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Amanda Sandborg Waesterberg

Amanda Teresia Waesterberg (1842–1918) was a Swedish composer.

Biography edit

Amanda (née Sandborg) was born in Stockholm on 16 December 1842 as the daughter of Carl Sandborg (1793−1862), a cantor at Maria Magdalena Church and the Royal Swedish Opera, and his wife Frederica Cecilia (née Hagberg). At her baptism, Jacob Niclas Ahlström, conductor at the Royal Court of Sweden, was one of Amanda's godfathers. After having received her first music lessons at home together with her siblings, she enrolled in the class choir at the educational institution of the Royal Swedish Academy of Music. She was married to Lars Magnus Waesterberg, and became the mother-in-law of the industrialist Fredrik Ljungström.[1]

From 1875, under the pen name "A S-g", Amanda Sandborg Waesterberg composed hundreds of works. She was also active in piano pedagogy.[2] As a member of the Protestant free church in Sweden, many of her works were sacred songs. Half of the sacred ones were written for one or more voices with accompaniment. The remainder were in four-part harmonies for choir or for congregational singing.

Stylistically, Sandborg-Waesterberg was typical of mid-1800s song composition: a style that continued to be used in bourgeoisie salon music as well as within the frikyrkan, even when it had lost its pertinence in coeval art music. [...] Since she was a pianist and accompanist herself, her piano parts are often quite elaborate and independent from the vocal parts. In some of her songs one can hear virtuosic figurations or onomatopoeic verse, interpretive of the chirping of birds in the coloratura-like ornamented vocal part. Several of her earlier songs relate to art music arrangements of folk tunes. She creates dramatic effects with the use of diminished chords.[3]

Further reading edit

  • Bernskiöld, Hans (1986). "Amanda Sandborg-Waesterberg". Sjung, av hjärtat sjung (Göteborg, 1986): sid. 67–69. Libris 9221031
  • Sköldmark, Katarina (1990). Amanda Sandborg-Waesterberg: 1842–1918 : kort biografi och verkförteckning. Stockholm: Musikvetenskapliga institutionen. Libris 877184
  • Bernskiöld, Hans (1992). "'Vem som helst': musiksyn och melodiskrivande i 1870- och 80-talets väckelsemiljö med utgångspunkt från Nils Frykman". Svensk tidskrift för musikforskning (Stockholm : Svenska samfundet för musikforskning, 1919–) 1992 (74:1),: sid. 61–106. ISSN 0081-9816. ISSN 0081-9816 ISSN 0081-9816. Libris 2091757

References edit

  1. ^ Sveriges dödbok 1901–2013 Sveriges släktforskarförbund
  2. ^ "Swedish Musical Heritage - Amanda Sandborg-Waesterberg". www.swedishmusicalheritage.com.
  3. ^ "Swedish Musical Heritage - Amanda Sandborg-Waesterberg". www.swedishmusicalheritage.com. Retrieved 2023-11-01.

External links edit

  • EFS idag: Till minne av Amanda Sandborg-Waesterberg och Maria Johansson

amanda, sandborg, waesterberg, amanda, teresia, waesterberg, 1842, 1918, swedish, composer, contents, biography, further, reading, references, external, linksbiography, editamanda, née, sandborg, born, stockholm, december, 1842, daughter, carl, sandborg, 1793,. Amanda Teresia Waesterberg 1842 1918 was a Swedish composer Contents 1 Biography 2 Further reading 3 References 4 External linksBiography editAmanda nee Sandborg was born in Stockholm on 16 December 1842 as the daughter of Carl Sandborg 1793 1862 a cantor at Maria Magdalena Church and the Royal Swedish Opera and his wife Frederica Cecilia nee Hagberg At her baptism Jacob Niclas Ahlstrom conductor at the Royal Court of Sweden was one of Amanda s godfathers After having received her first music lessons at home together with her siblings she enrolled in the class choir at the educational institution of the Royal Swedish Academy of Music She was married to Lars Magnus Waesterberg and became the mother in law of the industrialist Fredrik Ljungstrom 1 From 1875 under the pen name A S g Amanda Sandborg Waesterberg composed hundreds of works She was also active in piano pedagogy 2 As a member of the Protestant free church in Sweden many of her works were sacred songs Half of the sacred ones were written for one or more voices with accompaniment The remainder were in four part harmonies for choir or for congregational singing Stylistically Sandborg Waesterberg was typical of mid 1800s song composition a style that continued to be used in bourgeoisie salon music as well as within the frikyrkan even when it had lost its pertinence in coeval art music Since she was a pianist and accompanist herself her piano parts are often quite elaborate and independent from the vocal parts In some of her songs one can hear virtuosic figurations or onomatopoeic verse interpretive of the chirping of birds in the coloratura like ornamented vocal part Several of her earlier songs relate to art music arrangements of folk tunes She creates dramatic effects with the use of diminished chords 3 Further reading editBernskiold Hans 1986 Amanda Sandborg Waesterberg Sjung av hjartat sjung Goteborg 1986 sid 67 69 Libris 9221031 Skoldmark Katarina 1990 Amanda Sandborg Waesterberg 1842 1918 kort biografi och verkforteckning Stockholm Musikvetenskapliga institutionen Libris 877184 Bernskiold Hans 1992 Vem som helst musiksyn och melodiskrivande i 1870 och 80 talets vackelsemiljo med utgangspunkt fran Nils Frykman Svensk tidskrift for musikforskning Stockholm Svenska samfundet for musikforskning 1919 1992 74 1 sid 61 106 ISSN 0081 9816 ISSN 0081 9816 ISSN 0081 9816 Libris 2091757References edit Sveriges dodbok 1901 2013 Sveriges slaktforskarforbund Swedish Musical Heritage Amanda Sandborg Waesterberg www swedishmusicalheritage com Swedish Musical Heritage Amanda Sandborg Waesterberg www swedishmusicalheritage com Retrieved 2023 11 01 External links editEFS idag Till minne av Amanda Sandborg Waesterberg och Maria Johansson Retrieved from https en wikipedia org w index php title Amanda Sandborg Waesterberg amp oldid 1183399224, wikipedia, wiki, book, books, library,

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