Hugo Alfvén - Cantatas Vol. 1 (Stefan Parkman)

Information

Composer: Hugo Alfvén

• (01) Vid sekelskiftet, Op. 12
• (05) Kantat vid Reformationsfesten i Uppsala 1917, Op. 36
• (08) Klockorna, Op. 13

Lena Hoel, soprano

Karl-Magnus Fredriksson, baritone

Royal Stockholm Philharmonic Choir

Gävle Symphony Orchestra

Stefan Parkman, conductor

Date: 1999

Label: Sterling

https://www.sterlingcd.com/catalogue/cds1036.html

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Review

Occasional cantatas tend to be performed once or twice and then consigned – often rightly – to oblivion. Here, however, is a thoroughly entertaining programme of works that transcend their original purposes

Cantatas for ceremonial or anniversary occasions have a distinguished tradition in the Nordic countries, as can be seen in the catalogues of Sibelius, Grieg, Nielsen and Holmboe, among others. Hugo Alfven was as accomplished as any – indeed, comparing the two main works on this new release with Sibelius’s ‘Conferment’ and Coronation cantatas (the latter for Tsar Nicholas II, 5/00), Alfven was the finer exponent. Listen to the opening movement, ‘Life’s Empire’, of Vid sekelskiftet (‘At the Turn of the Century’), which has real nobility about it; and if the second and fourth are emptily high-spirited, they still sound fun. Alfven’s style may seem archaic for 1899, but there are sufficient passages – especially in the third movement, ‘Valdarnas offer’ (‘The world’s offering’, a solo for soprano which can be performed separately) – that reveal the anachronisms to be more calculated than might at first appear. Alfven’s next numbered opus, the ballad Klockorna (‘The Bells’, 1900), was more consistently adventurous in harmony and orchestration (including two pianos), and is an absolute gem, sung beautifully by Karl-Magnus Fredriksson.

Fredriksson also features in the 1917 cantata commemorating the 400th anniversary of Luther nailing his 95 Theses to the chapel door in Wittenberg, thereby setting in motion the Protestant Reformation. The music (built around three Lutheran chorales) is magnificent, particularly in the first two movements, with their deeply affecting nobility of utterance. The final movement does burn at a lower level, slowly building towards the chorale Ein’ feste Burg ist unser Gott, as if Luther’s great hymn cramped Alfven’s compositional style.

Stefan Parkman, who directed several wonderful discs with the Danish National Radio Choir, secures wonderfully full and committed performances from Stockholm’s Royal Philharmonic Choir and the Gavle orchestra, and Sterling’s recording is warm and clear. A thoroughly estimable project, warmly recommended.

-- Guy Rickards, Gramophone

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Hugo Alfvén (May 1, 1872 – May 8, 1960) was a Swedish composer, conductor, violinist, and painter. Alfvén became known as one of Sweden's principal composers of his time, together with his contemporary Wilhelm Stenhammar. Alfvén's music is in a late-Romantic idiom. His orchestration is skillful and colorful, reminiscent of that of Richard Strauss. Like Strauss, Alfvén wrote a considerable amount of program music. Some of Alfvén's music evokes the landscape of Sweden. Alfvén played violin at the Royal Opera in Stockholm, toured Europe as a conductor throughout his life, and also a talented watercolorist painter.

https://en.wikipedia.org/wiki/Hugo_Alfvén

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Stefan Parkman (born 22 June 1952, in Uppsala) is a Swedish conductor and professor at Uppsala University.

https://www.stefanparkman.com/

https://en.wikipedia.org/wiki/Stefan_Parkman

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