Composer: Lars-Erik Larsson
Works: Twelve Concertinos (1955-56) – Volume 1: Flute and Orchestra Op.45 No. 1, Oboe and String Orchestra Op.45 No. 2, Clarinet and String Orchestra Op.45 No. 3, Bassoon and String Orchestra Op.45 No. 4, Horn and String Orchestra Op.45 No. 5, Trumpet and String Orchestra Op.45 No. 6, Trombone and String Orchestra Op.45 No. 7
Performers: Göran Marcusson (flute), Marten Larsson (oboe), Urban Claesson (clarinet), Anders Engström (bassoon), Per Göran (horn), Bengt Danielsson (trumpet), Lars-Göran Carisson (trombone), Camerata Roman
Recording: Paskallavik Church, 1994
Label: INTIM Music IMCD 030 [74.36]
The Twelve Concertinos by Lars-Erik Larsson, a composer whose work often dwells in the intersection of neo-classicism and Scandinavian folk influences, emerge as noteworthy contributions to the repertoire of chamber orchestral music. Composed between 1955 and 1956, these pieces were crafted with a dual purpose: to provide technically accessible yet artistically rich works for amateur orchestras, and to fill a notable gap in their repertoire, which at the time leaned heavily towards the traditional. Larsson’s background, marked by studies under prominent figures like Alban Berg, and influences from Hindemith and Schoenberg, imbue these Concertinos with both structural integrity and melodic charm.
The performances by the Camerata Roman reveal a profound understanding of the music’s character and intricacies. Each soloist navigates their respective parts with a commendable blend of technical precision and interpretive insight. For instance, the Flute Concertino displays a buoyant lyricism that is beautifully articulated by Göran Marcusson, whose phrasing captures the playful yet introspective essence of Larsson’s writing. The Oboe Concertino, rendered by Marten Larsson, contrasts this with a more melancholic introspection, particularly in the slow movement, where the oboe’s plaintive voice is supported by a gently swaying string backdrop, creating an atmosphere of wistful reflection.
Notably, the recording quality is impressive for its time, capturing the nuances of both the soloists and the ensemble without overshadowing the delicate interplay that defines this music. The acoustic of Paskallavik Church contributes a warm resonance, allowing the clarity of articulation to shine through, particularly in the intricate passages of the Clarinet and Bassoon Concertinos. Urban Claesson and Anders Engström respectively navigate their challenging parts with skill, revealing Larsson’s ability to write for wind instruments in a manner that embraces their unique timbral qualities while maintaining a cohesive orchestral sound.
While the performances are commendable, the absence of extensive sleeve notes is a missed opportunity for listeners unfamiliar with Larsson’s oeuvre. Contextual information about the composer and his intentions behind these works would enhance the listening experience, especially for those outside Scandinavia who may not have encountered his music before. Furthermore, the disc is marred by minor defects in the surface, which could detract from the overall listening experience.
The Twelve Concertinos stand as a testament to Larsson’s craftsmanship, skillfully balancing charm with technical demands. They are not mere pedagogical exercises; rather, they are fully realized compositions that demonstrate the composer’s artistry. The ensemble’s commitment to these works is palpable, creating an engaging and rewarding listening experience. These pieces, often overlooked in the broader canon, deserve wider recognition, particularly in light of their engaging musicality and the skillful interpretations presented here.
This recording provides a valuable entry point into Larsson’s world and showcases an ensemble capable of elevating these minor masterpieces to a significant level of artistry. It is a commendable addition to the burgeoning discography of this underappreciated composer and merits attention from both enthusiasts of Scandinavian music and those who relish well-crafted chamber works.
