Search - Guðrún Edda Gunnarsdóttir, Jon Leifs, Hermann Bäumer :: Jón Leifs: Works for Voices and Orchestra

Inimitable and amazingly powerful

Russ | Richmond, VA | 09/19/2006

(5 out of 5 stars)

"The discovery of the Icelandic composer Jon Leifs (1899-1968) continues with this release featuring several works for orchestra and vocalists, including the thrilling Icelandic Cantata. The seven movement cantata was composed by Leifs around 1930 to commemorate the 1000th anniversary of the establishment of the Icelandic parliament. This is a captivating work which mixes the reflective with the aggressive. It should be noted that the cantata is bit more melodic in comparison to with the typical Leifs composition, but the elements that make Leifs' music among the most distinctive of the twentieth century are all present. Such elements include the incorporation of irregular rhythms, parallel fifths and lots of percussion, giving the music a primal sound. The noble, yet ancient-sounding, slow movements are quite moving and contain some interesting orchestral effects, including heavy use of tremolos and the incorporation of a boys choir. The powerful final section of the cantata, on the other hand, depicts "danger at sea" and is propelled forward by pounding timpani and angular accents. The cantata is among my favorite of Leifs' compositions. The fact that the cantata is a bit more traditional (in comparison to Leifs' other compositions), makes it an excellent introduction to Leifs' style.



Also on the program is a work for wind ensemble, percussion, violas and double basses called "Vikingasvar" ("Viking's Answer"). Apparently, this piece represents Leifs' response to his rejected application for the role of administrator of the Pingvellir national park (located North of Reykjavik), where Leifs had hoped to compose new works in relative isolation. Although, the work only lasts four minutes, these are among the most intense four minutes of music this listener has ever experienced. The piece is a primordial blend of craggy brass accents, pounding percussion and bizarre instrumental combinations. I particularly enjoy the juxtaposition of the contrabass bassoon below a flutter tonguing (I think) flute in the central section of the piece. Those who know Leifs know that he enjoys using extreme contrasts such as this.



Another favorite on the program is "Vorvisa" ("Spring Song"). The program notes indicate that this is a "light-hearted" and "frivolous" piece. I suppose these adjectives are used in a relative sense here, as despite the sprightly melody, the listening experience is still quite intense. The melodic content of his piece, I believe, bares some similarities to John Williams' "March of the Ewoks" except that music of Leifs is far more martial and volcanic (that is, the music often erupts forth in an explosive manner). The piece begins with a forceful rendition of the melody by the chorus. This theme becomes more powerful at each repetition and is colored by piccolos and side drums. After a meditative central section the piece concludes with fiery reprisal of the original theme by the full chorus and orchestra. The thrilling final measures of this piece emphasize the importance of alternating meter within Leifs' music through, as a series of irregular spaced accents bring the work to an astonishing close.



Another piece on the program is an overture called "Landsyn" ("Landfall") composed for male chorus and orchestra. Leifs intended for this overture to depict the impression a voyager would have approaching Iceland from the sea. With its quiet, atmospheric introduction building to an earthshaking climax symbolizing the imposing Icelandic landscape as seen from the sea, this piece would be at home with Leifs' violent tone poems: Hekla, Hafis, Detifoss and Geysir (all previously released on BIS and highly recommended by this listener). This is a piece to turn up, just be careful you don't damage your speakers! The remaining pieces on the program (also for orchestra and vocalists) are never less than interesting and provide additional insight into Leifs' style, although these pieces are probably not quite as exciting as the pieces I have mentioned above.



In conclusion, this is a must of Leifs fans and would make a good entry point for those adventurous enough to make the plunge into this obscure, yet powerful and rewarding music. Although I do not think that Leifs' music would appeal to all classical music fans, I personally love it. Inspired by the dramatic Icelandic landscape and ancient Icelandic harmonies and meters, Leifs' compositions are some of the most unique and fierce music you will ever hear. Fans of off the beaten track repertoire would do well to acquire at least one Leifs disc (whether it be this release or one of the discs featuring one of the tone poems mentioned above) to determine if this is something you love, or something you hate (I don't think many people will find themselves on the middle ground). Otherwise, you could be missing out on an amazing listening experience.



Great music, fantastic engineering, fabulous playing and a generously filled program - this release is a winner all around as far as I am concerned. Highest recommendation!!



73:15"