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Sheet music for Ingolf Dahl
For 2 Clarinets. Composed by Ingolf Dahl (1912-1970). Edition Schott. Classical. 40 pages. Schott Music #EA136. Published by Schott Music (HL.49012530).
Composed by Ingolf Dahl (1912-1970). Edition Schott. Schott Music #EAID21. Published by Schott Music (HL.49012874).
Piano Solo. Composed by Ingolf Dahl (1912-1970). Peermusic Classical. Classical. Softcover. 24 pages. Peermusic #61182-501. Published by Peermusic (HL.228182).
For Piano. Composed by Ingolf Dahl (1912-1970). Edition Schott. Classical. 3 pages. European American Music #EAID10. Published by European American Music (HL.49012872).
For Piano. Composed by Ingolf Dahl (1912-1970). Edition Schott. Classical. 21 pages. European American Music #EAID4. Published by European American Music (HL.49012871).
For Violoncello and Piano. Composed by Ingolf Dahl (1912-1970). Edition Schott. Classical. Schott Music #EAID17. Published by Schott Music (HL.49012873).
- Concerto for alto saxophone and wind orchestra, 1949; revised 1953
- Symphony Concertante for two clarinets and orchestra, 1952
- The Tower of Saint Barbara: symphonic legend in four parts, 1954
- Sinfonietta for concert band, 1961
- Aria Sinfonica, 1965
- Quodlibet on American Folktunes, 1965
- Variations on a Theme by C.P.E. Bach, 1967
- Four Intervals, 1967
- Elegy Concerto for violin and chamber orchestra, began 1970, finished by D. Michalsky in 1971
- Variations on a French Folktune, flute and piano, 1938
- Allegro and Arioso, woodwind quintet, 1942
- Music for Brass Instruments, 1944
- Variations on a Swedish Folktune, solo flute, 1945, revised 1962, arranged 1970
- Concerto a tre, violin, cello and clarinet, 1946
- Duo for cello and piano, 1946, revised 1948
- Notturno, cello and piano, 1946
- Divertimento, viola and piano, 1948
- Couperin Variations, recorder/flute and harpsichord/piano, 1957
- Piano Quartet, 1957
- Serenade, four flutes, 1960
- Piano Trio, 1962
- Duettino Concertante, flute and percussion, 1966
- IMC Fanfare, three trumpets and three trombones, 1968
- Fanfare on A and C (dedicated to Aaron Copland), three trumpets, horn, baritone and trombone, 1969
- Sonata da camera, clarinet and piano, 1970
- Five Duets, two clarinets, 1970
- Little Canonic Suite, violin and viola, 1970
Ingolf Dahl is an American composer, conductor, pianist and music educator. Of Swedish–German parentage, Dahl began his formal musical education at the Cologne Hochschule für Musik under Philipp Jarnach and Hermann Abendroth, then fled the Nazi regime to continue his studies in Switzerland at the Zurich Conservatory under Volkmar Andreae and Walter Frey and the University of Zurich. Later he studied composition with Nadia Boulanger in California.
His professional career began with coaching and conducting at the Zurich Stadtoper. In 1938 he left Europe for the US and settled in Los Angeles. From then on the range of his musical activities and involvements was immense, including works for radio and film studios, composing, conducting, giving solo piano concerts, and lecturing. He joined the faculty of the University of Southern California in 1945 and remained there until his death. Among his better known former students are the conductor Micheal Tilson Thomas and the composer Frederick Myrow.
In addition to teaching composition, conducting, and music history at the university, he also directed the university’s symphony orchestra (1945–1958), performing much contemporary music in addition to the standard repertory. Among the American composers he included in his programs were Copland, Diamond, Foss, Ives, Piston and Ruggles. One of Dahl’s most celebrated courses at the university was on Stravinsky’s music, a subject of which he had intimate knowledge due to years of collaboration with the composer.
Although Dahl wrote music from an early age, his output was fairly small; his varied career provided little time for composing, and he wrote slowly and meticulously. Though his work reflected the changes in his musical environment, the individuality of his style remained strong. His early works exhibit the dissonant and densely polyphonic texture typical of German expressionism in the 1920’s. The impact of America, and later, his collaboration with Stravinsky resulted in increasing clarification of texture, a trend towards diatonicism, and a pronounced interest in timbre and instrumental virtuosity. Dahl also used serial techniques in his music and evolved large, imaginatively conceived structures held together by motivic and tonal inter-relationships and complex but compelling harmonic forces.