Pehr Henrik NORDGREN (1944-2008)
Transient Moods
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. 24-26 April 2007, 25-28 March 2008, Turku Concert Hall. DDD
ALBA ABCD 288 [60:55]
Nordgren was a Finnish composer, who wrote over 140 works. This disc contains
his final two symphonies, as well as the earlier work, Summer Music.
The Seventh Symphony is a rich work, with a somewhat haunting opening which
uses a highly chromatic compositional language. After a beautiful cor anglais
solo, the music breaks into a folk dance, which seems to come from nowhere
and then disappears again. The DSCH Shostakovich motif also makes regular
appearances, signifying Nordgren’s respect for the Russian composer. The folk
dance returns, and the alternating major/minor tonality eventually breaks
down impressively into atonality. Commissioned by Juha Kangas and the Turku
Philharmonic Orchestra in 2004 to commemorate Nordgren’s sixtieth birthday
and the many quotes within the work refer to aspects of Nordgren’s life and
influences. This is a work which has a strong sense of personality and shows
the Nordgren’s range. The atonal moments of the work are as convincing as
the folk themes and there is a sense of a lifelong musical journey within
the music.
Summer Music has an altogether brighter feel. Composed in 1977 during
a trip to Japan, the music displays strong folk-music elements and has an
enjoyable lightness of touch. The pastoral style of the music reminds me of
Nielsen, Sibelius and also even at times Beethoven, but within Nordgren’s
individual voice.
The Eighth Symphony is dedicated to Juha Kangas, in celebration of his 60th
birthday. Kangas conducts here. He had a friendship with Nordgren since their
university days. Kangas is a staunch supporter of Nordgren’s music and has
performed many of his works. The movements are entitled Minore, Intermezzo
and Maggiore, mapping out a journey through the tonality of the
work. The Minore movement is dark, with simple textures and repeating
motivic ideas based around the interval of a minor third. Tension is built
through these repetitions, and there is little in terms of long melodic lines.
The short intermezzo is sparsely scored, using only harp, celesta,
bells and low strings, giving a somewhat ominous feel and a peaceful link
into the final movement. Maggiore has a slow and calm opening, leading
directly out of what has come before, but with brighter major harmonies developing
and a gaining sense of momentum. Folk-influenced themes soon take over and
a plethora of melodic ideas are treated to Nordgren’s harmonic language. Tonal
melodies are heard within a dream-like tapestry of sound. The moods change
rapidly in this music, and a darker character takes over once again, with
a dramatic ending which carries the listener along in its building momentum.
One would expect Kangas to deliver a considered and convincing performance,
and he lives up to expectations here. The Turku Philharmonic play well throughout,
and there is a sense of honesty about the music, providing faithfulness to
the score without the inclusion of too much interpretational baggage. Nordgren’s
music is contemporary yet speaks to a wide audience. The folk elements lead
a path through his more complex language and provide an interesting and often
thought-provoking musical journey.
Carla Rees