Henning MANKELL (1868-1930)
Concerto for Piano and Orchestra Op. 30 (1917) [36:42]
Gösta NYSTROEM (1890-1966)
Concerto Ricercante for Piano and Chamber Orchestra (1959) [25:18]
Anna Christensson (piano)
Deutsche Staatsphilharmonie Rheinland-Pfalz/Roberto Paternostro
rec. 2015, Ludwigshafen, Philharmonie, Germany
World premiere recording (Mankell)
Deutschlandradio Kultur production
CAPRICCIO C5240 [62:00]
At first this might seem an odd pairing, on the one hand
we have a work by one of Sweden’s romanticists, which is coupled with
a concerto by a composer who, along with Hilding Rosenberg, was one of the
country’s leading modernists. However, this works surprisingly well
with each work proving a fine contrast for the other.
Henning Mankell, who is the grandfather of the author of the ‘Wallander’
series of books and much besides, is deeply rooted in the romantic tradition;
this is evident in Anna Christensson’s fine survey of his solo piano
works (Phoenix Edition PE184 -
review), where his music shows the influence of Chopin and to a lesser
extent of Schumann and Brahms. Here, the Concerto still shows the influence
of the Polish master, although with the scale and grandeur of Rachmaninov.
The first movement alone is just over seventeen minutes long and has a fast-slow-fast
structure so could be construed as a mini-concerto in its own right. The second
and third movements follow in a similarly romantic vein, and at nearly ten
minutes each it all adds up to quite a substantial and unjustly neglected
work. Here the Concerto receives its premiere recording, and I can only ask
why. It may not be a masterpiece, but it is interesting and attractive enough
to warrant an occasional recording and public performance. There are far less
worthy works out there which have achieved a popularity beyond their status.
The second work on this disc is a different kettle of fish altogether. Gösta
Nystroem, despite being born only twenty two years after Henning Mankell,
is stylistically streets ahead of his compatriot. I have come to know his
music through the excellent recordings of his symphonies on Bis (BIS-CD-782
(Espressiva and Seria), BIS-CD-1082
(Shakeseariana and Tramontana) and BIS-CD-682 (various including
Sinfonia Concertante)) as well as some of his many fine songs (BIS-CD-38L
Songs at the Sea). Yes this is obviously music that is more modern
than Mankell’s but it is tuneful modernity. It has a definite sequence
and progression. It is not just a case of notes for the sake of it. I should
suggest that Nystroem’s music has more in common with that of Allan
Pettersson, Dag Wirén and with the Danish composer Vagn Holmboe than with
that of Hugo Alfvén, Ture Rangström or even Kurt Atterberg. The Concerto
Ricercante follows in the same vein as the symphonies; it is full of
dramatic intensity with quite difficult and demandingly virtuosic passages.
Nystroem asks a lot of both the soloist and the ensemble, and this despite
it only being a chamber orchestra. I am glad to say that all perform well
here.
The performance in both concertos is in fact excellent. I came to know of
Anna Christensson through her excellent recording of the solo piano music
of Hilding Rosenberg (Capriccio C5116), this led me to invest in recording
of the solo piano works of Mankell (Phoenix
Edition PE184). Here she shows she is equally adept in the larger-scale
concerto as she is in the solo repertoire. The Deutsche Staatsphilharmonie
Rheinland-Pfalz are very spirited; indeed first rate under the direction of
Roberto Paternostro of what I can only imagine was music that was new to them.
Good recorded sound and booklet notes make this a most attractive disc.
Stuart Sillitoe
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