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Olav Trygvason Landkjenning Sigurd Jorsalfar Resignation

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Olav Trygvason Landkjenning Sigurd Jorsalfar Resignation GRIEG Olav Trygvason Landkjenning Sigurd Jorsalfar Resignation Soloists Malmö Chamber Choir Lund Student Singers Malmö Opera Chorus and Orchestra Malmö Symphony Orchestra Bjarte Engeset Edvard Edvard Grieg (1843-1907) GRIEG Landkjenning • Sigurd Jorsalfar • Olav Trygvason • Resignation (1843-1907) The introduction to Landkjenning (‘Land-Sighting’) humanist: ‘He made me a democrat, artistically and starts with an energetic horn call, before the phrase politically’; ‘It is through you [Bjørnson] that we feel rounds off more lyrically. The whole work shares this the beat of Norway’s pulse’. 1 Landkjenning (Land-Sighting), Op. 31 (1872) 6:38 same shape: from a vigorous beginning to a hymn-like close. In all Grieg’s settings of texts by Bjørnstjerne Bjørnson (1832-1910), intensely dramatic music is Landkjenning (‘Land-Sighting’) Two Choruses from Sigurd Jorsalfar woven together, and contrasted, with lyrical and hymn- (Sigurd the Crusader), Op. 22 (1872) 10:06 like music. Bjørnson was a central figure in the The text of Landkjenning concentrates on a single Norwegian national revival of the 1800s, a radical moment, as Olav Trygvason (960s-1000) and his men 2 1. Norrønafolket (The Northland People) 6:08 writer, theatre manager, public speaker and politician sight the Norwegian coast for the first time (near 3 2. Kongekvadet (The King’s Song) 3:58 who dreamt of a new, democratic and independent Moster) on their voyage from England to Norway. The Norway. The three Bjørnson works on this recording young Olav is on his way home to claim the Norwegian carry us back to the Viking age, with its fierce conflicts throne. Olav, who as King from 995 to 1000 worked Incidental Music from Sigurd Jorsalfar 7:13 between Christianity and the old Norse religion. These single-mindedly to Christianise Norway, is portrayed by dynamics interested both Grieg and Bjørnson. Grieg Bjørnson as experiencing a religious vision on 4 Horn Calls 1:18 was influenced in many ways by concepts of Christian recognising his native shore. Landkjenning was first 5 Introduction to Act I 2:44 dualism: the complementary ideas of heaven and hell, performed, in a version for male voice chorus, soloist, 6 Intermezzo 3:11 God and the Devil, ‘love and bewitchment’ are almost a organ and brass instruments, on the morning of 17 May leitmotif in his life’s work. But at the same time he was 1872 at a bazaar at Akershus Castle in Christiania (now attracted by a religion of Nature, in which all powers, Oslo), to raise money for the restoration of Nidaros Scenes from Olav Trygvason, Op. 50 (1873) 37:28 even destructive ones, emanate from a single deity – as, Cathedral in Trondheim.1 Grieg later revised the piece for example, in primitive religions or Norse mythology. and made an orchestral version. Landkjenning may owe 7 Scene I 8:46 Grieg’s Bjørnson works were an integral part of a its great popularity to the fact that the audience 8 Scene II 15:08 political movement campaigning for national freedom recognise the situation: joy at coming home again, and democratic humanism in a Norway which was still reaching harbour after a long time away. The work also 9 Scene III 13:34 united with Sweden. Political radicalism, with an has a simple, hypnotic structure. Grieg wrote emphasis on ideas of democracy and liberty, was a Landkjenning for the masses – in two senses: a mass 0 Edmund Neupert (1842-88): strong feature of Norwegian nationalism before audience and a mass of performers. The piece invites the independence in 1905. The struggle for national description ‘ecstatic’; the text includes the line ‘the Resignation (orch. Grieg) (1888/95) 2:53 liberation was also a struggle for an individual King is enraptured’. It could be said that Grieg’s ecstatic Norwegian identity, and for the right to an independent Romanticism achieves a fusion of humanity and Nature, language and culture. Norway in Grieg’s lifetime saw a in a kind of divine synthesis. After a performance of Yngve Søberg, Bass-baritone 1 • Helge Rønning, Tenor 2 3 steady intensification of public support for popular Landkjenning in Bergen, Grieg wrote: ‘A single great democracy, inspired by American and French ideals of tone underpinned everything, and that’s only possible Magne Fremmerlid, Bass-baritone 7 8 liberty. Various people contributed to kindling the when everybody is imbued with it.’ 7 national flame in Grieg, including the internationally Nina Gravrok, Soprano famous violinist Ole Bull (1810-80) and the composer Grieg wrote the three Bjørnson works on this recording Marianne E. Andersen, Mezzo-soprano 8 Rikard Nordraak (1842-66). But it was Bjørnson who between 1870 and 1875. For most of that time both raised Grieg’s political consciousness as a democrat and Grieg and Bjørnson were in Christiania. In the same period Grieg also collaborated with the composer and numbers as Three Orchestral Pieces from Sigurd in a collage. In the play, the restoration of harmony Norwegian historians such as Jakob Rudolf Keyser conductor Johan Svendsen (1840-1910): among other Jorsalfar, Op. 56 [Naxos 8.557991], which he often between the all-too-human, quarrelsome brothers is (1803-64), Peter Andreas Munch (1810-63) and Johan things, in 1871 they founded a new orchestra, the Music took with him on concert tours abroad. So only up to a marked by a Homage March. Before the famous cello Ernst Sars (1835-1917) emphasised Norway’s importance Association (Musikkforeningen). Grieg had point can we take seriously his statement about them quartet which opens the March, Sigurd says: ‘How in the Nordic world. Various creative writers followed up responsibility for its choral-orchestral repertoire. He being ‘occasional pieces’ and ‘rubbish’. much greater you are than me, brother!’ Then the two this idea: in the 1850s both Ibsen and Bjørnson wrote found this ‘a wonderful time, overflowing with courage Grieg published the two songs with men’s chorus Kings enter the Royal Hall hand in hand. Grieg also historical plays inspired by the time of the sagas: Fru and faith’; ‘Bjørnson is here, and where he is there is from the incidental music separately, as Zwei Gesänge used the first section of the Homage March, unaltered, Inger til Østeraad (‘Lady Inger of Ostrat’ by Ibsen, first also life and imagination’. As well as the three pieces aus der Musik zu Sigurd Jorsalfar: für Solo, as the second of the two Interludes [not included on this produced in 1855) and Mellem Slagene (‘Between the heard on this recording, Bjørnson and Grieg created Männerchor und Orchester (‘Two Songs from the recording: the Homage March is available on Naxos Battles’ by Bjørnson, staged two years later). Before a Southern Convent, Bergljot [both recorded on Music to Sigurd Jorsalfar: for Soloist, Male Voice 8.557991]. The first Interlude was newly composed, but But the search for a distinctively Norwegian Naxos 8.570871-72] and several songs [two with Chorus and Orchestra’), Op. 22. In the first of the two, it begins with a reorchestrated version of the start of the identity through worship of the Viking age was to some orchestra are recorded on Naxos 8.570236]. Their the patriotically inspired ‘Norrønafolket det vil fare’ Homage March, before a brief final Allegro section. extent a project pursued by an elite. Over the years, an extensive collaboration started with the draft of a work (‘The Northland people have the urge to travel’), Sigurd Our recording includes an unpublished passage of 22 idealised view of ‘ordinary Norwegian country people’ based on Bjørnson’s epic poem Arnljot Gelline, and and his men sing of the importance of travelling and bars in the opening section which are crossed out in blue became as important a symbol as Viking heroics in the later, in the early 1890s, they also planned to write a heroic deeds. This comes from the scene in the play pencil in one of the manuscripts – we do not know who movement for national liberation. The same is true of substantial Peace Oratorio together. depicting a ‘mannjamning’ between the two royal crossed them out, but the handwriting does not look like sportsmen and explorers – later exemplified by, for brothers – a Viking custom where the exploits and Grieg’s own. example, the polar pioneers Fridtjof Nansen (1861- qualities of two men were ceremonially enumerated and 1930) and Roald Amundsen (1872-1928), and the Sigurd Jorsalfar (‘Sigurd the Crusader’)2 compared. The bard Haldor sings the first two verses, The idea that Norway had a particular claim to the anthropologist Thor Heyerdahl (1914-2002), perhaps Sigurd Sigurdson (no relation to King Sigurd) the third, Viking heritage was a significant element in developing most famous for crossing the Pacific Ocean on a raft, the Bjørnson wrote in an afterword to his play Sigurd and the King himself the final verse. Grieg did not feel Norwegian national consciousness. The important Kon-Tiki, in 1947. So Norway’s nation-builders Jorsalfar that it is a ‘work for the people’: ‘by which I that this was one of the best things he had written. Still radical writer Henrik Wergeland (1808-45) believed that founded their campaign just as much on everyday rural mean a work that will appeal to people of all ages and worse for him, the melody became so popular that even what he saw as the Norwegian virtues found particular culture as on the bloodsoaked deeds of historical heroes. levels of education, each in their own way, and whose the street urchins in Bergen were ‘yelling it out expression in the golden age of the Vikings, and that this The Norwegian intelligentsia in the late 1800s was not a performance can thus also create, for a time, a joyful hideously coarsely’! The political tensions between the golden age should be revealed and revived in historical large group of people, and there were many altercations feeling of unity’.
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