Anders ELIASSON (1947-2013)
Symphony No. 3 for soprano saxophone and orchestra (1989/2010) [27.34]
Concerto for Trombone (2000) [21.56]
Symphony No. 4 (2005) [26.46]
Anders Paulsson (soprano saxophone)
Christian Lindberg (trombone)
Gothenburg Symphony Orchestra/Johannes Gustavsson (sy 3)
Royal Stockholm Philharmonic Orchestra/Sakari Oramo (concerto, sy 4)
Joakim Agnas (flugelhorn)
rec. 21 September 2001 (concerto) & January 2020 (sy 4), Konserthuset, Stockholm; 8-10 November 2017, Gothenburg Concert Hall, Sweden (sy 3)
BIS BIS2368 SACD [77.03]
It comes as something as a surprise, if not an embarrassment, that when a disc arrives for review, I find that I have no knowledge of the composer and discover that not only was he extremely well known in his own country but he has an extensive website with an interview, plus in-depth discussions of his work and there is also a society founded in his name. I was able, therefore, to come to this music of Swedish composer Anders Eliasson with an open mind.
He had an eclectic upbringing in the 60’s and 70’s as you might imagine, but on opening the handy, slim cardboard casing of this disc one reads that “all that music needs is movement and…tonality is the means to achieve it.” One wonders if Eliasson discovered this empirically or had felt it even through those experimental days of his youth.
The Symphony No 3 is something of a curiosity. How far is this five-movement work ‘symphonic’? It features throughout a virtuoso part for the soprano saxophone. In 1989, the composer, while working on the piece, envisaged the sounds for that particular instrument in its orchestral context, but John-Edward Kelly, for whom it was written, was an alto saxophone player by preference and it was on that instrument that it was first performed. The two men had a somewhat volatile relationship and when Eliasson eventually insisted that the work be performed on a soprano sax, Kelly locked himself in a lavatory and refused to perform. When the composer did make a version for soprano sax, ‘Kelly found it an afront” writes Peter Kislinger in his very interesting booklet essay. Both men are no longer with us, so all this can be openly discussed. But what about the music?
The first of the five movements is ‘Cerca’ (Quest) marked Agitato, and the musical ideas are indeed set out without any introduction and are full of nervous energy. Then follows ‘Solitudine’, the longest movement and an extremely atmospheric one. ‘Fremiti’ (Tremors) is a wild scherzo but the transition into the fourth part ‘Lugubre’ is, as Kislinger points out, quite a highlight. It has a valedictory feel of great beauty and sadness and ends with the short ‘Nebbie’(Mists) as the music vanishes into a Scandinavian fog. Perhaps the composer’s one-time thought of calling the work a ‘Sinfonia Concertante’ would have been more accurate, but what does nomenclature matter?
The Concerto for Trombone is in the usual three movements but mainly slow, fast, slow. It is not a fully virtuoso work, although it was composed for the great Christian Lindberg. Eliasson, who had been rather held to ransom by Kelly, here wrote something in which the soloist is more integrated within the orchestral spectrum and, as the booklet essay admits, in which bird song, often slowed down, is audible - although often in the solo trombone’s gentler moments. This work is no ‘doddle’ for the soloist; the long middle section (Allegro moderato) sounds very taxing, and the Epilogue (Lento cantabile) requires the long, lyrical line to be even in tone and to blend in the very quiet moments, especially in the magical ending. Whereas I found the Symphony No 3 at times annoying and often unconvincing, this concerto is more coherent and arresting, and worth the study. This is a recording of its first performance but it is disappointing that the piece is allotted only one track.
The Symphony No 4 is in four sections and they are separately tracked, fast-slow-fast with a short, slow epilogue. Kislinger goes in for some quite in-depth analysis of the work which turned out to be Eliasson’s final symphony, although others were planned.
The first movement is a true symphonic allegro, rhythmic, exciting and almost in sonata form. There are repeated melodic fragments - motifs really - which enable the listener to follow the tight argument. The second movement features some beautiful and effective writing for the flugelhorn. Eliasson was much influenced by jazz when younger and the way in which the flugelhorn winds around the luscious orchestral harmonies seems to reflect that. Next comes a ‘Con moto, minaccioso’ (with movement, threatening) which acts as a scherzo-finale and runs at a very high temperature. The flugelhorn returns for the atmospheric, valedictory epilogue. This is a more tonal work than the other two but at no point is it appropriate to consider its key.
Eliasson died of cancer on May 20, 2013 with the Fifth Symphony already formulating in his mind. I can see why this Fourth Symphony was chosen for a concert partially in his memory a week or so later. It is a very fine work which should be finding a place outside Scandinavia and is the highlight, I feel, of this disc.
The performances by the two orchestras and soloists are unbeatable - wonderful throughout, as are the vivid SACD recordings.
Gary Higginson
