Tor Aulin was a Swedish violinist-composer who wrote beguiling, folksy music
and then died in a really horrible fashion at the age of 47. We have here
two sets of charming, tuneful dances and the incidental music to a play,
Master Olof. The Swedish Dances and Three Dances from
Gotland (a sizeable island in the Baltic Sea) have rustic cheer, a
firm rhythmic stamp, an abundance of good tunes, and much folkloric color.
They’re a little less concise than comparable dances by Brahms or Dvorák,
and consistently cheery, but a whole lot of fun. The first dance from Gotland
is especially harmonically spicy. Think of the dance sets by Grieg and you
have the right basic idea.
Master Olof is a slightly different story. The orchestration is
still splashy, with lots of tunes for brass, cymbal crashes, and sweeping
melodies, but there’s more contrast, including a pretty memorable death
scene. Aulin allows himself more emotion and subtler ideas here, from an
introduction of regal restraint to a second number which ends on a note
of Elgarian melancholy.
I’m a little worried about the sound quality. CPO’s German engineering has
failed me twice in a row now, between this and a recent disc of waltzes
by Richard Eilenberg; the sound seems over-reverberant and aggressive, with
sections of the orchestra fighting each other in a jumble for supremacy.
The timpani really rumble away. Still, the playing’s very good, and if I
can imagine a bit more sprightliness in the dances, Niklas Willén compensates
with a very sympathetic manner.
The best of Aulin’s music, that I’ve heard, remains the third violin concerto,
which manages the neat trick of being pastoral, not especially dramatic,
and continuously gorgeous but somehow incredibly compelling. Master Olof
ranks right up there, and the Dances are delightful. Very much worth your
time!
Brian Reinhart
Tor Aulin, violinist, here conjures up the dance spirit of Grieg and even
a bit of Elgarian melancholy. Well worth your time.
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