ABOUT THE ENSEMBLE
OSLO KAMMERAKADEMI unites some of the most exciting principle wind players in Norway and specialises in chamber music for winds with particular emphasis on the historic harmoniemusik ensemble. Using historical brass instruments for the classical repertoire lends both authenticity and transparency to the ensemble's sound and gives unique musical insight.
OKA’s mission is to both enhance tradition and innovate. Through historically informed interpretations of classical repertoire as well as working with living composers to establish new commissioned works, OKA maintains a clear artistic profile of the highest level. The ensemble provides a unique forum for aesthetic experience which both entertains and gives a deeper understanding of both known and perhaps unfamiliar repertoire. In Norway and on the broader Scandinavian stage, the ensemble satisfies a demand for first-rate chamber music.
The ensemble breaks new ground by leaving the traditional niche of chamber music for winds by combining fresh interpretation with closeness to the audience. OKA performs several concert productions each year, both in Norway and abroad, and has several CDs already to its credit, featuring music both historically significant and newly-composed.
We look forward to meeting you in a musical realm of consistent, uncompromising quality and fresh programming. Welcome!
David Friedemann Strunck
Min Hua Chiu
Steinar Granmo Nilsen
Niklas Sebastian Grenvik
Trond Olaf Larsen
Foto: BLUNDERBUSS / Anna-Julia Granberg
DAVID FRIEDEMANN STRUNCK is the artistic leader of Oslo Kammerakademi. He has been the principal oboist of the Oslo Philharmonic Orchestra since 2004, and he previously held the equivalent position in the Bochum Symphony Orchestra. He studied at the music academies in Detmold and Stuttgart with Gernot Schmalfuβ and Ingo Goritzki, and sponsors such as The German National Academic Foundation and The Westphalian Economic Foundation awarded him scholarships. In 1999, he received awards at the woodwind competitions in Mannheim and Bayreuth, and in 2002, he won the first prize with his Cambini Wind Quintet at the Mendelssohn-Bartholdy Competition in Berlin. He has performed as soloist with the Oslo Philharmonic Orchestra, the Bochum Symphony Orchestra, the Norwegian Chamber Orchestra, the Trondheim Soloists, the Folkwang Chamber Orchestra, and the Cologne Sinfonietta. He has appeared as soloist and chamber musician at the chamber music festivals in Risør, Trondheim and Oslo, as well as at the Bergen International Festival, the Nordland Music Festival in Bodø, and at the Gloger Festival in Kongsberg. He teaches at the Barratt Due Music Institute in Oslo.
Foto: BLUNDERBUSS / Anna-Julia Granberg
Trond Olaf Larsen has been Oslo Kammerakademi’s permanent arranger since the very beginning of the ensemble. His arrangements have been performed by both Oslo Kammerakademi and other ensembles in concert series and festivals such as Schleswig-Holstein Musikfestival, Summerwinds Münster, Glogerfestspillene, Levende klassisk, Fartein Valen-festivalen, Trondheim kammermusikkfestival, Oslo Griegfestival, and Maimusik Heilbronn. Larsen’s arrangements have also been recorded by LAWO Classics and 2L; his arrangements and urtext editions of Norwegian works for woodwinds are published by Edition Eufemia.
HARMONIEMUSIK was the most popular form of chamber music for winds during the classical and early romantic periods. The harmony ensemble is one of the predecessors of todays military bands and symphonic wind ensembles and was favored by both well-known and lesser known composers. These ensembles played serenades and divertimentos and regaled audiences in court, castle, and other high-society events. On several occasions, well-known orchestral works and operas were transcribed for harmony ensemble to make the music accessible to a larger audience. Not infrequently, composers wrote these transcriptions themselves.
The classical ideals of harmony were expressed in many ways throughout art and architecture. In music, it was the establishment of harmony music groups and philharmonic orchestras. The original instrumentation was for two oboes, two clarinets, two horns, two bassoons and contrabassoon or contrabass. After a while, composers varied the instrumentation, including flute, several horns, trumpets and string instruments.