Catalogue Connection: 21232

In one year, two new albums have been introduced with the music of the contemporary Swedish composer Jonathan Östlund: 2019’s double CD Voyages and 2020’s Mistral elevate him to the status of the 21st century’s Debussy.

I have already written about Östlund in connection with the first album for the British-American label Divine Art Records, which was released under the name Lunaris in 2016 (here). Both new titles contain vocal works, solo instruments (including organ), chamber and orchestral works.

The Voyages double album (Divine Art DDA 21232) features 23 small and larger compositions and four suites, all inspired by nature, folk music from various countries, the creator’s experiences, his passion for life, his defiance of inexorable time…, in the interpretation of an international range of excellent soloists and ensembles.

The first disc (78:44) opens with bird singing and playful clarinet by (Canadian-American) Christine Hoerning in L´al di la Theme. A dramatic piano full of urgent expressions and lyricism describes the Etesian (the northern wind in the Aegean region); Evgheny Brakhman (Russia) performs superbly. Ukrainian pianist Sasha Grynyuk and Polish violinist Alicja Śmietana produce joyful and glorious tones in Twilight-wind and Mandolin. In Visions On the Wind, storms and a dramatic and mysteriously compelling piano roll under Grynyuk’s fingers. Veils of Night (7:15) is the first appearance here of the Swedish Orchestra Of Norrlandsoperan; a parade of colors, in places a dance to a circus rhythm, dramatic winds and spirited strings, an entire rush of the orchestra, all in fine dynamics. This is followed by the three-movement suite Folklore Fantasia for piano (8:31), in which Grynyuk again excels; the melodic passages in two counterbalanced voices alternate with the exuberant ones that bring dancing at a fair, as well as Eastern European folklore themes and echoes of the baroque.

The Air On a Grieg Theme for Solo Violin varies, in a neoclassical way, the melody from ‘In the Hall of the Mountain King’ from Peer Gynt, whereas in the Autumnal Aire we hear a darkly melancholic violin (both with Śmietana). The lyrical song Moonlight Wave gives pianist Evgheny Brakhman further emotion valences, including that of love. Clarinetist Christine Hoerning explores different forms of song in Fantasia pour trompette petite; then Brakhman again with his thorough and emotional performance presents a wonderfully atmospheric fable (Favola). American-Canadian flutist Rachael Elizabeth Cohen and clarinetist Hoerning play the joyfully expressive Aprés l´hiver (After the Winter) and then we have Syrinx et Pan with a thrilling new fantasy, in duet with the famous theme by Debussy. There is a five-movement suite Jeux Pour Deux (14:05), which closes the first disc; the Spanish Duo Almira (flutist Isabel Gonzáles and bassoonist Paula Jimenéz) play with contagious exuberance: games full of joy, anticipation, excitement, passion, frivolity, tension, with strong alternating emotions and an almost baroque climax.

The second disc (74:44) begins with typically Bach cascades in the witty Fantasia on Bach’s Badinerie (Evgeny Brakhman). The first vocal piece, Berceuse Bergamasque, is set on the text of the poem Clair de Lune by Paul Verlaine; the submersive lyric is enhanced by Estonian pianist Harry Põlda and French soprano Manon Gleizes. The Orchestra Of Norrlandsoperan displays tense dramatic string playing in the second appearance, The Aura (6:23), while the percussion breaths with marching pressure on the soul. In Dacian Prayer (9:09), the Russian cellist Alexander Zagorinsky and the Norwegian pianist Einar-Steen Nøkleberg are in an emotional battle; inspired by the spiritual world of antiquity (the ancient empire of Dacia), this masterpiece is a precursor to the following two-movement composition Two Fantasias on Ancient Hymns (7:54) for the organ, performed by the great Italian master of the royal instrument Walter Gatti; in the first movement, Flowers of Joy, he interprets a powerful battle of joy and uncertainty, while in the second movement, The Shepherdess, the composer expresses the sadness of solitude, hence the desire or yearning for a woman (the shepherdess). The following Winter Cathedral represents an organ burst of light; the composer also used minimalist methods in this work. Debussy’s Impressionist and frenzied flute is re-created in Air dans l´air (6:18) by the Swiss flute player Myriam Hidber-Dickinson. Spiritual power, and a minimalist anthem in Gate of Northern Lights (4:02) are communicated with admirable persuasiveness by organist Gatti and violinist Elena Saccomandi. This is followed by the three-movement Sonatine Lyrique (13:42), in which the Trio Tempora (Romanian clarinetist Marius Birtea, French cellist Madeleine Douçot and Hungarian pianist Emese Badi). The lyric of soft colors alternates with dramatically alluring melodies of considerable emotional power, smoothness contrasting with sharpness, and question marks with reconciliation.

Tense emotions, drama, and lightning are presented by the Oblivion piano quartet (6:40), in which Russian violinist Vladimir Spektor, Russian violist Ksenia Zhuleva, cellist Zagorinsky and pianist Nøkleberg play as if their lives depended on it. Following this is the narrative song Erlkönig, the musical ballad about the King of Ghosts, written by J. W. Goethe; we experience storms and fear from the heroic tenor Artjom Safronov, accompanied by pianist Brakhman. The disc ends with a return to the organ (Gatti) in The Stair, which in a burst of joy, and erupts into a brief outpouring of festive music from the Baroque to the present…

This is an album from Swedish composer Jonathan Östlund, titled “Voyages”. Voyages, indeed—there are 27 works of a variety of styles and instrument groupings, spread over 2-1/2 hours. This is essentially a concept album, so the intent is for the listener to hear it in one sitting to get the full effect; that can be daunting. Its nature themes are made abundantly clear by recurring recordings of bird song, among other sounds. The music moves from one aesthetic environment to the next—from fresh spring waters and moonlit nights to twilit autumn trees and stark winter winds. Music heard earlier can reappear later in an entirely different piece—a nice touch. Östlund’s style is romantic and impressionist, but with a unique voice that keeps it interesting.

We always thought that if the fairies — and they do exist — wanted someone to play a gig, they’d get Östlund. He writes music that’s not wishy-washy or fey (the fey being a less pleasant race than the fairies to boot) but is ethereal and creates the atmosphere of being half-formed, in the sense of feeling that some of the music is in another dimension. It’s not difficult to listen to, but even in the denser sections, its other-worldliness carrying it through.

Russian composer Vyacheslav Artyomov writes ethereal music for outer space, conveying the size of infinity and the tininess of Us, while Östlund is ethereal in a misty woods sort of way; he is inspired by nature. The opening piece of this double CD is clarinet (with a harp intro), the gentle music for a gentle dance involving a small person in a diaphanous dress. Track two Etesian is harsher, the piano being played with some force, though it soon becomes merely lively, the pianist’s left hand rolling along the scale in a way that’s not dissimilar to a blues/rock n roll bassline in one place, then gentle and calm. He’s all over the place on styles: not counting the hints of jazz, Twilight Wind And Mandolin features violin and piano (and no mandolin), the violin ranging from haunting to beautiful, with some Lark Ascending lightness in places. Veils Of Night — as its name perhaps suggests — goes a bit Artyomov staring-into eternity, as the music gets denser.

Side two — it’s actually one long work spread over two sides and was originally download only — features some church organ, mixed in with the strings, piano and orchestra. On Gate Of Northern Lights, the organ is joined by a violin — how often does that happen? — to create something that’s a cross between the heavy gothic and the romantic. In other places there’s piano that could be either 200 years old or something new by pop singer turned ambassador for the piano Chilly Gonzalez. Tracks include Air On A Grieg Theme, Fantasia on Bach’s Badinerie and Dacian Prayer, “two fantasias on ancient hymns”, so he takes in all eras of music. He writes in the sleeve notes that he wants to create “a dream-world where everything is continuously possible” and talks about “dialogues-through-time” so talking about fairies is not too far wide of the mark.

You don’t come across much that is genuinely unique, and even then, as enchanting and interesting as this. Östlund is Swedish, but lives in London. His previous album, Lunaris is also worth a listen.