Wilhelm Peterson-Berger - Arnljot (Okko Kamu)

Information

Composer: Wilhelm Peterson-Berger

• Arnljot (Excerpts)

Erland Hagegård

Edith Thallaug

Karin Langebo

Björn Asker

Kåge Jehrlander

Stockholm Philharmonic Orchestra

Okko Kamu, conductor

Date: 1973/2009

Label: Sterling

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Review

This is a reissue of a Swedish EMI LP and offers highlights from Peterson-Berger’s Arnljot. It presents a tempting fifty+ minutes from the epic in good sound, and with fine notes.

With one exception, which I find odd but which doesn’t materially affect things, the excerpts run sequentially. This is the Act II Scene 9 Encounter in the Wilderness, which arrives immediately before the same act’s Scene 7, Waino’s Second Song. It’s a bit reminiscent of the shuffling about that sometimes went on in the days of 78s but thinking about it I assume it was originally done to balance the LP sides as Scene 9 is about ten minutes in length; no such problems exist on CD so why not just reverse things?

Let’s skip the plot, a saga that would probably take as long to relate as the opera takes to run. It’s got the full of complement of love and death, the coming of Christianity, and what have you. The Act I introduction sets the scene: nature horns and the allure of a rich string cantilever and then an open hearted greeting sound - sung by Erland Hagegår, who is the hero Arnljot. The Thing March is solemnly stalking and gathers in ceremonial splendour. Karin Langebo takes the part of Waino and her first song is attractive but brief. Wagner looms over much of this, explicitly in that Encounter in the Wilderness - both orchestrally and in the speech patterns; these at least are contrasted with more lightly sprung lyric Nordic moments. These verge, it must be said, on the Light Music fringe. I happen to like Light Music, though whether it sits well here is another question.

Langebo has another opportunity to shine in her second song where there’s a youthful gleam to the vocal line. Better still is Act II’s dream vision with its burnished orchestral writing and the nobility of the writing for voice. Tormod’s Song opens up with proto-MGM brio though baritone Björn Asker struggles slightly in the higher reaches of the tessitura. The longest track is the last - interesting stylistically for the way Peterson-Berger lays a carpet of ceremonial into which he dares to infiltrate some good old fashioned Italian bel canto.

There’s a dual language (Swedish/English) libretto. It’s certainly a good enough work to have had a full recording by now.

— Jonathan Woolf

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Wilhelm Peterson-Berger (27 February 1867 — 3 December 1942) was a Swedish composer and music critic. Born in Ullånger, he studied at the Stockholm Conservatory and later in Dresden. Influenced by Richard Wagner, Edvard Grieg and Swedish folk music, Peterson-Berger composed five symphonies, five operas, choral works, songs, chamber music and piano pieces. His most famous works are three albums of national romantic piano pieces entitled Frösöblomster (Flowers of Frösö), which capture the spirit of the Swedish landscape. Peterson-Berger was also a respected though very controversial and conservative music critic.

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Okko Kamu (born 7 March 1946 in Helsinki) is a Finnish conductor and violinist. He formed the Suhonen String Quartet in 1964 and served as first solo violinist at the Finnish National Opera until 1968. Primarily self-taught, Kamu won the inaugural Herbert von Karajan Conducting Competition in 1969, propelling his international career. He went on to hold the position of Chief Conductor of the Finnish Radio Symphony (1970–77), the Oslo Philharmonic (1975–79), the Helsinki Philharmonic (1981–88), the Helsingborg Symphony (1990–99), and the Finnish National Opera (1996–99). He has recorded over 100 discs for various labels.

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