Nordic Sounds 2 Jan SANDSTRÖM(b. 1954)
1. Sloabbme-njunnje (The curved muzzle) [2:50] David WIKANDER(1884 - 1955)
2. Kung Liljekonvalje (King Lily of the Valley) [3:30]
3. Förvårskväll (An evening, early in spring)
[4:49] Jan SANDSTRÖM
4. Biegga Njunnji (The wind nose) [3:21]
5. Biegga Luothe (Now the wind blows) [9:23] Traditional
6. Gjendines Bådnlåt (Gjendine’s Cradlesong)
(arr. Gunnar Ericson) [3:17] Jørgen JERSILD(1913 -
7. Min yndlingsdal (My favourite valley) [3:50] Jaakko MÄNTYJÄRVI(b.
Kosijat (The Suitors)
8. Intro [6:14]
9. Aurinko (The Sun) [4:01]
10. Kuu (The Moon) [5:26]
11. Pohjantähki (The North Star) [5:26] Hugo ALFVÉN(1872 - 1960)
12. Och jungfrun hon går i ringen (A maiden is in the
13. Aftonen (Evening) [3:52] Traditional
14. Kristallen den fina (Crystal so fine) (arr. Arne Lundmark)
[4:17] Anders HILLBORG(b. 1954)
15. Muoayiyaoum [12:45]
Swedish Radio Choir/Peter Dijkstra
Per Björsund (percussion) (4), Johan Pejler (baritone and percussion)
(5), Ulla Sjöblom (soprano) (6), Sofia Niklasson (soprano),
Christiane Höjlund (alto), Tove Nilsson (alto), Love Enström
(tenor), Conny Thimander (tenor), Andreas Olsson (baritone)(8-11)
rec. Musikaliska, Stockholm, June 2011
Sung texts with English translations enclosed.
CHANNEL CLASSICS CCS SA 32812
For more than a century singing in choirs has been something
of a national movement in the Nordic countries. In Sweden alone
there are some 600,000 people regularly singing, many of them
in more than one choir. This also means that a lot of choral
music is being written in this region
The present disc is a sequel to Nordic
Sounds which was issued last year and received the French
award ‘Diapason d’Or’. That disc comprised
an all-Sven-David Sandström programme. The present disc
offers a mix of established favourites (Wikander and Alfvén)
and more recent efforts, most of which need a professional choir.
The Swedish Radio Choir is truly professional. Founded in 1925
it rose to international standard under the aegis of Eric Ericson
1952-1983. It has retained its position as one of the world’s
leading choirs under Anders Öhrwall, Gustaf Sjökvist,
Tönu Kaljuste, Stefan Parkman and from 2007 Peter Dijkstra.
Today the choir consists of 32 singers. Besides their own a
cappella concerts they regularly appear with the Swedish
Radio Symphony Orchestra. They are also sought after by conductors
of the standing of Riccardo Muti, Claudio Abbado, Valery Gergiev
and Daniel Harding.
The disc takes off as far north and as far back in time as it
is possible to come: in Lapland and with music from the Sami
culture, the joiks. Jan Sandström, of Motorbike Concerto
fame, was born there and he has assimilated this music which
for many centuries has been passed down from one generation
to the next through oral tradition. Of late Johan Märak
has written down the old melodies and also composed new ones
in traditional style. It is on his work that Sandström
has based his compositions. He is not the first to do so. Wilhelm
Peterson-Berger used several joiks as building blocks for his
third symphony Same Ätnam (1913 - 1915) - a work
that still sounds uncommonly brave for its time and its composer.
Also Sandström’s works give the impression of both
ancient times and radical modernism, underlined by his use of
percussion - an equivalent to the Sami troll-drums. The nine-minute
Biegga Luothe (tr. 5) is deeply fascinating, raw, sometimes
dissonant, aggressive and the next minute soft and reticent.
It is tempting to call this music the oldest surviving examples
of genuine Nordic folk music. It is however far removed from
traditional Nordic folk songs, which usually go no further back
than the mid-19th century. David Wikander wrote Kung
Liljekonvalje just after WW2 to a poem by Gustaf Fröding,
one of the most popular poets around the turn of the last century.
It is a classic in the choral repertoire in Sweden. For many
singers and listeners it has ‘acquired the status of folk
song’ as the liner notes put it. Nature and a special
kind of Nordic melancholy are typical ingredients here. The
same applies to the setting of Förvårskväll
- a poem by Ragnar Jändel.
Gjendines Bådnlåt is a traditional Norwegian
lullaby, here in an attractive arrangement for solo soprano
and mixed choir by Gunnar Ericson. He has been one of the strongest
profiles in the Scandinavian choral world through his long collaboration
with the Gothenburg Chamber Choir. Nature again plays a central
role in Danish composer Jørgen Jersild’s Min
yndlingsdal, nostalgic and sad when in the last stanza the
poet says ‘Goodbye, lovely dream of my childhood / The
voice of a harsh fate cruelly calls! / I am carried away by
the streams of time / and for you my arms reach in vain.’
There is a certain amount of folk music inspiration also in
the most recent composition on this disc, Jaakko Mäntyjärvi’s
16-part suit Kosijat (The Suitors) from 2001. Most of
all, though, it is the structure of the Finnish language that
decides the irregularity of the music. It is based on a song
from the Kanteletar, a collection of early Finnish poetry.
Mäntyjärvi describes himself as an ‘eclectic
traditionalist’, mixing influences from various sources.
Himself a choral singer he knows the medium from the inside.
As far as I can judge from just listening this is eminently
singable music, spiced with some untraditional techniques, glissandi
for instance. The excellent soloists are all members of the
In a collection of Nordic choral music Hugo Alfvén can’t
be passed over. For many years leader of both male choirs and
mixed choirs he was a pioneer in adapting traditional folk songs
for choirs in colourful, fun and grateful arrangements. Och
jungfrun hon går i ringen is one of his very best
settings and it is here complemented by an original composition,Aftonen.
This is probably the masterpiece among his many choral pieces,
a water-colour, say the liner notes - an apt description, since
Alfvén was also a painter.
Kristallen den fina was one of the folksongs that Alfvén
also set, but this time it is Arne Lundmark’s fine arrangement,
which is a welcome alternative to Alfvén’s version.
Maybe the final work, Anders Hillborg’s Muoayiaoum,
is the most original piece on the disc. It was composed in 1983
and belongs to Hillborg’s earliest pieces. The title has
no translation since there is no hidden meaning. It’s
only a sequence of vowels which open and close, thus creating
a tonal landscape of amazing, shifting colours. What the music
depicts is up to the individual listener’s imagination.
I can hear - yes, even see - sun glittering on waves, I can
hear birds, I can imagine a soft summer breeze caressing my
cheek ... It is a fascinating composition.
I can’t imagine this music, or any other music for that
matter, better sung by any choir in the world. With recording
quality to match I can see no reason why this disc shouldn’t
be awarded a ‘Diapason d’Or’ too. At MusicWeb
International we have no tuning-forks - and definitely not golden
- but we can always make it a Recording of the Month.
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