From the outset of his career, Jean Sibelius was recognized as an outstanding representative of a musical language perceived as typically Finnish. In Finland, the dawn of the 20th century saw a veritable outbreak of nationally inspired artistic activities., It was a time of cultural and national self-discovery for Sibelius, too. He allowed himself be stimulated by the whole of Finland’s folklore tradition, without resorting to specific examples of folksong.

For many years, Carl Nielsen was viewed outside his native Denmark as the poor cousin of his more famous Scandinavian counterparts, Grieg and Sibelius. Yet his achievements as Denmark’s greatest symphonist of the 20th century were, if anything, even more remarkable than the successes of his geographical neighbors. Nielsen’s symphonic output is some of the most remarkable of its time.

The Norwegian conductor and composer Johann Svendsen was born in 1840 in Christiania (now Oslo). in 1867, he finished his Symphony No. 1, a work that Grieg later described as showing scintillating genius, superb national feeling and really brilliant handling of an orchestra. In 1872 Svendsen returned to Christiania beginning a fruitful period that saw the creation of his Symphony No. 2 in B flat major Op. 15.

Hugo Alfven's First Symphony (1897) has a melancholy Sturm und Drang mood that recurs at intervals in his later compositions, but there is also a life affirming side that flourished in his Second Symphony, two years later. Of his Third Symphony, he stated "it depicts neither concrete nor abstract. It is an expression of the joy of living, an expression of the sun-lit happiness that filled my whole being.”

Wilhelm Stenhammar's Symphony Op. 34  saw the light of day in 1907, dedicating it to “my dear friends, the members of the Goteborg Symphony Orchestra.” He was to remain its chief conductor until 1922. That symphony, which had its first performance under the composer’s direction in 1915, was in fact Stenhammar’s second and is today called Symphony No. 2, even if the composer himself never gave it that number.

Edvard Grieg’s Symphony in C minor, which the composer withdrew, saw scholar after scholar writing about it disparagingly, with much discussion of the its style, all too often based on the question: what are its unoriginal or unsuccessful features? But it was Grieg himself who began the tradition with his admonition that it “must never be performed”. Now, however, very few feel, on moral grounds, that the work should not be performed.

Organist and musicologist Jonas Lundblad explores the rich repertoire of Late Romantic music in the borderland between the organ and the orchestral sound scape, with both arrangements and original works of Swedish music from the early 20th century.

Märchenhaft (Swedish "sagolikt") is a concert program by Nordic Light Duo inspired by the wonderful fairy tale world of the popular children's book author Elsa Beskow. Devotedly and lovingly designed, Beskow's fairy tales and illustrations run like a thread through the musical delightful experiences in it. The program is divided into five sections, each representing a fairy tale: Flower Festival in Täppan, The Story of the Curious Perch, Putte's Adventure in the Blueberry Forest, The Journey to the Land of Long ago, and The Sun Egg. Each section immerses you in an exciting story, enhanced by Elsa's original illustrations. These texts and pictures are then accompanied by songs and piano pieces chosen to match the stories.

Two illustrations are even firsts and can only be seen in this publication, thanks to Daniel Beskow's family ties to Elsa Beskow, his paternal great-grandmother. Because of this connection, the idea for the Märchenhaft project was born in 2018. With it, the two musicians wanted to contribute to the rebirth of Elsa's fantasy world and bring a new musical fairy tale series to life. They firmly believe that this fairy tale treasure belongs to the European cultural heritage and with its re-release in a musical guise, they found an opportunity to pay tribute to Elsa's work in an original way and bring it to a new, larger audience. Fairy Tale has become a huge success in Sweden and the duo has given over a hundred concerts under this name in recent years. The intimate setting, the imaginative mood and the interplay between literature, music and visual arts remain the main features of this exciting project, which we can now also experience on this sound recording.

During his lifetime, Hugo Alfvén became known as one of Sweden’s principal composers of his time, with works that struck a chord with a wide audience. As a result of his popularity, a nationwide collection was held in celebration of his 70th birthday in 1942, with the proceeds used to build Alfvéngården, the composer’s home during his final years. Now, 80 years later, Elin Rombo and Peter Friis Johansson are releasing their tribute to Alfvén’s 150th anniversary, recorded at Alfvéngården using the composer’s own piano. Alfvén is primarily known for his orchestral music – including the ubiquitous Swedish Rhapsody No. 1 – and as a composer of choral music. As befits the setting, the focus of the present disc is on more intimate works, however – namely songs and piano pieces. Some of the pieces are closely related to the venue – Fyra låtar från Leksand (Four Tunes from Leksand) is a piano version of folk tunes collected from a local fiddler and Så tag mit hjerte (‘So take my heart’), Alfvén’s most frequently performed song, was composed there in 1946 as a present to his wife.

REVIEW:

Soprano Elin Rombo has a lithe voice that suits the songs exquisitely, dulcet in ‘The Evening’ and dramatic in the following Seven Poems by Ernest Thiel. She’s not afraid to modulate her tone down to a nearly Gollum-like whisper to wring all possible expression out of a phrase. Four Tunes from Leksand are folk settings for piano that don’t mind taking advantage of the instrument’s capabilities while steering clear of both over-decorating and obtuse reharmonizations.

Rombo rejoins for Two Lyrical Moods and their warm-blooded charm; the recital ends with ‘Sa tag mit Hjerte’ (So Take My Heart), Alfven’s best-known song. Johansson brings plenty of personality to the piano parts. He plays Alfven’s own Steinway A-188 from around 1908; its sound is a little lighter and tangier than a modern grand. Texts in Swedish and English.

-- American Record Guide

In August 2020, Signum Classics began releasing Cantus’ COVID-19 Sessions. Recorded on March 17, 19, and 20 at Westminster Presbyterian Church in Minneapolis, Minnesota, the COVID-19 Sessions came together quickly as society began to shut down amidst the growing outbreak in the United States. The artists recorded these 19 tracks thanks to the expertise of members Chris Foss (audio) and Jacob Christopher (video). The COVID-19 Sessions were first released on YouTube and Facebook in the spring of 2020 and racked up millions of views, prompting Signum to release the tracks internationally on digital music providers like Spotify, iTunes, Apple Music, and Amazon Digital in higher-than-CD-quality audio. The artists write: “The inspiration for this project came during the week of March 8, when word began spreading of the coronavirus’ presence in the United States. As gatherings became limited, it quickly became clear that we needed to postpone our spring program... As we made those hard decisions at home, our national touring schedule was simultaneously unravelling. Presenters faced the same looming challenges and concerns as we did, and they also began to postpone or cancel all of their upcoming programs. We soon found ourselves with our earned revenue sources, which comprise two-thirds of our budget, cut off. Amidst these concerns, a more fundamental uncertainty grew with the guidelines on social distancing and the prohibitions on large gatherings. How can we, how can you, how can anyone create a sense of community during a crisis like this? We recognized we had a limited window in which to offer what we could as artists. These recordings are the result of that action — we wanted to come together in a time of great stress and uncertainty and offer what we could to the world, our community, and each other.”

Includes music by Jean Sibelius, Mari Esabel Valverde, Hildegard von Bingen, Melissa Dunphy, Eric Whitacre, Billy Joel, and more.