Christian Lindberg is one of classical music’s most colorful characters. Known for his presence on the podium, this conductor/trombonist is also a well-respected composer. Lindberg does occasionally appear as soloist and conductor. This latest BIS release features the man himself donning the hats of all three roles.
An entire album dedicated to one contemporary composer can strike fear in the hearts of many listeners and deter novice listeners. Lindberg’s music, despite having moments of atonality and dissonance, is more accessible than many think. His harmonic vocabulary is certainly modern. Lindberg has a voice that is very much his own, sidestepping from the general trends in 21st-century orchestral music. His textures are varied, interesting and approachable. His knowledge and experience as a brass player allow for some interesting brass writing, without them being overly dominant.
There are three one-movement pieces presented here. The first Concerto, “The Waves of Wollongong”, features nine trombones; the second features Lindberg himself with percussionist Evelyn Glennie, in a double concerto entitled “Liverpool Lullabies”. The final work, “2017”, showcases the Antwerp Philharmonic Orchestra in a 33-minute tone-poem.
The nine players of The New Trombone Collective in “The Waves of Wollongong” are excellent, the range of colors and tone is superb, credit to Lindberg’s insight into the instrument. Tracks 2 and 3 are real highlights, setting cynical, almost morbid, themes that play well with the strings and percussions; The writing is imaginative and the execution by the players is excellent. There is a precision in the playing, security of tone and a strong sense of unity between the nine trombonists.
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A double concerto for percussionist and trombonist is certainly unorthodox. Percussionist Evelyn Glennie, like Lindberg, is a formidable musical character with diverse musical tastes, both champions of contemporary music. The chemistry between them is strong, making this unique piece, “Liverpool Lullabies”, work so effectively. Hear how the two are sensitive to each other in the quieter moments of track 10, more turbulent track 11 and the magic of track 13. The drive, energy and virtuosity of players in the driven conclusion are admirable.
The final work, “2017”, like the preceding pieces, is in one continuous movement. The Antwerp Symphony Orchestra are given their moment of limelight to themselves and they shine, with some impressive solo strings, cor anglais and brass playing. The strings having a range of color and gentle warmth.
The entire album is undoubtedly enjoyable. With repeated listening, I was more and more appreciative of the way Lindberg orchestrates and develops musical themes. The only minor flaws of this release are the slight imbalances. The engineering occasionally favors the woodwind, especially in “The Waves of Wollongong” where the percussion sound overly distant. The booklet contains brief notes from Lindberg on the context, but more detailed commentary would have helped, adding to this truly enjoyable release.
“2017”
Lindberg – The Waves of Wollongong, Liverpool Lullabies, 2017
Christian Lindberg – Trombone
Evelyn Glennie – Percussion
Antwerp Symphony Orchestra
Christian Lindberg – Trombone, Conductor
BIS, Hybrid SACD BIS-2418
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