For the second volume in their ongoing series of Grieg's Complete Symphonic Works with the WDR Symphony Orchestra of Cologne, Aadland offers a disc devoted to Grieg's transcriptions of his songs and piano works for string orchestra. Grieg, an ardent and active Norwegian Nationalist, was well aware that the Norwegian texts of this songs suffered all the problems of using a minority language, in terms of public acceptance outside Norway. His transcriptions were designed to carry abroad the spirit of Norwegian rural life and tradition, as well as showing off Norwegian art in the form of his own music. The song arrangements are so deftly done that one might think that the string orchestra was their original source. This also applies to the five movement Suite, 'In Holberg's Time' originally for piano solo, a commission for commemorating the 200th Anniversary of Baron Ludwig Holberg, a fellow citizen of Bergen and an honoured writer, essayist, philosopher, historian and playwright.

As a violinist (former concertmaster of the Bergen Philharmonic) and steeped in Norwegian folk music from his earliest days, Aadland is particularly well-suited to carefully preparing his string orchestra for this programme. In the notes, he tells us that "the flavour of this music is in my blood", and goes on to tell us how he brought the essence of Norwegian fiddle music into Grieg's romanticised idiom. For example, the second part of Op. 63 (Track 12), he has the folk song's opening played without vibrato which better simulates the tuning up of a fiddle. There are several other places where he uses vibrato-less sound, and this has a marked effect in producing a much earthier, folklorist timbre than we usually hear.

Aadland's programme is very similar to Ruud's superb disc in the BIS complete symphonic works (Grieg: Holberg Suite, Music for Strings - Ruud). Fortunately, the standard of playing from the Cologne strings is as good as, if not better in some respects, than the Bergen strings. Although Adland's tempi are only slightly faster than Ruuds, the articulation and bowing of the WDR are notably crisper and thus the rhythmic propulsion is more gripping, and folksy impressions more convincing. Grieg's precise dynamic markings are obeyed meticulously.

At times, the players reach an almost Elgarian passion at climaxes, bringing to mind Elgar's 'Introduction and Allegro for Strings' in their playing of the Holberg Suite. Aadland also opens up the often very diverse textures Grieg conjures up, by bringing out the layering more clearly, and also floating some beautiful inner voice counter-melodies. A fine example of this is in the Holburg Suite Prelude, where there is a lovely falling cello tune below the violins, which is hardly audible in Ruud's account, unless you are listening very closely. Another example of added colour is found in the chilliness of the sul ponticello section at No. 6 in the Peters score of 'The Last Spring', where the winter-gripped poet recollects the warmer season. And the Op. 53 'Two Melodies' (unaccountably rarely heard and of amazing beauty) are given exquisite renditions, heartfelt and with moments of the utmost delicacy.

Given a recording which is vivid, immediate and with divided violins across the stage, not a wit inferior to Ruud's, this disc thrilled me time after time. Wonderful music, lovingly played and with a recording to match. What more can I say?

Copyright © 2011 John Miller and HRAudio.net

Performance:

Sonics (Stereo):

Sonics (Multichannel):