It is hard to follow in the shadow of a giant. In this case the giant is the conductor Stig Westerberg, whose recording of the First Concerto in 1975 with the Swedish Radio Symphony Orchestra was unforgettable, throwing every demon in this terrifying music straight at us in unflinching intensity and brilliance. This is a recording on the edge, something you don't live with but live through and live for. With an intro like that, you may think you know my reaction to Goritzki's effort. Wait for it. On cpo we have something quite remarkable. This conductor not only holds everything together but ……..Paul Rapoport
Following their 2009 release of the first two concertos for string orchestra by Allan Pettersson comes Christian Lindberg's recording with his Nordic Chamber Orchestra of the third and last of the concertos. By the time of its composition, Pettersson had already written three symphonies, and during the following two decades he produced symphony after symphony. It is therefore perhaps not surprising that the large-scale Concerto No.3 for string orchestra exceeds ……..
The 24 Barefoot Songs for voice and piano (1943—45) are Pettersson’s settings of his own poems, and as such form a singularly profound portrait of the composer. Their importance can be measured by the fact that Pettersson throughout his life returned to themes from the collection, reusing them in his large-scale works. It was Doráti who suggested the orchestration of eight of the songs, a task with which he was entrusted by the composer. The two concertos for strings were composed in 1950 and 1956 respectively, and already ……
The spectrum of sound, the gesticulation – in short, the very nature of the strings – has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers.
Keith Jarrett does not actually play on this CD; rather, he composed three angst-ridden pieces of varying lengths for string orchestra, over which Jan Garbarek improvises on tenor and soprano saxes. The concept is not unlike that of Stan Getz's Focus, but this music is far more static, downcast, and free of the pulse of jazz. As was characteristic of his writing then, Jarrett's string parts are mostly turgid and thick-set, indulging in weird, sliding microtones on "Windsong," weighted down by some kind of emotional burden.