Leifs’ Baldr: Guðbjörnsson’s Evocative Performance with Iceland Symphony Orchestra

Composer: Jón Leifs
Works: Baldr Op. 34 – A Choreographic Drama in Two Acts
Performers: Gunnar Guðbjörnsson (tenor), Óðin Schola Cantorum, Iceland Symphony Orchestra, Kari Kropsu (conductor)
Recording: January 2001, Halgrim’s Church, Reykjavik
Label: BIS

Jón Leifs stands as a pivotal figure in the integration of Nordic mythology within the classical music repertoire, and his ambitious work Baldr, composed between 1943 and 1947, epitomizes this endeavor. This two-act choreographic drama, inspired by the mythic tales of creation and the struggle between good and evil, offers a profound exploration of human emotion and elemental forces. The historical backdrop of Baldr is as tumultuous as its narrative; composed during a period of personal and political upheaval, Leifs’s music reflects both the primal energy of its themes and the composer’s own challenges, including the impact of war and personal loss.

The performance led by Kari Kropsu unearths the raw power of Leifs’s score, which oscillates between thunderous orchestral outbursts and hauntingly delicate passages. The Iceland Symphony Orchestra delivers an impressive showcase of the composer’s extensive use of percussion—an innovative aspect that includes not only traditional instruments but also unconventional elements such as anvils and metal chains. The execution of these techniques highlights the textural richness of Leifs’s writing, particularly in the opening scenes of Act I, where the “Dance of the Creatures of the Earth” unfolds with a visceral intensity. Kropsu’s direction is attentive, allowing the music’s dissonant undercurrents to emerge while also maintaining clarity in the orchestral fabric.

Gunnar Guðbjörnsson’s tenor adds a compelling narrative thread through the work, yet one must note that vocal contributions are sparse, strategically placed to enhance the orchestral dialogue rather than dominate it. The role of Óðin is marked by a commanding presence, with Guðbjörnsson’s voice ringing out in prophetic proclamations, notably in moments that evoke a parallel with the Christian mythos surrounding sacrifice and resurrection. The use of vocal textures, such as in the “Dance of the Creatures of the Earth,” showcases a deft interplay between voice and orchestra, where ululation and slides add an ethereal quality that contrasts sharply with the work’s more violent episodes.

The recording quality is exemplary, a hallmark of the BIS label. The engineers have captured the orchestral sound with a keen sense of spatiality, allowing the varied layers of orchestration to breathe while ensuring that the dynamic extremes are palpably realized. The balance between the orchestra and soloist is finely tuned, which is crucial given the dense textures Leifs employs. The clarity afforded by the recording allows listeners to appreciate the intricate dialogue between instruments, particularly in the climactic moments of Act II, such as the “Volcanic Eruption and Atonement,” where the convergence of sound transforms into a visceral representation of nature’s fury.

While previous recordings of Baldr exist, notably the one conducted by Paul Zukofsky, Kropsu’s interpretation stands out for its vigorous engagement with the score’s emotional landscape. The rhythmic emphases and tonal contrasts are handled with a sensitivity that brings out both the brutality and beauty inherent in Leifs’s music. Comparatively, this recording may serve as a more accessible entry point into Leifs’s oeuvre, given its meticulous attention to detail and the freshness of the orchestral performance.

The complex tapestry of Baldr resonates deeply, intertwining mythological narrative with the composer’s personal history. Leifs’s music, characterized by its tonal complexity and rhythmic vitality, emerges as a defining exploration of the human condition in the shadow of myth. This recording not only honors the legacy of a composer who grappled with the forces of history and personal tragedy but also invites a broader audience to engage with the elemental, sometimes unsettling beauty of his work. The BIS recording of Baldr is essential listening for those seeking to understand the depths of Scandinavian musical identity, making a compelling case for Leifs’s rightful place in the canon of 20th-century composers.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.