Niklas SIVELÖV (b. 1968)
Concerto Classico for piano and orchestra [23:57]
Concerto No.2 for piano and strings [20:09]
Concerto No.5 “Riddarkonserten” for piano and brass band [20:41]
Niklas Sivelöv (piano)
Malmö Symphony Orchestra/Victor Aviat
Livgardets Dragonmusikkår/David Björkman
rec. 2016/2019, Malmö Live, Malmö; Konserthuset, Stockholm, Sweden
NAXOS 8.573181 [64:47]
It was interesting to read in the accompanying booklet that Swedish
composer and pianist Niklas Sivelöv considers his Concerto Classico
a jungensünde (sin of his youth), despite it have been written
when he was 30. In umpteen cases throughout history composers have harshly
judged their juvenilia and in many cases destroyed it or forbidden its
performance. Thank goodness this is one example where a composer has
allowed it to remain a part of his corpus of works and, in the case
of this disc, even gone as far as to record it with himself as soloist.
It is more than simply a worthy work; it is a thoroughly enjoyable one
that I am sure gives pleasure whenever it is heard. I found it immediately
appealing and I agree with booklet writer Søren Schauser that there
are shades of Gershwin in the outer movements, but I hear elements of
Hindemith too, both of which composers brought breaths of fresh air
to the 1930s in bold statements infused with confidence in the future
(if only they’d known what was coming!).
The concerto bursts into life right from the first note as if it had been
playing silently before the sound is heard and continues in energetic mood
throughout the first movement. It has a sense of fun and never takes itself
too seriously. Both the outer movements are imbued with a frenetic drive
that is infectious, while the central one is reflective and rather
lugubrious, but segueing into the final movement the dancelike opening
brings back one of the core melodies from the first movement so we know
that all is well again.
Whether the Concerto Classico is considered his concerto
no.1, his 2nd is for piano and strings only. It was composed
only four years after the Concerto Classico, but he revised
it 14 years later in 2016. This concerto has much more of a contemporary
nature to it and is serious with moments of stridency as well as of
great beauty.
The number of concertos for piano and brass band can be counted, if not on
the fingers of one hand then certainly on two so Sivelöv’s version for this unusual combination
is a welcome addition to the brass band repertoire, giving it plenty to get
their teeth into. Drawing influences from the entirety of musical history
it has drama aplenty as well as some wonderfully drawn moments of serenity.
The sense of fun so apparent in the Concerto Classico is also
never far from the surface in this one either. While the 2nd
concerto doesn’t make you feel that brass is missing neither does his fifth
make you aware there are no strings; such is the strength of Sivelöv’s
music; it stands on its own merits and its presence is powerful enough to
assert itself in every aspect.
Niklas Sivelöv proves himself not just as a composer of huge creative
talent but as a convincing exponent of his own music with pianistic
gifts that are equal to his compositional ability. He is given great
support from both conductors and musicians on a disc that is a revelatory
introduction (for me at least) to a composer of considerable interest.
Steve Arloff
