 B-dur

Chausson: Concerto for Piano, Violin and String Quartet

Chopin: Concerto nr.1 e-moll

Gershwin: Rhapsody in Blue

Grieg: Concerto a-moll

Hindemith: 4 Temperamenter for Piano and Strings

Mendelssohn: Concerto nr.1 g-moll

Mozart: Concerto for 2 Pianos Ess dur
Concerto No. 11 F dur
Concerto No 12 A-Dur
Concerto No 17 G-Dur
Concerto No 20 d-moll
Concerto No 21 C-dur
Concerto No 23 A-dur
Concerto No 27 B-dur

Mozart/Wilby: Reconstructed Dobbelconcerto D-dur

Poulenc: Double Concerto

Prokofiev: Concerto nr. 1
Concerto nr. 5

Rachmaninov: Concerto nr.2 c-moll
Concerto nr. 3 d-moll
Rhapsody on a Theme by Paganini

Ravel: Concerto G-dur

Schumann: Concerto a-moll

Shostakovich: Concerto nr 1 for Piano, Trumpet and Strings

Tchaikovsky: Concerto nr. 1 b-moll

Addinsell: Warsaw Concerto

Geirr Tveitt. Concerto nr.1
Concerto nr.4
Concerto nr.5
Concerto for 2 Pianos and Orchestra

Klaus Egge: Concerto for nr. 2 for Pianos and Strings

Egil Hovland: Concerto

David Monrad Johansen: Concerto

Johan Kvandal: Concerto

Ragnar Søderlind: Concerto

Eivind Alnæs: Concerto

Fartein Valen: Concerto

Review

Prokofiev: Violin Sonatas, Op 8O No 2, Op 94, Five Melodies, Op 35b1s, Elise Båtnes and Håvard Gimse

Gramophone

Mon, 2017-05-01

The Prokofiev violin repertoire has been very fruitfully tapped in recent times, and this new release of the two sonatas and the Five Melodies presents something of a dilemma. Not only have we had the Japanese violinist Lisa Oshima in a visceral performance of the First Sonata, but also Alina Ibragimova and Steven Osborne performed both of the sonatas and the Melodies on a 2014 Hyperion disc, featured as that year. The distinguished Norwegian artists Elise Båtnes and Håvard Gimse offer a different perspective, but it is one that has firm stylistic grounding and a persuasive interpretative viewpoint of its own. Båtnes and Gimse are recorded much more closely than Ibragimova and Osborne, but on top of that their playing has in general a sharper edge to the projection, which is by no means out of place in this music. One might, at first, question the measured tempo for the Moderato first movement of the Second Sonata, which adds well over a minute to the timing on the Ibragimova and Osborne disc. But on repeated listening it works, somehow bringing a touch of unease to the melody's sultriness. In fact in the entire programme, while Ibragimova and Osborne offer telling insights into the music's dynamic and emotional shading, the more forthright approach of Båtnes and Gimse has a valid point to make as well — not that they are in any way wanting when it comes to the allure of lyrical restraint, either in the sonatas or in the Five Melodies. Maybe this is not a decisive verdict, but I shall happily live with both versions. By Geoffrey Norris

Alnæs: Piano Concerto, Op 27'. Symphony No 1, Op 7 Håvard Gimse, Oslo Philharmonic Orchestra / Eivind Aadland

Gramophone

Wed, 2017-03-01

Eyvind Alnæs's Piano Concerto (1915) has charm aplenty. The Norwegian composer's score is tuneful and opulently orchestrated, and the virtuoso piano-writing is often dazzling. It's impressive for its craftsmanship, too, the myriad ideas developed and interwoven with a sure hand. What's disconcerting is an occasionally jarring juxtaposition of mood and emotion. Listen to the end of the first movement's central development section (beginning around 8'15"), for example, and how Alnæs screws the tension tighter and tighter, building a climax of Tchaikovskian intensity that leads to nothing more than a flippant recapitulation of the opening theme. Or take the end of the darkly lyrical slow movement, where an even more gripping climax this time subsides into eerie stillness — a spell that's rudely broken by the ditty waltz theme of the finale. The result of these ill-fitting joins is a patchwork effect that undermines the work's structural integrity and narrative coherence. This is the second recording of Alnæs's concerto, and while excellent, it's perhaps a touch sober in comparison with the joyous exuberance of Piers Lane and Andrew Litton (Hyperion). Håvard Gimse conveys a delightful sense of improvisatory freedom in some passages but Lane makes the complex piano part flow more easily, giving the music a much-needed feeling of inevitability, Alnæs's First Symphony (1897), composed following his studies with Reinecke in Leipzig, is less characterful but more cohesive than the concerto, The two inner movements are very fine, particularly the solemnly expressive Adagio with its aching harmonies and inventive orchestration (try at 6' 15", where the upper strings are divided into delicate strands). Certainly Eivind Aadland and the Oslo Philharmonic make a more compelling case for this work than Terje Mikkelsen and the Latvian National Symphony (Sterling), and LAWO's close-up recording adds to the musical impact. By: Andrew Farach-Colton

Perfect Soloist

Vårt Land

Fri, 2017-02-03

..."Håvard Gimse is perfect as soloist in Alnæs' piano concerto. He plays brilliantly with great variation in sound, singing when it is required. The conductor Eivind Aadland submits and adjusts to the music and therefore the concerto appears in its natural colours. Aadland and a spirited Oslo Philharmonic make the orchestra part of the concerto anything but a decoration." Olav Egil Aune Eivind Alnæs: Piano Concerto in D Major, LAWO Classics LWC1112

Excellent Performance

Göteborgs-Posten

Sat, 2014-11-29

..."Håvard Gimse's playing is out of the ordinary. There is an exceptional clarity and the music sounds like it is freshly laundered. The rhythmical movement and the dancing character gives Grieg's romantic reveries new life and one is drawn into the rhythmic drive. It is simply put an excellent performance. Håvard Gimse with Stavanger Symphony Orchestra in Göteborg Concert Hall

Sibelius Bagatelles, Pieces and Esquisses

UK Grammophone

Fri, 2004-10-01

Chips from the Master’s workbench they may be, but Gimse performs them with consistent style and obvious affection. Nearly an hour of innocuous listening, then, but dipping in is never less than a pleasure When Håvard Gimse plays with such consistent style and obvious affection. Very good sound, too, provided you don’t object to the occasional distant twitter of sparrows nesting in the rafters.

Havard Gimse at Wigmore Hall, London

The Independent / Music

Tue, 2003-03-18

Rarely is a pianist so at ease as Havard Gimse. The mechanics of playing seemed to come naturally, so that he could concentrate on listening to himself. The first half of his programme particularly invited this attentive quality, with the strange Norwegian resonances of five folk-song arrangements by Geirr Tveitt (1908-1981), and the rather stop-start set of variations, forever fading wistfully, that make up Grieg's misleadingly titled Ballade. The theme was so delicately played, so subtly suggestive...

Discography