ERLAND VON KOCH (b.1910)
Lappland-Metamorfoser (1957) 12.49
Impulsi (1964) 11.35
Echi (1965) 13.03
Ritmi (1966) 11.43
Oxberg-Variationer (1956)
17.26
Stockholm PO/Stig
Westerberg
rec Stockholm Concert Hall, Jan-Sept 1977; 26 May 1960
(Oxberg)
SWEDISH SOCIETY DISCOFIL SCD 1024
[66.36]
Swedish Society
Clean, sharply delineated, folksy without kitsch and strongly rhythmic, von
Koch's music has made small impact internationally. Time for reassessment.
Von Koch was born into a cultured family. Guests at his home included Rangstrom
and Stenhammar. His father, Sigurd, was also a composer, and sadly he died
when his son was only nine passing on to him his love of the sea, of music
and of the Stockholm archipelago. Studies at the Stockholm Conservatory lead
on to work with Claudio Arrau and writing music for Ingmar Bergman's early
films.
These three pieces are a counterpart to the named orchestral works of William
Mathias. They are each tone poems or orchestral studies. The approach is
similar to the explosive energising music one finds in Uuno Klami's Kalevala
Suite or even Copland's El Salon Mexico. There are traces of Stravinsky and
Holmboe. The music 'feels' big and is often marked out by dance fragments
stamping and flickering. The woodwind writing is notable for carrying the
front-line interest. Too, however, Von Koch employs the percussion to dramatic
effect as well as for colour. The music is refreshing and in no way cloying
or prolix.
Impulsi, Echi and Ritmi are grouped as the Impulsi
Trilogy. The predominance favours verve and virile life. There is a
pronounced Hungarian element (Kodaly and Rozsa rather than Bartok) in the
Lappland Metamorfoser and, up to a point, the Oxberg Variations
(note some Hovhaness-like trombone 'slides'). This is less evident in
Impulsi. In both Echi and Ritmi the xylophone is notable
for goading the work on to new heights of excitement.
Anyone at all susceptible to Rozsa's Tripartita, Janacek's Sinfonietta, Moeran's
Sinfonietta, Kodaly's Galanta and Hary Janos will have no difficulty with
these works and will be delighted with the discovery. Notes are light on
detail. Recording quality open and lively if marginally harsher in the Oxberg
work. Recommended.
Reviewer
Rob Barnett
