Several years ago,
I found a second-hand copy of a Swedish
disc (Phono-Suecia PSCD 53) entirely
devoted to works by Anders Nilsson,
a name then completely new to me. I
found the music very appealing. I was
delighted to hear one of his recent
works on this disc. It happily confirms
my earlier impressions.
His music was aptly
described by Thomas Roth (in his insert
notes for the above-mentioned disc)
as "full of the joy of being alive".
In fact, as is the case with many younger
Scandinavian composers, Nilsson’s background
lies in the field of popular music in
which he was active in his early years
and from which he gained a refreshingly
undogmatic approach to music, although
there is nothing amateurish about his
music. His Concerto grosso
falls into three movements on the fairly
traditional fast-slow-fast pattern (although
the central slow movement is at times
quite animated). There are several cyclical
elements which help to maintain formal
and thematic coherence (most themes
re-appear in the final movement Allegro
e corrente, a perpetuum mobile
in all but the name).
At first, Nilsson’s
music may give the impression that it
is largely improvised; but it is actually
carefully and fully worked-out although
it maintains some improvisatory quality.
Nilsson has a remarkable flair for arresting
orchestral textures, already quite in
evidence in some of the pieces on the
Phono-Suecia CD (e.g. his superb Organ
Concerto) and amply confirmed in this
extrovert often playful piece that in
spite of its plain title deliberately
turns its back on Baroque models.
Ketil Hvoslef (born
Saeverud) is rather better known. Several
of his works have been (and still are)
available on discs. His early works
were indebted to the Nordic Neo-Romantic
or Neo-Classical traditions. His more
recent output displays a more expanded
emotional and stylistic range. This
is the case with his Concerto
for Saxophone Quartet and Orchestra.
It is in one movement unfolding as a
slow-moving ritual, with many repetitions,
although there is nothing minimalist
about the music. The piece opens mysteriously,
in a dream-like mood and slowly moves
in ebbing waves interspersed with almost
static episodes in which Time seems
to stand still. There is something hypnotic
in this music. On the whole, this is
very attractive if somewhat lacking
in contrasts and ultimately a bit too
long for its own good. Well worth having
anyway.
Jouni Kaipainen, too,
is a composer favouring positive values
in music as well as in life. He once
said that "it is true that we live
in difficult times, but [I] believe
that we should remember that there are
also positive things in life, such as
happiness, hope and humour". His
music clearly reflects these words.
His music breathes a healthy energy
and optimism somewhat at odds with the
current contemporary Weltschmerz,
although it does not overlook the darker
sides of our times. His output includes
two sizeable symphonies (he is at work
on a third), some chamber music and
several concertos (one each for piano,
oboe, clarinet and trumpet as well as
two for cello). His Vernal Concerto
"From Equinox to Solstice"
Op.53 is an attractive piece
of music about Spring, from the hesitant
opening to the coming of Summer, moving
in waves with a wealth of contrasted
ideas and a remarkable invention and
imagination. (I wish now that he had
written a Winter, a Summer and an Autumn
concerto!)
The Raschèr’s
immaculate playing and musicality have
been a source of inspiration for many
contemporary composers. These pieces
certainly are well-deserved tributes
to their dedication to contemporary
music. They all repay repeated hearings
and undoubtedly deserve to be better
known, which this superb release makes
now possible. I hope that BIS will soon
release some other concertos composed
for the Raschèr or – more generally
– for saxophone quartet.
Hubert Culot
Raschèr Saxophone Quartet 
