Kent Olofsson: Cordes & The Bells Corde for guitarist and orchestra (2002/2006)Fascia (2002) for charango, electric Midi – guitar and orchestra Collagene / Fascia II (2006) for glissentar, 11 stringed alto guitar and orchestra Colloide / Fascia Epilogue (2006) for banjo, oboes, harp, percussion and violas Stefan Östersjö, charango, e-bow, guitars and banjo; Gothenburg Symphony Orchestra / Mario Venzago The Bells for solo voices, double choir, ensemble and electronics (2000/2005) Vokalharmonin, Stephen Fitzpatrick, harp; Staffan Sjöholm and Thomas Gertonsson, double bass; Mårten Landström, keyboards; Mats Nilsson and Karl Thorsson, percussion; Fredrik Malmberg, conductor Phono Suecia PSSACD 170 [74 mins] Kent Olofsson (b. 1962), best known internationally for his chamber music, is one of the most innovative Swedish composers of his generation. His works are very often composed in close collaboration with specific ensembles, regularly utilising electronics or unusual instruments and combinations to create new original sonorities. All these elements are in play in Corde and The Bells, two spectacular and captivating pieces that resemble symphonic forms in their construction, character and, of course, duration. Corde is written for guitars (11 string alto guitar, electric Midi – guitar), charango, banjo and glissentar (1 player) and orchestra. The work consists of three pieces / sections. The first section, Fascia, is very celebratory in character with bright colours and a distinctively exotic South American colour in many parts, thanks to the use of charango. It oscillates between more Western contemporary idioms (and at times quasi-jazzy sections) and more folk-like material presented with the soloist, who embarks on multiple dialogues of different characters with the orchestra. The orchestration is very imaginative, creating very convincing organic timbral relationships between the various protagonists. The whole work functions as a guitar concerto but one of complex formal profiles. The orchestra is not restricted into just accompanying the soloist, but the latter’s role is to be, on several occasions, part of the overall texture, blending remarkably well with the other musicians. The composer achieves his stated intention to connect and unite both the orchestra with the solo instrument as well as the various elements of multiple musical cultures, and he nothing less than that. In my opinion, Corde is a must-study work for anyone interested in writing works utilising plucked strings and orchestra / ensemble. As such, it should be of particular interest to guitarists and composers. Throughout the 32 minutes of music, it demonstrates an astonishing variety of instrumental colours, microtones used in a beautiful melodic context and virtuosity on all parts. Many composers have been attempting to combine elements of various cultures to bridge traditions and techniques. Oloffson achieves all these almost effortlessly in Corde, a remarkable achievement indeed by any standards. The Bells (2005) for solo voices, double choir, ensemble and electronics was inspired by Edgar Allan Poe's poem, which had been set by Rachmaninoff as his Op. 35. Olofsson's began as a work in progress with a first version for soprano, flute and guitar. This final version was premiered by the Swedish Radio Choir. Oloffson used this Poe influence in choosing further texts such as Baudelaire and Mallarme, which help to create a connection with Poe’s intentions on a philosophical, philological and musical level. On a clearly musical level, the four sections of the work have a clear audible and dramatic unity and thread. The composer is using similar materials at many parts with small variations of “mood”, achieving a work of organic contrast. The main primary source of material could not have been any different than the sounds of bells that constantly transmogrify and are redistributed either at the electronic part or with the ensemble. The role of the singers is quite traditional as the main carriers of the text, concentrating on delivering its verbal meaning effectively with the utmost clarity. As such, they do not usually blend with the instruments. They are generally in the foreground, but there are, however, a few points in the work (third and fourth sections in particular) where they blend remarkably well with the ensemble. Both works show Oloffson not only to be always in control of his material but also as a master of dramatic control, and a naturally gifted composer for guitar. Evis Sammoutis |