Trondheim Symphony Orchestra, Eivind Aadland - Schjelderup: Brand - Symphony No. 2, "To Norway" (2009)
BAND/ARTIST: Trondheim Symphony Orchestra, Eivind Aadland
- Title: Schjelderup: Brand - Symphony No. 2, "To Norway"
- Year Of Release: 2009
- Label: CPO
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:13:08
- Total Size: 315 mb
- WebSite: Album Preview
Tracklist
01. Brand: I. Wanderung durch Nebel und Sturm nach dem hochsten gipfel
02. Brand: II. Agnes
03. Brand: III. Brands Ermahnung
04. Brand: IV. Liebe in Lied und Lust
05. Brand: V. Alles oder Nichts
06. Brand: VI. Wer Jehova geschaut, muss sterben
07. Brand: VII. Einsam
08. Brand: VIII. Mein Gott ist Sturm
09. Brand: IX. Heldentod
10. Symphony No. 2, "To Norway": I. Havet
11. Symphony No. 2, "To Norway": II. Vaar
12. Symphony No. 2, "To Norway": III. Fjellvidden
13. Symphony No. 2, "To Norway": IV. Op. mot de hoieste tinder!
The work of late-Romantic Norwegian composer Gerhard Schjelderup had not appeared in classical catalogs until CPO released this disc of his 1910 symphonic poem Brand, loosely based on a drama by Ibsen, and his 1924 Second Symphony, "To Norway," each movement of which depicts a different Norwegian scene. In these performances by Eivind Aadland and the Trondheim Symphony Orchestra, Schjelderup demonstrates a more virile aesthetic than his Norwegian contemporary Johan Halvorsen. Brand is a big, burly work cast in a single half-hour movement featuring storm music, love music, battle music, and more storm music. "To Norway" is a program symphony in four movements illustrating The Sea, Spring, The Mountain Plateau, and The Highest Peaks in music that sounds strikingly similar to the storm music, battle music, and love music of Brand. Whatever it is meant to depict, Schjelderup's music sounds deeply derivative, with some passages strongly influenced by Strauss and others indebted to Wagner. For all Schjelderup's conspicuous energy, Halvorsen's more conservative but better defined artistic personality makes him the more appealing composer. Aadland and his Norwegian musicians are demonstrably doing all that can be done for Schjelderup, and anyone who absolutely has to hear every orchestral work produced in Scandinavia between 1850 and 1950 may not be overwhelmingly disappointed.
01. Brand: I. Wanderung durch Nebel und Sturm nach dem hochsten gipfel
02. Brand: II. Agnes
03. Brand: III. Brands Ermahnung
04. Brand: IV. Liebe in Lied und Lust
05. Brand: V. Alles oder Nichts
06. Brand: VI. Wer Jehova geschaut, muss sterben
07. Brand: VII. Einsam
08. Brand: VIII. Mein Gott ist Sturm
09. Brand: IX. Heldentod
10. Symphony No. 2, "To Norway": I. Havet
11. Symphony No. 2, "To Norway": II. Vaar
12. Symphony No. 2, "To Norway": III. Fjellvidden
13. Symphony No. 2, "To Norway": IV. Op. mot de hoieste tinder!
The work of late-Romantic Norwegian composer Gerhard Schjelderup had not appeared in classical catalogs until CPO released this disc of his 1910 symphonic poem Brand, loosely based on a drama by Ibsen, and his 1924 Second Symphony, "To Norway," each movement of which depicts a different Norwegian scene. In these performances by Eivind Aadland and the Trondheim Symphony Orchestra, Schjelderup demonstrates a more virile aesthetic than his Norwegian contemporary Johan Halvorsen. Brand is a big, burly work cast in a single half-hour movement featuring storm music, love music, battle music, and more storm music. "To Norway" is a program symphony in four movements illustrating The Sea, Spring, The Mountain Plateau, and The Highest Peaks in music that sounds strikingly similar to the storm music, battle music, and love music of Brand. Whatever it is meant to depict, Schjelderup's music sounds deeply derivative, with some passages strongly influenced by Strauss and others indebted to Wagner. For all Schjelderup's conspicuous energy, Halvorsen's more conservative but better defined artistic personality makes him the more appealing composer. Aadland and his Norwegian musicians are demonstrably doing all that can be done for Schjelderup, and anyone who absolutely has to hear every orchestral work produced in Scandinavia between 1850 and 1950 may not be overwhelmingly disappointed.
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