The combination of band and male choir is perhaps not so common today, but it was rather widespread around 1900. In addition to the works on this album, Friedrich A. Reissiger and Ole Olsen composed for band and choir in Norway, and from abroad we know works for this combination by Anton Bruckner, Franz Liszt, Gustav Holst and Kurt Weill.
The repertoire consists in the main of music written for solemn occasions usually held outdoors. The choice of pure wind instrumentation in addition to the choir probably was due to both acoustic and meteorological considerations related to an outdoor performance. Moreover, we must not forget that military bands were Norway’s only professional full-time ensembles when these pieces were written and, then as now, were the obvious choice for making music on days of national celebration.
There are no earlier recordings of most of the pieces on this album, and it is uncertain whether or not some were ever performed again after being premiered. This makes it all the more satisfying to shed light on them now in the hope that they may once again find their way back into concert programmes.
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:11:42
Additional information
| Label | |
|---|---|
| SKU | LWC1121 |
| Qualities | |
| Channels | |
| Artists | |
| Composers | |
| Genres | |
| Digital Converters | Horus |
| Editing Software | Pyramix |
| Mastering Engineer | Thomas Wolden |
| Conductors | |
| Original Recording Format | |
| Producer | Vegard Landaas |
| Recording Engineer | Thomas Wolden |
| Recording location | LADEMOEN CHURCH, TRONDHEIM, Norway |
| Recording Software | Merging |
| Recording Type & Bit Rate | DSD256 |
| Release Date | September 21, 2017 |
Press reviews
MusicWeb International
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Having now heard a couple of Lawo releases – in both DSD and DXD – I sense a very distinct ‘house sound’, and, as those Nidaros remarks suggest, it won’t please everyone. Certainly, those who like a bit more brass to their bands will find 2L and other labels more to their liking. Any other caveats? Translations of the sung texts would have been useful, although I do accept the words here may not be of primary importance here. Also, the booklet design is a bit fussy, but the upside is that Mikal Engen’s exhaustive notes have a lot of the fascinating ‘back story’ behind these pieces.
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