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| ARTIST: | Jon Leifs, Osmo Vanska |
| CATEGORY: | Music |
| MANUFACTURER: | Bis |
| MEDIA: | Audio CD |
| TRACKS: | Sinfonia I (Saga Symphony) Op. 26: Skarphedeinn, Sinfonia I (Saga Symphony) Op. 26: Gudrun Osvifrsdottir, Sinfonia I (Saga Symphony) Op. 26: Björn ad baki Kara, Sinfonia I (Saga Symphony) Op. 26: Glamr og Grettir, Sinfonia I (Saga Symphony) Op. 26: Totmodr Kolbrunarskald |
| UPC: | 789368259724 |
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Customer Reviews of Jón Leifs: Saga Symphony
did you think the symphony was dead i often say the symphony is a dead form of music. but then, along came this.
leifs saga symphony is as refreshingly orginal and startling as anything you're likely to hear.
if tuned rocks and skinless drums arent enough to cause a few arched eyebrows then the last ten minutes of this very ethnic symphony will certainly do it.
just have a care, it may blow your woofers.
it really has a place for 'something different' in your collection.
Seventy-Six Great Lurs Led the Big Parade
One of the great individualists among 20th century artists, the Icelander Jón Leifs (1899-1968) persevered through critical hostility and audience incomprehension until, by the end of his life, his countrymen had acknowledged him as supreme among in giving musical expression to the native soul. Leifs' music does not fall easily on the ear, nor does it fail in demanding the fortitude of its auditors. The late cycle of tone-poems - "Geysir," "Hekla," and "Dettifoss" (all from the 1960s) - make the point in terms of orchestral dynamics; the earlier "Saga Symphony" (1941), written during the Leifs' Berlin period, just after a disastrous public performance of his Organ Concerto at the Prussian Academy of the Arts. (Goebbels banned further playing of Leifs' music and made additional threats against Leifs' wife, who was Jewish, and their daughters.) In this BIS recording, with Osmo Vänskä and the Iceland Symphony Orchestra, the "Saga Symphony" requires nearly an hour. In five movements, Leifs' "Symphony" offers musical character-portraits of seven important figures from the sagas: I. Skarphéðrinn; II. Guðrún Ósvífrsdóttir; III. Björn og Kári; IV. Glámr og Grettir; and V. þormóðr Kolbrúnarskáld. Leifs places in his orchestra genuine Icelandic instruments, most prominently a group of "lúrs," a brass horn, which color the texture in the Fifth Movement. The CD is the ideal medium for auditioning this work. Leifs makes no attempt at what we usually think of as symphonic development. His insistence on the gawky rhythms of the "rimúr" cam become tedious. Taken one at a time, however, the individual movements are fascinating, especially "þormóðr Kolbrúnarskáld," with its braying "lúrs" toward the end. It's definitely in the category of "offbeat repertory," but belongs in the library of anyone interested in the larger phenomenon of Scandinavian music.