Pehr Henrik NORDGREN (1944 – 2008)
Symphony No.7 Op.124 (2003) [25:23]
Summer Music Op.34 (1977) [10:36]
Symphony No.8 Op.140 (2006) [24:34]
Turku Philharmonic Orchestra/Juha Kangas
rec. Turku Concert Hall, 24-26 April 2007 (Symphony No.8) and 25-28 March
2008 (other works)
ALBA ABCD 288 [60:55]
Nordgren’s Symphony No.7 Op.124 is cast in a single large arch-form.
The whole work is based on a handful of material that may at first seem disparate
but that ultimately is developed into an impressive whole, It nevertheless
requires several hearings to yield all its secrets or – at least – most of
them. The broad introduction progressively states a twelve-tone row that will
later inform much of the music. Then there is a short four-note motif sounding
as a transposed DSCH (Shostakovich’s signature) that reminds the listener
that the Russian composer was one of Nordgren’s idols. This short episode
– often played by the harp – appears later in the work to introduce new sections.
There is also a polska noted down by Taklax. Incidentally, Nordgren used another
of Taklax’s polskas in his popular Portraits of Country Fiddlers Op.26.
Finally, the music also briefly quotes a Japanese folk-dance rhythm reminding
us that Nordgren stayed in Japan, a salon piece by Winkler that the composer
had come across while studying with his violin teacher Rastenberger and a
short motif based on Kangas’ name. As already mentioned this varied material
may at first seem rather disparate but Nordgren succeeds in weaving it all
into a tightly-knit whole proceeding almost seamlessly from beginning to end.
The broad opening progressively states the chromatic line. This is brought
to a stop by the first appearance of the transposed DSCH motif. Some development
ensues till the first forceful statement of the polska and its variants at
time reaching something approximating to an Ivesian chaos. The music then
progressively retreats and the symphony ends with an appeased, luminous though
unresolved coda. Nordgren’s Seventh Symphony is one of his most emotionally
complex works as well as one of his most deeply personal achievements.
Summer Music Op.34 is an early work composed during Nordgren’s
stay in Japan. Though clearly folk-inflected the music never quotes any real
folk-tune. The result is a sunny, bright work, albeit one already abounding
in many Nordgren hallmarks, such as harmonic clashes and allusions to folk
music.
Nordgren’s Symphony No.8 Op.140 is essentially in two large
movements separated by a brief intermezzo. The music of the first movement
Minore is dominated by the interval of a minor third whereas the interval
of a major third prevails in the second movement Maggiore - information
drawn from Kalevi Aho’s excellent insert notes. The first movement opens in
a mysterious mood that will prevail throughout most of its length. The ominous
character of the music still emphasised by rhythmic ostinati that sound like
an inexorably ticking clock is interrupted by two short-lived outbursts; but
for most of the movement’s length, “there are no broad melodies and an air
of expectation prevails” (Kalevi Aho). The short Intermezzo scored for harp,
celesta and chiming percussion over a low F organ point on the double-basses
and cellos acts as a bridge into the second movement. This opens calmly with
a heavy march rhythm anticipating the folk march that characterises the main
part of the movement. As with the polska in the Seventh Symphony this marching
tune is varied in many ways. After this episode, the music suddenly harks
back to the material of the first movement thus creating an unsettling mood
that the marching tune tries to dispel. The bright mood eventually has the
upper and the symphony ends in a jubilant, though short-lived jubilant mood.
The Eighth Symphony is yet another impressive achievement in its own right
that magnificently crowns Nordgren’s symphonic cycle.
Nordgren managed to keep clear of all fashions and trends of his time and
to remain his own man throughout his prolific composing career. He painstakingly
succeeded in finding his own voice that makes his music instantly recognisable.
The Seventh and Eighth Symphonies undoubtedly place him amongst the most important
and individual symphonists of his generation.
Juha Kangas has a long working association with Nordgren’s music and conducts
vital readings of these impressive and often beautiful scores. The recording
is superb and the production, including Kalevi Aho’s informative insert notes,
is up to Alba’s best standards.
Hubert Culot
Nordgren’s symphonies on discs
Symphony No.2 Op.74 (1989)
Symphony No.4 Op.98 (1997)
Finnish Radio Symphony Orchestra/Juha Kangas
Finlandia 3984-29720-2
Symphony No.3 Op.88 (1993)
Symphony No.5 Op.103 (1998)
Finnish Radio Symphony Orchestra/Sakari Oramo
Ondine ODE 924-2