In Memoriam Pehr Henrik Nordgren
Pehr Henrik NORDGREN (1944-2008)
Concerto for Saxophone Quartet, String Orchestra and Gong, Op. 108
(2000)*† [22:36]
Arvo PÄRT (b. 1935)
Fratres (1977/2007)† [11:04]
Áskell MÁSSON (b. 1953)
Quatrain (2005)*† [19:08]
Kalevi AHO (b. 1949)
In Memoriam Pehr Henrik Nordgren (2009)‡ [10:29]
*Raschèr Saxophone Quartet (Christine Rall (soprano sax), Elliot Riley (alto
sax), Bruce Weinberger (tenor sax), Kenneth Coon (baritone sax))
†Lapland Chamber Orchestra/John StorgÅrds
‡John Storgårds (violin)
rec. 11-13 August 2010, Rovaniemi Church, Finland. Stereo/Multichannel 5.1
ALBA ABCD 322 [64:06]
The Finnish composer Pehr Henrik Nordgren was certainly prolific, with more
than 140 works to his name, 32 of them concertos. In his liner-notes Timo
Ruottinen makes the point that the latter are more accurately described as
‘concerto-like’, as they don’t always follow the traditional pattern of soloists
pitted against a larger ensemble. That, and the intriguingly titled Concerto
for Saxophone Quartet, String Orchestra and Gong, certainly whetted my
appetite for this piece. As for Arvo Pärt’s Fratres, it’s more
familiar, but Icelandic composer Áskell Másson’s Quatrain and Kalevi
Aho’s In Memoriam Pehr Henrik Nordgren – the latter scored for solo
violin – are new to me.
Also unfamiliar are the Raschèr Saxophone Quartet, although John Storgårds
and the Lapland Chamber Orchestra made a lasting impression with Aho’s huge
Symphony No. 12 ‘Luosto’ – review
– which was one of my Recordings of the Year for 2008. In passing I simply
must mention two exceptional sax discs I’ve heard in recent years; 20th-century
quartets from the Tetraphonics – review
– and the Berlin Saxophone Quartet’s set of Renaissance arrangements (review).
The unique sound of these feisty foursomes is addictive, especially when the
repertoire – and playing – is of such high quality. Speaking of which, the
Aho symphony is one of BIS’s very best Super Audio CDs; the Tetraphonics SACD
is just as astonishing in its presence and timbral sophistication.
Finnish label Alba caught my ear with a collection of homegrown organ music
– review
– which suggests their SACDs are on a par with those offered by fellow Finns
Fuga. Indeed, the gong that introduces the Nordgren concerto will make you
think you’ve unwittingly wandered into a bell tower, such is its impact. This
is clearly a recording of great immediacy and range, the saxophones’ distinctive
timbres superbly caught. Influences? Hard to tell; in its more static moments
there’s a nod towards Japan, where Nordgren studied in the early 1970s, whereas
the more trenchant writing might recall Shostakovich. In any event it’s a
lively, highly virtuosic piece, full of character and contrast.
A terrific opener, this, and proof – if it were needed – that these Laplanders
and this quartet are supremely talented. The more intense, tightly focused
passages are simply thrilling in their mix of exoticism and urgency; even
the lyrical moments – not to mention those equivocal harmonies and strange
glissandi – catch one’s ear, helped by a recording of rare fidelity
and refinement. And what a sensible balance, dynamic extremes easily accommodated
without the need for constant knob-twiddling. Even more impressive is the
fact that the Red Book layer sounds so good, vying with the Super Audio one
in nearly every respect.
I must confess I’m not a great fan of Estonian composer Arvo Pärt’s particular
brand of minimalism, but I have enjoyed Spiegel im Spiegel, Cantus in memoriam
Benjamin Britten and Fratres. The last, which exists in
a number of guises, is played here in a version for orchestra. The composer’s
so-called ‘tintinnabular style’ is evident from the outset, those bell-like
sonorities and chord sequences punctuated by spine-tingling thuds from the
bass drum. It may be rather slow moving, but Fratres has an artless,
aching beauty that always catches me by surprise. I doubt you’ll find a better
played and recorded rendition than this.
The remaining items are no less arresting. Áskell Másson’s punningly titled
Quatrain certainly highlights the contrasting timbres of these four
saxes, blending perky cross-rhythms with piquant sonorities. The throatier
voices and the light, more songful ones are very well captured, the orchestra
playing with precision throughout. As with the other pieces on this disc,
Quatrain is accessible without sounding anodyne; whether it’s the shimmer
of bells, silvery winds or chuffing rhythms I found myself marvelling at the
originality and tonal variety of this genial creation.
Conductor John Storgårds swaps his baton for an instrument in the concluding
piece, Aho’s In Memoriam Pehr Henrik Nordgren. The composer has chosen
the simple, elevated tones of a lone violin for this most beguiling tribute.
There are no histrionics here, just a light, rarefied sound that soars and
sings most beautifully. Anyone familiar with Aho’s œuvre will delight
in the directness of this lovely, almost flute-like, solo. StorgÅrds’
melodic fluency and purity of line are just remarkable, the instrument sensibly
placed and naturally recorded.
Alba really must be congratulated for lavishing so much care and attention
on what is surely peripheral repertoire. It all comes down to production values;
everything about this release breathes quality, from the pieces themselves
to the top-notch artists and first-rate sound.
I urge you, take a punt on this one; it’s sheer, unalloyed pleasure.
Dan Morgan
http://twitter.com/mahlerei
Sheer, unalloyed pleasure.