Sebastian Fagerlund (b. 1972)
Terral, Concerto for flute and orchestra (2020/21)
Strings to the Bone (2014/15)
Chamber Symphony (2020/21)
Sharon Bezaly (flute)
Tapiola Sinfonietta/John Storgårds
rec. 2022, Tapiola Hall, Espoo, Finland
BIS BIS-2639 SACD [68]
Sebastian Fagerlund’s concertos, with the exception of the 2005/2006 Clarinet Concerto, bear subtitles which hint at what the music may be about – but there are no descriptive programmes. Consider Transit (2013, guitar and orchestra), Darkness in Light (2012, violin and orchestra) and Nomade (2018, cello and orchestra). I find the latter most impressive of all.
Fagerlund composed the flute concerto at the request of Sharon Bezaly, and as usual there is a subtitle. Terral suggests the earth and soil, but “terral” in French and in Spanish also denotes land breeze. Again, the music eschews any descriptive aim. The meaning of the music (if there is any) is left to the listener’s imagination. One of the most striking characteristics of this work is the emphasis on longer lines, notably in the first and the third movement.
The first movement begins slowly in a rather dark mood, enhanced by the soloist’s playing the alto flute. The music slowly unfolds to reach a more animated section, anticipating the forthcoming Scherzo, but the music makes its way back to the mood of the opening. This is fiercely dispelled by the short, brilliant and virtuoso Scherzo in which flute and orchestra engage in a lively dialogue. The mood calms down again, and the music bridges without any break into the final movement. There, the overall mood and elements of the first movement are recalled. A cadenza leads to the conclusion, with a short upbeat abruptly cut short. Terral is a fine addition to the repertoire. I suppose the music can be, and probably is, technically and musically exacting, but it is definitely highly rewarding.
Strings to the Bone for string orchestra was composed for and commissioned by the Ostrobothnian Chamber Orchestra. The single movement falls into three sections. The energetic and rhythmically lively outer sections frame a considerably slower central episode in which the music almost comes to a standstill. The piece ends with the strings madly dancing. This is an appealing addition to the repertoire.
The Chamber Symphony is a considerably weightier work, at least in intent. It was commissioned by the Tapiola Sinfonietta, and co-commissioned by National Arts Centre Orchestra, based in Ottawa. Three movements of equal lengths are played without a break, and the thematic material is tightly-knit and argued. The first movement is characterized by the tension between long melodic lines and some faster material that interrupts them. The faster episodes from the first movement take centre stage in the central Energico e brillante, the symphony’s Scherzo in all but name. The music of the central movement dissipates into the mostly slow finale, again characterized by long melodic lines, in which elements from the previous movements are recapitulated and reconciled “like floating components to settle into a new order” (the composer’s words which Kimmo Korhonen quotes in his well-informed insert notes).
Over the years, Fagerlund has asserted himself as a most endearing and highly gifted composer whose superbly crafted music is never indifferent. He has painstakingly developed his own musical voice in whatever genre he chooses to write in. One may discern a certain liking for orchestral music but his writing for smaller ensembles is equally impressive – as heard, say, in Nomade. Sharon Bezaly plays beautifully, as expected, and the Tapiola Sinfonietta are her equals. The recording is, as ever, up to the label’s best standards. A superb release on all counts.
Hubert Culot
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