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Sigurd LIE (1871–1904)
Symphony
in A minor (1898-1903) [30:36]
Concerto
Piece for violin and orchestra (1898) [8:26]
Wartburg
- ballade for bass-baritone and orchestra (1899) [9:02]
Terje Tønnesen
(violin)
Frode Olsen (bass-baritone)
Kristiansand Symphony Orchestra/Terje Boye Hansen
rec. Kristiansand Cathedral, June 2004. DDD
2L 27 [48:04]
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This is quite a short-playing disc – rather a pity, I think. Its
redemption is that it gives us the chance to hear a selection
of the orchestral music of Norwegian composer Sigurd Lie. He died
very young of tuberculosis with only a small part of his promise
realised.
His Symphony
in A minor is warmly romantic with an athletic and plunging
allegro con fuoco first movement and final Allegro
vivace. Think in terms of the exuberance of Elgar in Froissart
(IV, 1:23) and In the South. To this you will need
to read in the Schumann of the Spring Symphony and a
dash of Louis Glass at his zenith. The warmly sentimental and
faintly melancholic Andante cantabile recalls Grieg of
The Last Spring with the rolling contours of the Siegfried
Idyll. The following Allegretto scherzando is decidedly
bucolic and even boozy in the manner of Harty’s Irish Symphony
but carrying shreds of Brahms’ Academic Festival. The
Symphony is enthusiastically performed.
The perfervid Concert
Piece dates from his Berlin years yet its accent is
very definitely on Norwegian folk material; it’s based on a
specific song. It has the full-lipped lyrical address of Bruch,
something of the gypsy soul of Zigeunerweisen and the
character of Saint-Saëns’ unduly neglected Caprice Andalous.
It’s rather a good and memorable piece from the warm-high tide
of romanticism. Wartburg is a sturdy extended
piece of nineteenth century patriotism redolent of Stanford
in his Songs of the Sea and Songs of the Fleet mode
and of Wagner’s Meistersinger. It is sung with ringing
confidence and security by Frode Olsen. The underlying message
affirms Norwegian kinship with the Germanic peoples. The paean
of nationalism elevated to religious import turns poetic-reflective
towards the end of the ballad before gathering for a militant
and stirring finale complete with chattering horns.
This is a handsomely
documented set. It is well worth seeking out if you have a taste
for fresh nineteenth century Scandinavian romantic nationalism.
Rob Barnett
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