As a pianist, Niklas Sivelöv (b. 1968) has a diverse repertoire ranging from Bach to Stenhammar. His versatility extends to his career as an equally prolific composer whose works include 24 preludes for piano and quite a few chamber works. His latest album, featuring his own performance of three Piano Concertos, traces the development of a dynamic idiom. His unique language has elements of jazz, Bartók, and Stravinsky (among others), all woven into a creative fabric.
The “Concerto Classico” for Piano and Orchestra (1998) is his earliest large ensemble work, and reflects a composer in the process of integrating various influences. The first movement is somewhat reminiscent of Stravinsky’s Concerto for Piano and Wind Instruments with its punctuated phrasing and focus on wind instruments groups throughout. Jazz harmonies and rhythms drive the piece as a whole, giving it a tangible and sweeping energy.
The second movement is of a very different nature: thanks to fine playing from the Malmö’s Symphony Orchestra’s strings, it displays Sivelöv’s penchant for refined dissonances. The orchestral opening is captivating, with the resonant cello and basses creating an expansiveness reminiscent of Barber’s Adagio for Strings. The personal touch is in the movement’s sophistication, one tinged with poignant eeriness. This is amplified by the composer’s use of interesting polytonality. Instead of putting two different keys against each other, he creates a more angular contrast by juxtaposing the orchestra’s tonality with the soloist’s atonality (2’55”-3’15”). The performance of his cadenza here is particularly nice: pairing winding chromaticism with a translucent sound quality, it has an extemporaneous feel, that plays to his strength as an improviser. The result is quiet yet profound, a moment of respite from the rest of the movement.
The third movement, “Allegro moderato con spirito”, opens as an eccentric and humorous dance that quickly gives way to something more macabre once the orchestra takes over; Sivelöv continues to transform it into distinct personalities throughout. While it does sound a little frenetic at times, the movement is nonetheless grounded with a solid sense of rhythm and pacing from the performers.
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Next we have the “Concerto No. 2 for Piano and Strings” (2002, revised 2016). Although the overall structure of the work resembles a Classical 4-movement symphony, this framework is placed into a 12-tone context. By featuring only the strings, Sivelöv also explores more deeply the relationship between the soloist and a specific part of the orchestra. The availability of fewer instruments may pose a compositional challenge, but Sivelöv uses this ‘limitation’ to great effect. Take for example the second movement – the orchestral interludes feature a soloist emerging from the ensemble and trading lyrical phrases with the pianist. The third movement, light and scurrying, in some ways embodies the quality of a Classical Scherzo. The performance itself underscores skillful collaboration between piano and orchestra – the precise synchronicity is notable despite the fast pace.
The “Concerto No. 5 for Piano and Brass Band” (2019) is the most polished yet enigmatic presented here. Sivelöv’s earlier works have more obvious and compartmentalized stylistic references, but this work shows an evolution into a more personal language. Although I found the first movement a little hard to grasp, the second and third were quite enjoyable. The contrapuntal lines of the Vivace-Adagio are anchored by a waltz rhythm which balances out the animated brass part. The slower middle part is especially captivating: the muted trumpet solo that starts this section is simultaneously pensive and declamatory. The entrance of the rest of the ensemble is a complex array of harmonies that gradually expands the full range of the brass section. The performers are so well-blended here that it creates a hymn-like feel and an intriguing relationship with the more neo-Romantic piano line. The spirited, rhythmically driven final movement is impressive indeed with a solid showing by the percussion section.
Sivelöv’s compositions might be an acquired taste for some but are certainly well-suited for the cerebral listener. His works are like a puzzle: while it may not be easy at first to approach or appreciate all the details, multiple listens will unlock a world of fascinating nuances.
Niklas Sivelöv – Piano Concertos
Niklas Sivelöv – Piano
Malmö Symphony Orchestra
Victor Aviat / Livgardets Dragonmusikkår / David Bkörkman – Conductors
Naxos, CD 747313318179
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