Norwegian Heartland - The Romantic Orchestral Heritage 2SACD

Norwegian Heartland - The Romantic Orchestral Heritage

Johan Svendsen: Norwegian Rhapsody no. 3, Norwegian Artist's Carnival
Edvard Grieg: Concerto for Piano and Orchestra in A minor
Johan Halvorsen: Norwegian Rhapsody no. 2, Bergensiana, Entry of the Boyars
Harald Sæverud: Peer Gynt Suite no. 1, Her Last Lullaby, Rondo Amoroso, Canto Rivoltoso
Geirr Tveitt: from Hundred Folk-tunes from Hardanger

Oslo Philharmonic Orchestra
Michail Jurowski, conductor
Sigurd Slåttebrekk, piano
Arve Moen Bergset, piano
Isa Katharina Gericke, soprano

What better way to celebrate the centenary of Norway in 2005 than to present the music written by their five greatest orchestral composers in the national romantic tradition. Five different composers merging national and international inspiration in their music. This is the Heartland of Norway's classical orchestral tradition, presented in new and sparkling performances by one of the top orchestras in the world. Released as SACD Hybrid 5.1 surround/stereo.

There is no question that the arts where extremely important in the movement that brought Norway out of its union with Sweden in 1905. In 2005 it seems appropriate to look back and give a coherent musical image of the national consciousness that was prevailing before and around 1905, and had great impact on the generations to come. From Svendsen, Grieg and Halvorsen to Sæverud and Tveitt: it is the sound of Norwegian stone, mountains, soil and landscapes. Norwegians recognizes themselves in this music, and the rest of the world knows us by it.

These are five composers with strong individual profiles and characteristics - very different in their expression, but with this unmistakable Norwegian attribute as an inspirational driving force audible in their music. They all relate in one way or another to the Norwegian folk musical tradition. Incorporating and developing themes as Svendsen, Grieg and Halvorsen does, collecting and expanding tunes within and orchestral spectrum as does Tveitt, or hooking on to the very spirit behind the folk music in Sæverud's fashion. This music holds a multitude of different moods and experiences, just like the country itself.

This is an absolutely stunning collection, both interpretively and sonically (whether in stereo or 5.1 surround-sound). Don't let the mish-mash of repertoire fool you: the repertoire has been planned with exceptional care to do exactly what the set promises--to highlight "the romantic orchestral heritage" of Norwegian music. Each disc is planned as a mini-recital, with longer works interspersed with extracts from Geirr Tveitt's wonderful Hardanger folk-song arrangements. Preceding most of these, singer Arve Moen Bergset sings the original tune, and the whole program covers more than a century of top-quality compositional activity, from the late-19th to the mid-20th centuries.

Both Svendsen and Halvorsen are represented by their most popular orchestral pieces (Norwegian Artists' Carnival and Entry of the Boyars, respectively), though the Norwegian Rhapsodies surely deserve to be better known, and Havlorsen's Bergensiana, a delightful theme with variations, will be new to most listeners. It also was a very good idea to include Saeverud's rhythmically enlivening Peer Gynt music instead of the more obvious incidental music by Grieg. The performances are all full of life, and soprano Isa Katharina Gericke makes a fine Solveig in her solo number. There isn't a single item from any of these three composers that isn't well worth having, and collectively (along with Tveitt) you can follow Norwegian music as it moves from its Romantic roots to a more contemporary sensibility.

Best of all is Sigurd Slattebrekk's performance of the Grieg Piano Concerto. I know it's silly to talk about "the best" in a work so often recorded, but if this performance isn't the finest of them all, it's so exceptional that it will make you forget about any others. Comparisons really are irrelevant at this level of technical and interpretive excellence. Slattebrekk brings something of Michelangeli's rhythmic precision and demonic drive, but also has a personal view of the music reflected in his exquisitely poised lyricism in the first movement's second subject, the slow movement, and elsewhere.

The performance is replete with fresh touches that will make you hear the music anew. Listen to how Slattebrekk launches the folk-dance rhythm of the finale, with a real spring in his step but also without banging. His finger work in the big moments is dazzling. The final pages have an epic sweep and grandeur that are simply unforgettable. In Michail Jurowski and the Oslo Philharmonic, Slattebrekk has the finest partners imaginable, and the state-of-the art sonics certainly help. Balances between solo and orchestra couldn't be better, permitting a real give-and-take between conductor and pianist. Everyone sounds inspired to give their best, making music with passion, affection, and no small degree of pride, culminating in an exceptional release, by any standard. [8/31/2005]
David Hurwitz, Classics Today