Torbjörn Iwan LUNDQUIST (1920-2000)
Symphony No 5 ‘Wienerische’ (1980) [25.02]
Symphony No 8 ‘Kroumata’ Symphony (1992) [31.00]
Kroumata Percussion Ensemble
Helsingborg Symphony Orchestra/ Torbjörn Iwan Lundquist (5)
Malmö Symphony Orchestra/B. Tommy Andersson (8)
rec. 1980 (5), 2002 (8)
STERLING CDM3007-2 [56.10]
The Swedish composer Torbjörn Iwan Lundquist composed eight symphonies in total (there’s no No. 6), and with this latest release from Sterling of Nos. 5 and 8, the label’s catalogue can boast six of the cycle released to date. I have reviewed two other releases of his symphonies by Sterling (review ~ review). The composer titled seven of his symphonies, the exception being No. 1, but they’re not programmatic, rather the titles are suggestive of the music’s inspirational sources. For newcomers, the music is tonal for the most part, but fuses diverse elements drawn from other cultures. Examples are jazz-inflected influences, and percussion effects of Indonesian gamelan. I’ve included Lundquist’s biographical details in my previous reviews, so I’ll not repeat them here.
The Symphony No. 5, ‘Wienerische’, is the more approachable of the two symphonies and is classically structured in the Haydn, Mozart and Beethoven mould, hence the title. It’s in three movements, adopting the fast-slow-fast pattern, and dates from 1980. Lundquist scores the work for a smaller orchestra than was his norm (double woodwinds, two trombones percussion and strings), and dedicated it to the Halmstad Chamber Orchestra, who premiered it in February 1980. The opening movement, the longest of the three at 11 minutes, sets the tenor for the whole work. Upbeat and affable, the mood is unbuttoned and relaxed. The Poco lento is ushered in by two bassoons and opens out into a landscape drenched in sunlight. After a while the music bubbles up and the tempo hastens, the atmosphere heightened by punctuations from the trombones. The cheery finale is brief at only four minutes, with each of the instrumental sections given its moment in the sun.
The Symphony No 8 was composed between 1989 and 1992 and takes its title from the Kroumata Percussion Ensemble, to whom it was dedicated. For this performance, the World Premiere, given two years after Lundquist’s death, the Ensemble are harnessed with the Malmö Symphony Orchestra, under the baton of Tommy Andersson. The one-movement work contrasts strikingly with the Fifth Symphony, taking the listener on a more bumpy ride. The percussion group are sometimes pitched against the orchestra, at others integrated. Despite being a single movement structure, I detect three distinct sections. An arresting call to arms sets the Symphony going. The frenetic character of the first part is achieved by rhythmic intensity moving across the various orchestral sections. A central meditative section allows some room for thought and reflection, before intense percussion and brass eruptions enter the fray. The closing scene has marimba, woodwind and chiming bells steering everything to a pianissimo conclusion.
Sterling is making steady progress through the Lundquist Symphony cycle. With two more symphonies to go (Nos. 1 and 7), I hope we won’t have to wait too long. These gripping scores are well recorded and reveal much orchestral detail. The release is well-supported with excellent annotations by Curt Carlsson and Dag Lundquist, the composer’s son.
Stephen Greenbank
Previous review: Gary Higginson
