Þorkell SIGURBJÖRNSSON
Three Concertos
Ulisse Ritorna - Cello Concerto (1981)
Bükolla - Clarinet Concerto (1974)
Fylgjur - Violin Concerto (1981)
Hafli½ i Hallgrímsson
(cello)
Einar Jóhannesson (clarinet)
Hannele Segerstam (violin)
Iceland SO/Gu½ mundur
Emilsson (cello); Petri Sakari (clarinet); Leif Segerstam (violin)
rec Háskólabió, Reykjavik, Iceland, 1983-1989 - issued
1993
ICELAND MUSIC INFORMATION CENTRE MEL-ED 1993 [52.35]
Sigurbjörnsson wrote these three concertos for friends (rather like
Malcolm Arnold) and gave each work a name (unlike Arnold) as is his preference
going by the evidence of another IMIC CD (ITM 7-11). There are two returning
'Ulysses' in the case of the Cello Concerto: both the conductor and
the soloist had, in 1981, returned to Iceland after many years away. The
imprimatur of the composer, original conductor and soloist make this a reference
recording. The concerto (like the other two) is in a single unbroken span.
The 'tongue' is one touched with folksong and it bears testimony to the influence
of Sibelius as well. The Cello Concerto's 'brethren' are the Sallinen and
Kokkonen concertos with more in common with the stronger Sallinen work. It
would be easy to imagine Arto Noras tackling this work. The composer makes
much of the eager, high-lying, tense string lines and Beethovenian hammerheads
reminding me of a similar presence in Thorarinnsson's Second Symphony (ITM
7-12). Sigurbjörnsson is a sensitive soul with no failings in the direction
of bombast and a blessedly free-thinking liberation from trendy vapidity.
Búkolla is the eldest work of the trio. Although the
composer refers to a legend connected with the music it needs no such
extramusical props. It is a flighty fantasy work in which virtuosity is on
more overt display than in the cello concerto. This is a happy work whose
lack of complexity, restless delight in melody (updated Madetoja, Peterson-Berger
perhaps) and buoyant goodwill defeat any fears there may be about empty-headed
exhibitionism. The composer's 'troll-chase' legend seems more fitting to
the first five minutes and than to its long and mesmerising dream
andante - itself looking forward seven years to the cello concerto.
The Aurora Borealis 'breathing' of the woodwind and high strings recalls
Ravel's Daphnis short-circuited into the 'Northern Lights' motif from
Eduard Tubin's Sixth Symphony and Second Piano Sonata. Absolutely glorious
writing with the only concession to avant-garderie being the composer's
temptation to ask the soloist to walk around and into the auditorium during
the performance. Contemporaneous with the Ulisse work is
Fylgjur which, at just over fifteen minutes, is the shortest
work on the disc. Its irate buzzing, percussive undertow and bass-heavy ululation
suggests an influence from the Jón Leifs and even made me suspect
Sigurbjörnsson might have heard Hovhaness's Vishnu Symphony and
Fra Angelico Overture (try 6.20 if you don't believe me). The solo
part is far more edgy and steeped in asperity than the singing parts of the
other two concertos. Its heredity is in a purely orchestral work written
in 1978 to which Segerstam (the conductor) incited the composer to add a
solo line for the conductor's wife Hannele.
Þhorkell Sigurbjörnsson's first name can also be rendered as Thorkell.
This version sets less of a challenge to character sets than the more faithfully
Icelandic Þorkell.
Sigurbjörnsson strongly merits your attention. The concertos for cello
and clarinet make easy conquests. The violin concerto is made of more adamantine
material but it promises rewards from repeat hearings. Rare repertoire somehow
excuses the short playing time. Recording quality is natural enough with
dynamic levels unalloyed but a noticeable and very agreeable closeness in
the case of the clarinet concerto.
Rob Barnett
Helga Sif Gudmundsdóttir
Iceland Music Information Centre
Sidumula 34
108 Reykjavik
ICELAND
phone +354 568 3122
fax +354 568 3124
itm@mic.is
http://www.mic.is/
