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Reviews: Bo Linde: Orchestral Works Vol. 3 - Sundkvist

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Reviews: 1

Review by Edvin May 20, 2009 (11 of 11 found this review helpful)
Performance:   Sonics:
We are not supposed to review the actual music, but I feel that some pointers are necessary. Linde was a great admirer of Benjamin Britten and nowhere is this more evident than in his second symphony, placed first on this sacd. Nothing wrong with admiring other composers, but when it results in being a copy cat problems appear.
The second symphony is not only built in the same form as Britten's Sinfonia da requiem, it sounds like it. Three movements and the whole thing starts with a bang that sounds very much like the Britten piece. Even the orchestration is the same, with piano and timps. There follows a solo cello, just like in the Britten. The movement follows the earlier piece in its development. The second movement is an agitated scherzo and the finale more comforting - precisely like...you know what.

The first symphony is from an 18-year young man and I would like to categorize it as a typical symphony from Sweden during the fifties. There are loads of them, actually. A one movement symphony that begins with a slow introduction, a sort of cell that everything later springs from. Everybody did this then. I like this better than the later piece though, but Britten is present here also. This is more of the Peter Grimes Britten though. The piece has some attractive ideas and is expertly put together, and I quite enjoyed listening to it.

The last piece is more of the Linde that I admire and love. His thoughts on an ancient tune; Es ist ein Ros entsprungen. He merely uses fragments of the melody and if you know his concertos you will recognize this as pure Linde.

I cannot recommend this as a starter for the music of Bo Linde, whose life was tragically short. If you are unfamiliar with his music I warmly recommend his violin- and cello concertos on the same label.

Brilliant performances and recordings to match.But why did we have to wait so long for this, it was recorded in 2002 and 2004.

Thomas Roth

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