Sandström, Sven-David - Footprints - Björkman, David

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"Knappt hade Malmö dansteater och operaorkestern begått premiär på programmet "Leap Second" förrän en tillhörande cd infann sig, inspelad på förhand av Operaorkestern. Den innehåller Sven-David Sandströms musik både till Örjan Anderssons "Seven Days" och till "Nimrud", från samarbetet med Per Jonsson, 1987. "Seven Days" utgörs av variationer över Bibelns skapelseberättelse. Sju dagar på en knapp timme med omväxlande puls - "Våroffer" och Wagner, Stravinskys rytmiska excesser och "Rhenguldets" dunkla vältrande. Dramatiska urladdningar, hymnisk upphöjdhet och förlösande harmonier. Ett vemodsdrag kan också skönjas i många sköna passager i detta stämningsskapande danspartitur."

Malmö Opera Orchestra
David Björkman, conductor

Contact is vital to Sven-David Sandström. He wants his music to make a connection with others, as well as with himself. - I want the audience to gain something, to feel they learn something they didn't know before. This goes for me, too. I want to be touched and when the circumstances are optimal I even cry. It's not like I snuffle in the concert hall, but music sometimes make me cry and I can't explain why. - I want my compositions to be straightforward and simple. And emotional. I don't hesitate to be naive - even childish. The older I get, the more I want naivety. Sometimes people ask me "Now, wasn't that a bit over the top?". But I don't care. Naivety has, to me, a profound quality. And my only actual desire is to make contact. These quotes are to be found in Skånes Dansteater's programme, from their performance of Seven Days (with the addition of the performance Seven Clues). The quotes say a great deal about the mature composer's aesthetics, which were drastically changed when he started working with ballet in the late 1980's. Footprints is more than a pun, and the title implies the impression that this dance had on Sven-David's production. The record reflects the cooperation between him and two of Sweden's most famous modern choreographers, Per Jonsson and Örjan Andersson. The cooperation denotes a piece of Swedish ballet history, but also a piece of music history. The ballet music was a kind of liberation for Sven-David. It made him write more straightforward, based on inspiration and without a set concept. The motion energy in this music is transformed into a directional gestic, with a natural extension into bodily movements - where one gesture transforms into another. One way of writing music, far from the structural, quite serial technique (as we all know, a very orderly way of composing) that up to this point was the prevailing standard for the "new music" in Sweden. Tonal tunes were nonexistent between dramatic, tonal outbursts. Sven-David was one of the main representatives of this movement and already one of the more established composers in Sweden, with a series of "large" performances. However, in 1995 he caused a rare artistic debate in the newspapers, were other composers and critics suddenly came to life. This was associated with the first performance of his High Mass. Sven-David was accused of letting go of the modern ideals, degenerating into playing to the gallery using romantic gimmicks. Had they followed Sven-David's work, the surprise would have been lesser, since he a year earlier, in a piano concert as well as a cello concert, showed evidence of what was to come. In retrospect High Mass could be viewed as a watershed within Swedish composing, and after this confrontation everybody was allowed to write according to their own ideas. This mass was however just a logical result of Sven-David's private growth. He is a romantic at heart and it was important to him to break free from the narrow circle in which his new compositions were, in order to reach out with his story. Sven-David has always been immensely productive and during the 21st century his production has increased further, with music of every genre. But it's not until now and thanks to Dansteatern's order, that he has taken up ballet music again. Per Jonsson's premature death (1998) made Sven-David loose his pleasure in this genre. A complete record with ballet music for a large orchestra. This ought to be a rhythmic orgy, based on our experience from The Rite of Spring, Petrushka, Daphnis et Chloe, Orpheus in Town and other pieces of music written for ballet. But as Sven-David Sandström himself puts it: "Too much rhythmic is often seen as a deadlock by younger choreographers." A certain touch of melancholy, (isn't this maybe a Swedish, romantic feature?) is common for the two productions on this record. But apart from this they are very different; Nimrûd was written in '87 and is based on the old ways, while Sven's Days is written in 2010, and consolidates the style that was created by Sven-David in the late 1990's. Seven Days is based on the creation myth. Sven-David starts out from the biblical text and makes a musical interpretation of the dramatic events, when everything was created. It begins in complete darkness. Then light is born, the sea, the wind, the creatures. It's a meditative, yet dramatic music. It makes one think of Pärt and Gorecki. The opening movement is restrained, while the second one is dominated by powerful clang layers that balance each other like waves in the ocean. The sea and the earth's division on the third day is steadily intensifying from sometimes powerful, sometimes soft repetitions. It's not until the day and night, on the fourth day, divides into light and darkness, that the typical and lucid Sandström melodics is emerging, as a confirmation of previous fragments. Dreamlike, with sliding motions, it creates a kind of trust that makes us open up for the multiplicity of the fifth day. When man makes his entry on the sixth day the music becomes brutally rhythmic. On the seventh day the Creator rested and here the composer is rounding things off, quite peacefully. The listener has been admitted to Sven-David's tonal world, created by the strings' and the woodwind's bright tones, the powerful drums and the solid base: the dark brass section. Nimrûd is one out of several ballets that Sven- David wrote for Per Jonsson. This title also is from the bible. Nimrûd was an Assyrian warrior king and a dignified hunter. Surrounding his name is a scent of violence and death, power and hunting. But the music do not attempt to describe this "hero". The title was not yet considered as Sven-David wrote the music, it was attached afterwards because of the dramatic style. The music is a torrent of absurd ideas, suddenly sounding like Mahler, or anything. A series of images more than complete scenes are tossed about, as if displaying slides/PowerPoint images in a furious pace. The piece is a collection of energy, either tied up or exploding.

Artikelnummer SCD1150
Streckkod 0822659011509
Utgivningsdatum 2011-03-21
Kategori Klassiskt
Skivbolag Swedish Society
Enhet CD
Antal enheter 2
Dirigenter Björkman, David
Kompositörer Sandström, Sven-David
Disk: 1
Seven Days
1 Dag 1 (Day 1)
2 Dag 2 (Day 2)
3 Dag 3 (Day 3)
4 Dag 4 (Day 4)
5 Dag 5 (Day 5)
6 Dag 6 (Day 6)
7 Dag 7 (Day 7)
Disk: 2
1 Nimrûd
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