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]
With the addition of this CD to the catalogue, all of the symphonies by Swedish composer Torbjörn Iwan Lundquist are now commercially available on either the Stirling or the Bluebell labels - and if, like me, you are coming to his music for the first time or almost the first time, then do not despair, because the excellent CD booklet has a sensitive, biographical insight into the composer by his son Dag and then an essay on Lundquist ‘The Symphonist” by Curt Carlsson, followed by a fairly detailed, but not over-complicated, analysis of the two symphonies recorded here. There is also an extensive list at the back of the booklet of Lundquist’s works and recordings.
The subtitle of the 5th Symphony, ‘Wienerische”, refers not to its place of composition but to the definite Viennese classical influence which the composer exerted over it. The orchestra is moderate, with just double woodwinds, two trombones percussion and strings. It is certainly not a neo-classical work but its length is Haydnesque, its first movement is in sonata form, the middle movement starts as a Lento but develops into a sort of happy Scherzo and the finale is brief and breezy. It seems that Lundquist’s previous four quite serious symphonies all had at their heart “nature”, its inspiration or a deep concern for its future alongside mankind. This work is a recognised diversion from all that, and was even described at the time of its first performance as an “intermezzo”. I must add that the second movement is certainly ‘pastoral’ in nature and there are passages when one imagines the composer meditating on the natural world. This love of the natural environment seems to have been developed when the composer was very young and holidayed beside Lake Mölaren. It is a skilful and attractive work and for me a pleasing introduction to the composer.
However, chalk and cheese, the 8th Symphony is quite different. It is scored for a percussion ensemble and orchestra and is in one long movement. Its subtitle, the “Kroumata Symphony”, refers to the name of percussion group, which took part in its first performance in Malmö. It was completed in 1992 and the composer stressed that it was a symphonic work and not a concerto but he never heard it. For some reason it took until 2002 for a performance to take place. The composer had been ill for some time and had died of cancer two years before.
It is not possible to analyse the form of the work closely without boring you, but the opening section is quite lengthy, highly rhythmic and at times ferocious. Eventually a middle section appears with a few different tempi but largely slow and wonderfully atmospheric with an ingenious use of vibraphone and harp across a carpet of strings harmonies. The last section is related to the first being highly ‘jazzy’ and wild at times, syncopated and full of irregular rhythmic patterns. There is a coda for the percussion before a more reflective, almost major key ending with bell chimes. All fascinating and, as my youngest son agreed, “ear-grabbing”. The well-spaced recording is of that first performance.
Just a word on the two orchestras. I go to Sweden almost every year and have heard these orchestras live. I find it quite astonishing that what amounts to quite small cities, population wise, like Malmö and Helsingborg, can produce such a high orchestral standard. It’s clear also that they had a great understanding of Lundquist’s language. We can be grateful to Swedish Radio for the fact that these fine recordings have been brought out of their archive to help in the promotion of the music of this very fine composer. I can say no more than that I hope in the future more of his work will come my way for reviewing.
Gary Higginson
