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Erling R. Eriksen

Biography - professor Erling R. Eriksen pianist

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Professor ERLING R. ERIKSEN teaches at the University of Stavanger,
Faculty of Performing Arts.

From 2009-2013 he was also a professor at the Barratt Due Institute of Music in Oslo.

He has given concerts in several European cities as well as in USA, Canada, Japan and China, in halls like Weill Recital Hall, Carnegie Hall, New York, Glenn Gould Studio, Toronto, Wigmore Hall, London, Symphony Hall, Birmingham, Gran Teatre del Liceu, Barcelona, Palacio Real de El Pardo, Madrid and The Norwegian Opera & Ballet, Oslo.

Eriksen is in great demand as an accompanist for singers, and has performed with Elizabeth Norberg-Schulz, Ann-Beth Solvang, Bodil Arnesen, Eir Inderhaug, Randi Stene, Barry Banks, Dietrich Henschel, Espen Langvik, Njål Sparbo, Ernst Häfliger, Ingrid Bjoner a.o.

In 2007 his complete recording of Johann Sebastian Bach Das Wohltemperierte Klavier (UiS) was highly acclaimed by the critics.

Other CD-recordings:
Adolf Jensen Piano Music, Toccata Classics 2015,

Eyvind Alnæs Songs to Texts by Heine, Burns and Scandinavian Poets, with Ann-Beth Solvang, mezzosoprano (Toccata Classics 2012),

Eyvind Alnæs Piano Music (Toccata Classics 2011)

1-2-3 Happy Happy Happy! with Stavanger New Music Ensemble (Aurora 2001)

Christian Sinding Songs (Naxos 1999)

Grieg Songs (Naxos 1996)

Eyvind Alnæs Songs (Simax 1994) with Bodil Arnesen, soprano

In 2000 he was awarded the Griegprize.

Eriksen has given masterclasses in Rome, Pescara, Weimar, Stockholm, Paris, Nanjing and Guangzhou.

Education: Staatliche Hochschule für Musik und Theater Hannover with professors Einar Steen-Nøkleberg and Hans Leygraf, and Hochschule für Musik München with professor Alfons Kontarsky. Meisterklassendiplom 1981.


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Professor ERLING R. ERIKSEN underviser ved Universitetet i Stavanger,
Fakultet for utøvende kunstfag.

Fra 2009-2013 var han også professor ved Barratt Due Musikkinstitutt i Oslo.

Han har opptrådt i en rekke europeiske byer, samt i USA, Canada, Japan og Kina, i saler som Weill Recital Hall, Carnegie Hall, New York, Glenn Gould Studio, Toronto, Wigmore Hall, London, Symphony Hall, Birmingham, Gran Teatre del Liceu, Barcelona, Palacio Real de El Pardo, Madrid og Den Norske Opera & Ballett, Oslo.

Eriksen er en ettertraktet akkompagnatør for sangere og har opptrådt med Elizabeth Norberg-Schulz, Ann-Beth Solvang, Bodil Arnesen, Eir Inderhaug, Tone Kummervold, Randi Stene, Barry Banks, Dietrich Henschel, Espen Langvik, Njål Sparbo, Ernst Häfliger, Ingrid Bjoner m.fl.

I 2007 fikk han strålende kritikker for sin komplette innspilling av Johann Sebastian Bach Das Wohltemperierte Klavier (UiS).

Andre CD-utgivelser:
Adolf Jensen Piano Music, Toccata Classics 2015,

Eyvind Alnæs Songs to Texts by Heine, Burns and Scandinavian Poets, med Ann-Beth Solvang, mezzosopran (Toccata Classics 2012),

Eyvind Alnæs Piano Music (Toccata Classics 2011)

1-2-3 Happy Happy Happy! med Stavanger New Music Ensemble (Aurora 2001)

Christian Sinding Songs (Naxos 1999)

Grieg Songs (Naxos 1996)

Eyvind Alnæs Songs (Simax 1994) med Bodil Arnesen, sopran

I 2000 ble han tildelt Griegprisen.

Eriksen gir jevnlig mesterklasseundervisning, og har i den sammenheng besøkt Roma, Pescara, Weimar, Stockholm, Paris, Nanjing og Guangzhou.

Sin utdannelse har han fra Staatliche Hochschule für Musik und Theater Hannover med professorene Einar Steen-Nøkleberg og Hans Leygraf og Hochschule für Musik München med professor Alfons Kontarsky. Her tok han sitt Meisterklassendiplom i 1981.

Press - Articles - Reviews

Stavanger Kammermusikkfestival

«Samme konsert ble innledet av Erling Ragnar Eriksen, som spilte utsnitt fra Bachs «Die Kunst der Fuge», og dette var en spennende programmert kontrast. Eriksens fortolkningsmåte skiller seg fra den emosjonsnære jeg har snakket om som de kunstneriske ledernes DNA. Eriksen former selvfølgelig temainnsatsene i de flerstemte fugene med omhu, men her er en tydelighet i strukturen, artikulasjonen og balansen som legger mer vekt på intelektuell klarsyn enn intuisjon. Å sette sammen Eriksen og Ihle Hadland er en formidabel måte å programmere. Det blir som å «diskutere» hvem Bach var uten å måtte si et ord om ham. Det er å vise hva J.S.Bach kan romme og hva han kan bety.»

Magnus Andersson, Klassekampen

Bach, Konsert d-moll BWV 1052,
Stavanger Kammermusikkfestival

«Flott spill av Erling Eriksen»

«Det var et herlig driv over førstesatsen som har noe nesten dystert og inntrengende ved seg i strykerne helt i begynnelsen. Arabeskene i den langsomme satsen ble spilt perlende av Eriksen. Til slutt allegroen, utført med energi, fremdrift og med klar rytmikk. Overalt la vi merke til Eriksens utpensling av det polyfone (flerstemmige) hos Bach. Og han gjorde noen effektfulle dynamiske forskjeller. I det hele tatt var Eriksens spill i denne konserten storartet.»

Arnfinn Bø Rygg, Stavanger Aftenblad

Virtuosic in Style
Piano music by Adolf Jensen - enjoyed by GEOFF PEARCE

'... romantic, strongly melodic and individualistic, but never recorded before ...'

I was pleasantly surprised by the music of German composer Adolf Jensen (1837-1879), who flowered in the mid Romantic period. This disc is one of a series from Toccata Classics, a company set up to record music otherwise neglected by the recording industry. If the quality here is anything to go by, I am certain that this company will do very well.

Jensen's Opus 44 set of Erotikon display abstract characteristics of some classical Greek dieties. To my ears they show influences of other romantic piano composers — in particular Schumann (who Jensen wanted to study with) and Brahms, and inevitably there are similarities with other composers of the period. The music is original, however, and the melodic and textural styles are all his own.

The short first piece, Kassandra, is melodic and lyrical but with quite a lot of changes of texture.

The second movement, Die Zauberin, is florid and exciting writing, the melody appearing in the extreme registers of both the treble and bass with the accompaniment occurring in the middle parts. The climax comes some time before the end and is then repeated in a more heroic Chopinesque manner.

Listen — Adolf Jensen: Die Zauberin (Erotikon Op 44) (track 2, 0:00-0:40) © 2015 Toccata Classics :

The third piece, Galatea, is quite gentle and lyrical. The melody appears in the tenor part and it's accompanied by arpeggiated passages in the treble and bass.

I found the next piece, Elektra, strongly reminiscent of Schumann, and elements such as the tremolo-like accompaniment underpinning the melody made me think of Grieg. I wonder if Grieg was familiar with this composer's work?

Listen — Adolf Jensen: Elektra (Erotikon Op 44) (track 4, 0:40-1:19) © 2015 Toccata Classics :

Of the other three pieces in the set, Eros left the most lasting impression. This is strong and passionate music, a little like In der Nacht of Schumann in its lyrical moodiness. I think this is the composer at his best.

Listen — Adolf Jensen: Eros (Erotikon Op 44) (track 6, 1:00-1:39) © 2015 Toccata Classics :

Deutche Suite, Op 36, shows the composer's keen interest in the eighteenth century keyboard music of Bach, Scarlatti and some of those immediately following them, such as Clementi and Galuppi. I played music of both those composers in my youth and I could sense the similarities of style. This is no pastiche, however. Listen hard to these and enjoy. The Sarabande stood out for me, with its grand and ornate gestures but showing how important space and silence is as a musical device.

Listen — Adolf Jensen: Sarabande (Deutche Suite) (track 10, 2:01-2:35) © 2015 Toccata Classics :

So did the two gavottes, very different from each other, but with the second (a musette) finished off with the return of the first, as was often the style of the period.

Listen — Adolf Jensen: Gavotte II (Deutche Suite) (track 12, 0:00-0:46) © 2015 Toccata Classics :

These have an almost Respighi-like antiqueness about them, which is enchanting. I loved the final Gigue, a real tour de force, chromatic and always interesting, with the composer displaying his contrapuntal dexterity.

Three songs, arranged for solo piano by none other than Max Reger, are all lovely and show Jensen as a gifted composer of lieder. The standout piece for me is the last, 'Am Ufer des Flusses, des Manzanares ...', with its imitation of the strumming of the mandolin accompanying a singer. It's truly lovely.

The final Two Romances, Op 16, strongly suggest song, and in the first particularly, the melodic line can appear in any part, with the other voices accompanying with that florid arpeggiated writing wihich this composer appears to favour.

Listen — Adolf Jensen: Romanze 1 (Op 16) (track 17, 0:00-0:40) © 2015 Toccata Classics :

If you want to hear music that is romantic, strongly melodic and individualistic, but never recorded before, then you will enjoy this disc. The music is virtuosic in style, but never flashy or coarse and the pianist here, Erling R Eriksen, is to my mind exceptional, both in how he interprets this music, and also in getting around the considerable technical difficulties and making the music sound easy ... it's not! I'm looking forward to Toccata's second disc of Adolf Jensen's piano music.

Copyright © 4 August 2015 Geoff Pearce, Sydney, Australia

Eyvind ALNÆS (1872-1932)
Four piano pieces, Op.4 (1895) [8.31]
Variations on an original theme, Op.5 (1895) [12.54]
Three piano pieces, Op.9 (1900) [15.35]
Romance in E (1906) [3.25]
Three morceaux, Op.32 (1921) [10.43]
Ten piano pieces on Norwegian folksongs, Op.39 (1923) [24.13]
Stemning (1923) [2.39]
Erling R Eriksen (piano)
rec. Lille Concert Hall, Bjergsted, Stavanger, 18-19 December 2007 and 15 March 2008 TOCCATA CLASSICS TOCC0067 [75.27]

This disc of piano music by Eyvind Alnæs was released three years ago – it was reviewed by Peter Burwasser in Fanfare in September 2011. As the only disc in the catalogues giving a conspectus of Alnæs’s piano music it would be recommendable in its own right, but the excellent performances by Erling Eriksen and the superbly realistic recording give it value over and above that’ not that the music itself, with some exceptions, is always terribly original.

Alnæs studied in Leipzig with Carl Reinecke, who had previously taught Grieg, Svendsen and Sinding. Under the circumstances it is not altogether surprising that his earlier piano music here – the Four piano pieces, Variations on an original theme and Three piano pieces – tends to echo the sound of his older contemporaries. This issue gives us a very informative booklet note by Audun Jonassen. This is excellently translated by Martin Anderson. He commendably furnishes us with music examples to demonstrate the sometimes complex writing – and prodigious technique – that Alnæs employed in the Variations. There are also suggestions of other composers here: the Humoreske that closes the set of Four piano pieces has distinct pre-echoes of Rachmaninov’s Prelude Op 23/5, for example – but that was not written (or at any rate published) until some eight years later.

The Ten piano pieces on Norwegian folksongs had their origins in three volumes of Norwegian melodies that Alnæs produced during the years 1910-1922. The publisher, William Hansen, commissioned these volumes as successors to Grieg’s earlier collection. In his expansion of these movements Alnæs drew not only on his own arrangements but also those of Grieg himself, leaving the older composer’s harmonisations unchanged. Under the circumstances it is not surprising that the influence of Grieg is very dominant throughout. That said, Alnæs’s treatment of the melodies is sometimes more chromatic, with fuller textures, as Jonassen rightly observes. One is disappointed to find that Alnæs is not more adventurous with his material; Norwegian folksong had to wait for Geirr Tveitt’s massive collection of Hardanger folksongs to find a composer prepared to be more authentic and indeed experimental with these tunes. The tragedy which deprived us of much of Tveitt’s music – most of his manuscripts were destroyed in a fire – fortunately spared many of his folksong arrangements for piano.

However the Three morceaux published in 1921 are something different altogether. Jonassen surmises that Alnæs had been listening to Debussy. Although the music is only intermittently impressionist in feel, the use of whole-tone scales frees up the tonality to a considerable degree. The second movement, Jeux d’enfants, is particularly odd: Jonassen notes that “by accident or design” Alnæs quotes from Schumann’s Piano Concerto, but this quotation is preceded by another clear echo, this time from Mahler’s First Symphony. This leads one to suspect that the use of pastiche is quite deliberate and probably satirical, like Debussy’s quotation from Tristan in his Golliwog’s cakewalk. The little piece Stemning (Mood), published in 1925, shows the impressionist influences even more prominently; indeed, one might almost mistake this for a miniature by Debussy or Ravel. After this the return to Alnæs’s earlier and more classical style in the Three piano pieces comes as quite a shock.

As I have noted above, the playing by Erling Eriksen is committed and responsive throughout. We are I suppose unlikely to get another disc of Alnæs piano music any time soon, but this CD will bear up well to any future competition. Eriksen manages even the most bravura passages – Alnæs was clearly no mean shakes as a pianist – with aplomb. Those who relish the piano music of Grieg and Sinding will be delighted to make the acquaintance of this music. Alnæs may have been a musical conservative, but even if he lacks the sheer originality of Tveitt he remains a force to be reckoned with. His music is rightly treasured in Norway, and deserves wider circulation.

Paul Corfield Godfrey

Fanfare The magazine for serious record collectors

Erling R. Eriksen: ALNAES 10 Piano Pieces on Norwegian Folksongs. Romance...

Classical Reviews - Composers & Works
Written by Peter Burwasser
Wednesday, 27 July 2011

ALNAES 10 Piano Pieces on Norwegian Folksongs . Romance. Variations on an Original Theme. 4 Piano Pieces, op. 4 . 3 Pieces, op. 32. Stemning (Mood). 3 Piano Pieces, op. 9 • Erling R. Eriksen (pn) • TOCCATA TOCC 0067 (75:27)

Honestly, it might be enough to say that if you like the piano music of Edvard Grieg, you will almost certainly enjoy this album of short works by his much lesser-known Norwegian contemporary Eyvind Alnaes. Alnaes actually lived a generation later than Grieg, even though they both studied with the long-lived German composer Carl Reinecke. Grieg himself was an early supporter. His career was modest; he worked primarily as a church organist and choral director in Oslo, and was the president of the Norwegian Composer’s Union in the 1920s. He died in 1932 at the age of 60. His musical legacy is slim, consisting of a few large-scale works as well as songs and piano music. This CD represents the first recordings of this music.

While there is a resemblance to the great life work of Grieg, his Lyric Pieces , Alnaes is not imitative. Both composers sourced native folk music, but processed it in their own ways. Alnaes shows the influence of French Impressionism as well. But his sense of imagination falls short of Grieg. Twenty-five years before Alnaes wrote these 10 Piano Pieces on Norwegian Folksongs , Grieg was transforming Hardanger fiddle tunes in ways that still challenge our ears today. Nonetheless, this music is very well constructed, covers a broad range of dramatic vision, and does not deserve the obscurity it has languished in. Fortunately, Erling Eriksen plays it with great panache and affection, and Toccata Classics, on a self-proclaimed mission to reveal undiscovered piano music, brings its usual excellent production values to the fore. Peter Burwasser

Piano Music Audio CD; Import TOCCATA Buy now from Amazon

Martin Anderson , Klassisk Musikkmagasin 3/2007

Das Wohltemperierte Klavier
, del 1 og 2, BWV. 846–893
Erling R. Eriksen (klaver)
Institutt for musikk og dans, Universitetet i Stavanger,
UIS 2007 (4 CDer, 4 timer, 6 minutter)
1 2 3 4 5 6

Enkelte ganger byr anmelderi på uventede gleder: Innspillinger jeg føler meg forpliktet til å omtale, viser seg å romme uforutsett fryd for øret. Slik var det med dette settet av Bachs 48 preludier og fuger. Siden de var innspilt av en av Norges ledende pianister, gikk det ikke an å overse CDen i Klassisk. Men – med det samme jeg begynte å lytte, visste jeg at dette var noe forfriskende annerledes. Eriksen bringer nytt liv til disse ærverdige verkene, gjør dem – som påkrevd – rappfotete, fargerike, danserisk luftige, elegant lyriske og overraskende humoristiske. For ham er ikke ”48” noe museumsverk: dette er levende musikk, beviset på at uansett når musikken ble komponert (Bach synes å ha samlet tidlige stykker i 1722 til Bok I, og i 1744 til Bok II), var kunstneren fremdeles ung av sinn – og en poet mer enn en teoretiker: Eriksen får virkelig musikken til å synge. Jeg venter ikke at Institutt for musikk og dans ved Universitetet i Stavanger (hvor Eriksen er professor) er verdens mest erfarne CD-produsenter, men det kunne man aldri gjette: den innspilte klaverklangen er førsteklasses og presentasjonen er enkel og stilfull.

Verdens Gang - Erling R. Eriksen:
Johann Sebastian Bach: Das Wohltemperierte Klavier I/II

Universitetet i Stavanger

Velspilt norsk Bach-maraton
av Tori Skrede

Bergens Tidende - Nøkternhetens rus

Imponerende Bachfortolkning

NRK - Erling R. Eriksen - Bach

Bach-maraton av internasjonal klasse fra den norske pianisten Erling R Eriksen, nå aktuell med firedobbel Bach-CD.
Av Nina Krohn

Stavanger Aftenblad - Fascinerande klangverd

Kammermusikkserien som Symfoniorkesteret arrangerer har den siste sesongen hatt Tou Scene som hovudarena, og det har tatt litt tid for publikum å finne vegen til østre bydel i Stavanger for desse konsertane.

av Rasmus Reed

Sist fredag var konserten godt besøkt, og både konsertlokalet og plassen er godt egna for slike kammerkonsertar.

Bartoks seks strykekvartettar har fått status som det fremste som er skapt for denne besetninga, og nr 4 som vart spela på denne konserten står som den kanskje aller fremste blant desse. Formmessig er den symmetrisk om ein langsam midtsats, med ein scherzo og ein allegrosats på kvar side. Florian Kellerhals, Harald Grimsrud, Wouter Raubenheimer og Liv Opdal la for dagen stort engasjement og stor innleving i dette krevjande verket. Midtsatsen fekk den nødvendige ro og indre styrke, og soloane i dei ulike instrument fekk stå fram som individuelle utsegn, men samtidig med ein fin indre samanheng.

I førstesatsen vekslar stemmene heile tida mellom å vere i forgrunn og i bakgrunn, og bevisstheten om dette rollespelet kunne ha vore ennå tydelegare. Rytmen kunne og ha vore ennå fastare og strammare i enkelte parti, også i den fantastiske fjerde satsen der bogane blir lagt til side og heile satsen er pizzicato. Siste satsen er villskap sett i system, og her sette kvartetten alle klutar til i ein forrykande finale; ein flott prestasjon!

Til tross for Bartoks mektige punktum på konserten, er det for meg dei to verka før pause som vil sitje lengst i minnet. Lasse Thoresens «Hjertets fugl» er eit storslege verk for piano, fiolin og cello. Her er lekre detaljar som må fryde alle som er glade i musikk, og ei formutvikling som grip tak og held interessa på topp frå den første ettertenksame mumlinga fram til eit grandiost klimaks. Kellerhals, Opdal og Erling Eriksen på piano hadde levd seg inn i dette flotte verket og gav det ei gripande tolking.

Det mest eksperimenterande, men også det kanskje vakraste verket var George Crumbs «Seven Echoes of Autumn» for fiolin, altfløyte, klarinett og piano. Her skal utøvarane ikkje berre spele vanleg på instrumentet, men også plystre, snakke og banke. Klangmulighetene i det opne flygelet blir utnytta med klimpring, demping av strengar og ved at blåseinstrumenta spelar inn i flygelet og set strengane i svingingar. Dette skaper eit utruleg rikt klangspekter og ein fantastisk klangleg atmosfære. Det store er likevel at dette ikkje berre blir effektar, men strålande musikk som fascinerer og engasjerer frå første til siste tone.

Men denne musikken krev dedikerte musikarar som kan realisere det kompliserte og utradisjonelle partituret på ein god måte. Kellerhals og Eriksen saman med blåsarane Karin Venås på fløyte og Håkon Vestly på klarinett gjorde det framifrå og skapte ei framføring som vil bli hugsa lenge.

Stavanger Aftenblad - Kryss i taket!

J.S. Bach: Das Wohltemperierte Klavier I og II.
Som nyansatt ved Rogaland Musikkonservatorium høsten 1982 innledet Erling R. Eriksen sitt bekjentskap med byens musikkpublikum ved å spille hele første bind av Bachs Wohltemperiertes Klavier, bind 1 (24 preludier og fuger).

av Arnfinn Bø-Rygg

Jeg skrev da her i avisen (19.10) at det vi da fikk overvære, var en begivenhet i landsmålestokk. Tre år etter spilte Eriksen over to kvelder i september bind 2 av samme verk. Bare som en ren hukommelsesytelse var dette en bemerkelsesverdig prestasjon.

Idag er det ikke mindre grunn til å sette kryss i taket. Dette er Bach-spill fullt på høyde med de beste som er å få tak i av klaverets Gamle testamente (det Nye er Beethovens 32 sonater). Om vi ikke har visst det før, så kan vi iallfall slå det fast nå: det fins miljøer og prestasjoner på UIS som er på internasjonalt nivå! Ekstra gledelig er det at dette er et fulldesignet UIS-produkt, innspilt i Lille Konsertsal, Bjergsted, med pianisten selv som en av produsentene og utgitt av Institutt for musikk og dans. En informativ tekst er skrevet av Lise K. Özgen, også hun ansatt ved Institutt for musikk og dans.

Hans Magnus Enzensberger begynner sitt dikt «Mottager ukjent» slik: «Mange takk for skyene. Mange takk for das Wohltemperierte Klavier...» Man gir seg ikke i kast med dette monumentalverket uten å ha noe å tilføre. Det har Eriksen. Det er ikke det ekstravagante, som det for øvrig fins nok av. Eriksens tolkning har som helhet sin styrke i det vi kunne kalle en klassisk estetikk, som ikke må mistolkes som det estetisk moderate. Det settes en ramme som ikke tillater å ta virkemidlene ut i det ekstreme eller kretse om det manierte. Innenfor denne rammen er det rom for stor rikdom i barokke affekter og karakterer som fastholdes gjennom struktur og arkitektonisk oppbygning.

Ciss-moll-fugen i bind 1 bygges monumentalt opp mens følsomheten får fritt spillerom i f.eks. H-dur-preludiet i bind 2. Uten å bli motorisk for skarp er virtuositeten djerv i enkelte stykker. Noen ganger er det som om vi hører klavikordet eller cembaloet, særlig i preludiene. Men ikke mer enn som et ekko. Eriksen utnytter Steinway-flygelets muligheter for både det smertefullt vakre og det sublimt storslåtte.

Så er da heller ikke Bachs 96 stykker - skrevet til bruk «for dem som er i ferd med å lære såvel som til tidsfordriv for de mer avanserte» - avhengig av det til enhver tid historisk mulige. Bare å håpe at UIS' første CD-utgivelse blir godt distribuert!

Men denne musikken krev dedikerte musikarar som kan realisere det kompliserte og utradisjonelle partituret på ein god måte. Kellerhals og Eriksen saman med blåsarane Karin Venås på fløyte og Håkon Vestly på klarinett gjorde det framifrå og skapte ei framføring som vil bli hugsa lenge.

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UiS - Erling R. Eriksen med ny Bach-cd

Pianist og UiS-professor Erling R. Eriksen har spilt inn en ny cd med J. S. Bach:
Das Wohltemperierte Klavier.
Mandag 19. mars er det lanseringskonsert i Bjergsted.

Publisert av Cecilie Wathne

Klassika CD-tips - Lieder (Naxos, DDD, 96)

23 kleine Klavierstücke EG 104;
Larvikspolka EG 101;
Am Halfdan Kjerulf-Denkmal EG 167;
Liedtranskriptionen op.52;
Norwegische Melodien EG 180 Nr.87 & 146;
Kanon a 4 EG 179;
Klaviersonate op.7 (1.Version,2.& 4.Satz);
Fragment des Klavierkonzerts EG 120 Einar Steen-Nökleberg,Klavier

Opera Diary Joel Kasow

Grieg's songs are not something I usually rush to listen to, but a new release on Naxos (8.553781) by an unknown soprano provided total delight. Bodil Arnesen's light voice suits much of this repertory, offering a judicious mixture of familiar and unknown material. Erling R. Eriksen's keyboard support is a model and I would recommend this CD to anyone looking for an introduction to a superb melodist. As a change of pace, Schumann by Barbara Bonney and Vladimir Ashkenazy (Decca 452 898-2) turns out to be disappointing. Throughout the centerpiece of the album, Frauenliebe und -leben, the absence of portamento, the exaggerated rubato and the very dry accompaniment become a hindrance to one's appreciation of Schumann's anti-feminist cycle. Bonney's very light voice, moreover, is not suited to all the songs she has chosen, overt drama being outside her range. As has become fashionable, two groups of Clara Schumann's songs are interspersed, with the soprano providing a personal note in the programme defending her choice. In fact, Clara's songs are interesting as yet another reflection of the "romantic" movement.

Audio recordings


Das Wohltemperierte Klavier, book 1

Prelude B flat major

Fugue B flat major

Prelude B flat minor

Fugue B flat minor

alnaes cd

Eyvind Alnæs: Piano Music

Jeg lagde mig saa sildig

Ho Guro

Ann-Beth Solvang

Richard Strauss: Zueignung

With Ann-Beth Solvang, mezzosoprano


Opera Choir Recital Oslo

With Skala and Viva Opera Choirs

Opera Choir Recital Stockholm

Eric Ericsonhallen
Wagner, Verdi, Mascagni, Bellini a.o.
With Skala and Viva Opera Choirs

CD Release Concert

Stavanger Concert Hall
Works by Bodhild Vossgård

Masterclass Foggia

Conservatorio di Musica Umberto Giordano

Sola Ruinkirke

Piano pieces by Tveitt, Grieg and Alnæs

Utstein Monastery

Bach: From Die Kunst der Fuge

Stavanger Chamber Music Festival

Concert Hall
Bach: Concerto D-Minor BWV 1052
With Festival Ensemble, Leader Jan Bjøranger

Stavanger Chamber Music Festival

Stavanger Chamber Music Festival

Stavanger Cathedral
Bach: from Die Kunst der Fuge

Recital Sogndalstrand

With Bodil Arnesen, soprano
Songs and arias by Grieg, Alnæs, Bellini, Dvorak.
Piano pieces by Grieg and Tveitt.

Opera recital, Sandnes Kulturhus

With Ann-Beth Solvang, mezzosoprano and Vibeke Kristensen, soprano

CD recording

Works by Bodhild Vossgård

Recital Bjergsted, Stavanger

Works by Robert Schumann
Fantasiestücke Op.111, Waldszenen Op.82, Humoreske Op.20

Weihnachtsgala Zarrentin

With Ann-Beth Solvang, mezzosoprano and Bruno Vargas, bass.
Songs and arias by Sibelius, Grieg, Alnæs, Mozart, Verdi a.o.
Piano pieces by Rachmaninov, Bach/Busoni and Bach/Hess.

Weihnachtsgala Zarrentin

Operacafe Sandnes Kulturhus

With Iva Mrvos, mezzo soprano

Operacafe Sandnes Kulturhus

With Mathias Gillebo, tenor

Masterclass Filarmonica Romana, Rome

Recital Time bibliotek

With Ann-Beth Solvang, mezzo and Jürgen Sacher, tenor

Masterclass Nanjing University of the Arts, China

Recital Yixing, China

With Elizabeth Norberg-Schulz, soprano and Huaiyi Huang, baritone

Trip to Japan

Visiting Yamaha piano factories

Operacafe Sandnes Kulturhus

With Inger Torill Narvesen, soprano

St.Petri Church, Stavanger

J.S.Bach: Die Kunst der Fuge
With Det Norske Katedralensemblet

Sandnes Kulturhus

Operacafé with Leif Jone Ølberg, baritone

Recital LKS, Bjergsted, Stavanger

Songs by Schumann, Strauss, Tosti, Bellini, Tchaikovsky.
With Bror Magnus Tødenes, tenor

Recital LKS, Bjergsted, Stavanger

Works by Brahms, Bach, Cage, Mozart and Mozart-Busoni
Piano duo with Daniel Röhm

Sandnes Kulturhus

Operacafé with Ann-Beth Solvang, mezzo soprano

Stavanger Konserthus, Fartein Valen

Concert NYCMF
Songs by Schönberg, Stolz and Korngold.
With Ann-Beth Solvang, mezzo soprano

Oscarsborg Castle, Oslo

Recital with Mari Eriksmoen, soprano

Erling og Eriksmoen Oscarsborg

Accompanist Queen Sonja International Music Competition, Oslo

Masterclass Filarmonica Romana, Rome

New CD: Adolf Jensen Piano Music, Volume one

Toccata Classics

Toccata CD cover

Recital Fundacao Cupertino de Miranda, Porto

Schumann: Fantasy Pieces Op.111
ASongs by Gounod, Faure and Schubert.
With Bettina Smith, mezzo soprano

Masterclass Unge musikere

Norges Musikkhøgskole, Oslo

Opera concert, Sandnes Kulturhus

With Kersti Ala-Murr and Hedda Bakker, sopranos

Inauguration concert

New Steinway D in Bjergsted, Stavanger.
Works by Bach and Brahms.
With Daniel Röhm, piano

Stavanger Konserthus

Works by Bodhild Vossgård.
With Bodhild Vossgård, cello

Hugo Wolf: Italienisches Liederbuch

Opera Stabile, Staatsoper Hamburg
With Ann-Beth Solvang, mezzo soprano and Jürgen Sacher, tenor


Recital LKS, Bjergsted, Stavanger
Songs by Arnold Schönberg, Erich Korngold and Hugo Wolf.
With Ann-Beth Solvang, mezzo soprano

Wiener Festkveld

Stavanger Konserthus, Fartein Valen.
Songs by Franz Schubert. With Wibeke Wetaas, soprano

Recital Stavanger Domkirke

Bach, Bach-Busoni, Händel, Mozart, Schubert, Strauss.
With Wibeke Wetaas, soprano

Masterclass Accademia Filarmonica Romana, Rome

Masterclass Royal Academy of Music, Stockholm

Masterclass and concert Nanjing University of the Arts, China

Recital Time bibliotek, Bryne

With Ann-Beth Solvang, mezzosoprano.
Songs by Alnæs, Grieg, Sibelius a.o.

Operacafe Sandnes Kulturhus

With Tone Kummervold, mezzosoprano.

Lecturerecital Norwegian Academy of Music, Oslo

J.S.Bach: From Das Wohltemperierte Klavier.

Wieneraften, Time bibliotek, Bryne

With Ann-Beth Solvang, mezzosoprano and Jürgen Sacher, tenor.

CD-recording Bjergsted, Stavanger

Pianopieces by Adolf Jensen.

Selecting a new Steinway at the factory in Hamburg

Steinway Hamburg

CD-recording Bjergsted, Stavanger

Pianopieces by Adolf Jensen.

Masterclass Hochschule für Musik Franz Liszt, Weimar

Operacafé Sandnes Kulturhus

With Inger Torill Søyland Narvesen, soprano and Leif Jone Ølberg, baritone

Bergen Domkirke

Brahms: Ein deutsches Requiem
(version with 2 pianos)
With Birgitte Christensen, soprano, Magne Fremmerlid, bass and Christian Ihle Hadland, piano.
Conductor: Oddgeir Kjetilstad

Stavanger Domkirke

Teatermuseet, Oslo

Masterclassconcert Oslo operafestival with young operatalents

Wiener festkveld

Stavanger Concert Hall, Fartein Valen


Recital Accademia Filarmonica Romana, Rome.

French duets. With Elizabeth Norberg-Schulz, soprano and Tone Kummervold, mezzo.

Masterclass Accademia Filarmonica Romana, Rome.

The Lied and the Chamber Romance.

Recital Weill Recital Hall, Carnegie Hall, New York

With Camilla Ediassen, soprano and Ingrid Holmen, flute.
Mussorgsky, Prokofiev, Rachmaninov, Grieg, Sommerfeldt, Nyström, Nicholas White, Bernstein.

Carnegie Hall 2013

New CD

Alnæs cover 2012

New year concert Longyearbyen, Svalbard

With Thomas Ruud, tenor and Berit Meland, soprano.

Recital Teramo, Italy

Schumann: Fantasypieces op.12, book 1, Grieg: From Slåtter Op.72, songs by Grieg, Schubert, Schumann and Strauss.
With Elizabeth Norberg-Schulz, soprano.

Recital Sørum old Church

With Rita Heigre, soprano.

Concert and masterclass

Nanjing University of the Arts, China.

Recital Baroniet Rosendal

With Elizabeth Norberg-Schulz, soprano. Songs by Ginastera, Villa-Lobos, Tosti, Gastaldon, R. Strauss.
Pianopieces by Schumann.

Recital Accademia Filarmonica Romana, Rome

With Elizabeth Norberg-Schulz, soprano and Monica Bacelli, mezzo.
Duets by Schumann and Brahms.
Pianopieces by Schumann and Grieg.

Masterclass Accademia Filarmonica Romana, Rome

Summerconcert Stavanger Konserthus

With Camilla Ediassen, soprano.
Songs by Mussorgsky, Rachmaninoff, Prokofieff and Bernstein.

Recital Skodsborg festival, Denmark

Pianopieces by Grieg, Schumann, Valen, Alnæs and Tveitt.


Recital Skodsborg festival, Denmark

With Christel Smith, soprano.

Skodsborg Christel Smith

Operaconcert Sandnes Kulturhus.

With Christel Smith, soprano and Mads Wighus, tenor.

The Norwegian Opera, Oslo Operafestival.

Concert with young operatalents.

New CD

Eyvind Alnæs: Piano Music

alnaes cd

Hugo Wolf: Mörikesongs.

Recital Oslo National Academy of the Arts.
With Rose Reinsnes, soprano, Elisabeth Teige, soprano and Jørgen Backer, baritone.

Recital Johan Halvorsen Festival, Drammen.

Italian songs.
With Elizabeth Norberg-Schulz, soprano.

Elverum Church Music Festival.

Rossini: Petite Messe Solennelle

Concert Nanjing University of the Arts, China.

Liszt: from "Années de Pèlerinage". '
Songs and arias by Tchaikovsky, Mozart, Puccini, Donizetti.
With Elizabeth Norberg-Schulz, soprano and Huaiyi Huang, baritone


Masterclass Nanjing University of the Arts, China.

Masterclass Pescara, Italy.

With Elizabeth Norberg-Schulz

Masterclass Accademia Filarmonica Romana, Rome.

Concert Accademia Filarmonica Romana, Rome.

Songs by Puccini, Gastaldon, Arditi, Schumann, Schönberg and Grieg.
With Elizabeth Norberg-Schulz, soprano, Wibeke Wetaas, soprano and Tone Kummervold, mezzosoprano.

Concert Bjergsted, Stavanger.

Songs by Grieg, Palej, Finzi, Sibelius and Korngold.
With Peter McGillivray, baritone.

CD-recording Stavanger.

Songs and arias by Rachmaninoff, Dvorak, Strauss, Poulenc, Tchaikovsky, Verdi, Bizet.
With Iva Mrvos, mezzosoprano.


Grieg/Garborg. Concert Riska Church
with Eir Inderhaug, soprano.

International Franz Liszt Piano Competition 2011

Member of the jury.

Recital Den Norske Opera & Ballett, Oslo

Hugo Wolf : Italienisches Liederbuch
With Eir Inderhaug, soprano and Espen Langvik, baritone.

Concert and masterclass Nanjing Arts Institute, China

J.S.Bach: Das Wohltemperierte Klavier

Kirsten Flagstad Festival, Hamar.

Italian songs.
With Elizabeth Norberg-Schulz, soprano.

Kirsten Flagstad Festival, Hamar.

Rossini: Petite Messe Solennelle.

Recital Troldsalen, Bergen.

R. Schumann: Kerner-songs Op.35.
Songs by G. Mahler and E. Grieg.
With Espen Langvik, baritone.

Recital Troldsalen, Bergen.

Works by Edvard Grieg and L.v.Beethoven.
With Benedicte Kyllingstad, violin, and Liv Opdal, cello.

Recital Troldsalen, Bergen.

Carl Nielsen: Sonata for violin and piano nr.2, g-minor.
E. Grieg: Sonata for violin and piano nr.3, c-minor.
Pieces by Ole Bull, Sibelius and Gade.
With Ingerine Dahl, violin.

Oslo Operafestival

Concert with young operatalents

Oslo Operafestival

With Elizabeth Norberg-Schulz, soprano

Recital Oslo National Academy of the Arts.

Songs by G. Mahler, A. Berg, A. Schönberg, R. Strauss and H. Wolf.
With Kari Lise Høgseth,mezzosoprano, Kjerstin Løvdal, soprano,
Ragnhild Motzfeldt, soprano and Mads Wighus, baritone.

Masterclass Weimar

Hochschule für Musik Franz Liszt Weimar.

Operaconcert Sandnes Kulturhus

With Ann-Beth Solvang, mezzosoprano.

Masterclass Nanjing, China

Nanjing Arts Institute

CD-recording Toccata classics

Eyvind Alnæs : Songs
With Ann-Beth Solvang, mezzosoprano

Recital Baroniet Rosendal

Italian songs, german pianopieces.
With Elizabeth Norberg-Schulz, soprano

Erling og Elizabeth i Rosendal

Operaconcert Sandnes Kulturhus

With Njål Sparbo, baritone

Arvo Pärt Festival

St. Petri Church, Stavanger
"Spiegel im Spiegel"
With Lars Anders Tomter, viola

Arvo Pärt Festival

St. Petri Church, Stavanger
Mozart Adagio
With Jan Bjøranger, violin, and Liv Opdal, cello

Recital Opera Stabile, Hamburg

Nordic songs
With Ann-Beth Solvang, mezzosoprano


Operaconcert Sandnes Kulturhus

With Eir Inderhaug, soprano

Visiting China; Nanjing and Shanghai.

Masterclass at Nanjing Arts Institute.


Norwegian academy of music, Oslo.
Songs by Franz Schubert, Johannes Brahms, Hugo Wolf and Richard Strauss.
With Bodil Arnesen, soprano.

Recital Troldsalen, Bergen

Works for cello and piano by Robert Schumann, Edvard Grieg, Claude Debussy, Antonin Dvorak, Gabriel Fauré and Gaspar Cassadó.
Edvard Grieg: Lyric pieces.
With Liv Opdal, cello.

Recital Troldsalen, Bergen

Edvard Grieg: Songs Op.25 (H.Ibsen),
Olivier Messiaen: Poèmes pour Mi.
Songs by Johannes Brahms and Richard Strauss.
With Ann-Beth Solvang, mezzo-soprano.

Concert ONS, Rogaland Kunstmuseum.

Songs and arias by Benjamin Britten, Edvard Grieg, Giacomo Puccini and George Gershwin.
With Amy Christianna Blake, soprano

Amy Blake

Point of Peace, Utstein monastery.

Songs by Edvard Grieg.
With Kersti Ala-Murr, soprano.

Beethoven-Festival, Bjergsted, Stavanger.

Sonata nr.10 for violin and piano. With Ingerine Dahl, violin.Geistertrio
With Jan Bjøranger, violin and Liv Opdal, cello.

Messiaen-Festival, Stavanger Cathedral.

Poèmes pour Mi, with Kersti Ala-Murr, soprano
Quatuor pour la fin du temps.
With Jan Bjøranger, violin, Liv Opdal, cello and Håkon Vestly, clarinet.

Valestrand Church

Recital with Elizabeth Norberg-Schulz, soprano.
Songs by Fartein Valen, Edvard Grieg, Richard Strauss, Manuel de Falla a.o.

Recital Minsk

Works by E.Grieg, H.Sæverud, J.Brahms.
With Sebastian Dörfler, cello

Release-concert Bjergsted, Stavanger.

Presentation of Johann Sebastian Bach:
Das Wohltemperierte Klavier I/II (4CD).

Bach booklet 1

Tou Scene, Stavanger

Chamber Concert;
Lasse Thoresen: Bird of the heart
G. Crumb: Eleven echoes of autumn 1965

Sola, old hangar of SAS-Braathens

Cool Opera
With Nadja Michael, soprano.

Bjergsted, Stavanger

E.Grieg: From "Slåtter" Op.72
R. Schumann: Piano-Quartet
With Skasei String Trio

Bergen International Festival

E.Grieg: From "Slåtter" Op.72
R. Schumann: Piano-Quartet
With Skasei String Trio

Sandnes Kulturhus

Songs by Grieg, Sibelius and Schumann
With Ådne Sæverud, baritone

Baroniet Rosendal

Recital with Elizabeth Norberg-Schulz, soprano
Songs by E.Grieg, E. Alnæs, J.Sibelius, R. Strauss
E.Grieg: From Slåtter Op.72
Nocturnes by Liszt and Chopin

International Chamber Music Festival Stavanger

With Elizabeth Norberg-Schulz, soprano

Troldsalen, Bergen

With Ann-Beth Solvang, mezzosoprano.
Songs and arias by Grieg, Alnæs, Strauss, Massenet, Tschaikovsky.
Pianopieces by Liszt and Chopin.

Troldsalen, Bergen

E. Grieg: From "Slåtter" Op.72
J. Brahms: Piano-Quartet C-minor
With Skasei String Trio

Rogaland Teater

E.Grieg / A.Garborg : Haugtussa
With soprano Bodil Arnesen and actor Ola B.Johannesen

Bjergsted, Stavanger.

With Elizabeth Norberg-Schulz, soprano.
Italian songs and arias by Verdi, Donizetti, Bellini, Puccini, Gastaldon, Catalani.
Pianopieces by Eyvind Alnæs.


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Bach booklet 1


Erling R. Eriksen

+47 906 59 224 /

Bjergsted Terrasse 9, 4007 Stavanger, Norway