The Eric Ericson centenary
For many years, he was the chief conductor of the Swedish Radio Choir, as well as the director of his own small chamber choir. He highlighted new music, encouraged new expressions and was a prominent figure in what is called ”the Swedish Choir Miracle”. Eric Ericson has made an indelible impression on the world of music and is celebrated with two of his own showpieces, as well as one of the many works that he himself commissioned. In addition, it is the première of a completely new commissioned work by Lithuanian Raminta Šerkšnytė, one of the most sought-after choral composers of our time.
The choral nation of Sweden emerged as early as in the 19th century through social movements, in student towns like Lund and Uppsala, as well as in the church, where choral singing had long been prominent. So it did not really start with Eric Ericson, but there was nevertheless fertile soil in which to cultivate skilled singers, and also a fundamental interest in harmony singing as well as a musical community. As conductor of his own chamber choir as well as Orphei Drängar and, not least, the Swedish Radio Choir, in many ways he elevated choral singing and pushed the envelope for what was considered possible for choral singing – and writing.
The concert bill is in tune with the spirit of Ericson, with a challenging repertoire that demands much from the practitioners, but which is also rewarding in its remarkable beauty. Richard Strauss’s Der Abend and Arnold Schönberg’s Friede auf Erden were written about ten years apart, on either side of the year 1900, and represent on the one hand the very height of romanticism and on the other, the transition to modernism with its liberal approach to traditional harmonics. Both are showpieces of Eric Ericson, which is understandable considering the sonorous wealth and depth of the pieces. Likewise, Gloria by Lars Edlund and Ingvar Lidholm’s “…a riveder le stelle” were recorded by Ericson on several albums and are both examples of the new kind of choral music that he brought to the fore and encouraged. Furthermore, the latter is one of many pieces personally commissioned by Ericson.
In lineal descent from the avant-garde choral composers of the 20th century, there are contemporary composers like Ēriks Ešenvalds, whose suggestive piece, A Drop in the Ocean, has several aspects in common with the other composers on the bill. Lidholm depicts Dante’s and Virgil’s arduous ascent from hell using sharp dissonances and breathtaking movements in the different parts. Using breathing, whistling, mumbling and ethereal chords, Ešenvalds evokes an enchanting mood by setting music to verses from the Bible, as well as to writings by Francis of Assisi and Mother Teresa, to whom this piece is dedicated. At times, the sounds are reminiscent of both Schönberg and, in the tensest passages, of Edlund.
But even more interesting is the new piece written by Raminta Šerkšnytė, and which was commissioned for the festival concert in honour of Eric Ericson. Just as Ericson commissioned new works from composers who were at the musical forefront, this is music by a composer who mixes established techniques with new ones to explore and discover new sides of whichever ensemble she writes for. Šerkšnytė herself describes her music as if she, like with watercolours, wishes to evoke as many shifts and notes as possible. With that level of ambition, an instrument as versatile as the human voice could not be more appropriate.
The Swedish Radio Choir is like a leading mountaineer in the world of music. The choir’s former chief conductor Peter Dijkstra has described the ensemble as “the group that leaves base camp first and stakes out the course for others to follow.” Three hundred years of Swedish a cappella tradition, combined with an ambitious and culturally diverse repertoire with some of the world’s finest conductors, has established the Swedish Radio Choir as one of the foremost ensembles of its kind. The 32 professional singers are as equally at home in completely new music by today’s most exciting composers as they are in classic favourites from the rich international treasure trove. Through the Swedish Radio’s broadcasts and website the choir not only reaches concert audiences but also radio listeners everywhere.
The Latvian Radio Choir has purposefully taken on both the earliest music and the most innovative and newly written music equal impetus and artistic acuity. With their two conductors, Sigvards Kļava and Kaspars Putniņš, the choir has participated in opera performances and cross-over artistic projects, theatrical shows and much more over the past twenty years, in addition to their regular concerts. The choir has performed at a number of the world’s major festivals, including in Salzburg and Lucerne, at the BBC Proms, the White Light Festival, Soundstreams in Canada, and many more. Recordings of the choir are available on Ondine, Hyperion, Deutsche Grammophon and BIS.
The Estonian Philharmonic Chamber Choir is one of the country’s most renowned and prominent ensembles. Tõnu Kaljuste founded the choir in 1981, and as its choirmaster she spent more than 20 years developing the artistic eminence of the choir. The choir has collaborated with such outstanding conductors as Claudio Abbado, Eric Ericson, Ward Swingle, Stephen Layton, Sir Colin Davis and Gustavo Dudamel. The choir’s recordings on labels such as Harmonia Mundi, Carus, Ondine and ECM have been Grammy nominated 14 times and have received such prestigious awards as Diapason d’Or and Preis der Deutschen Schallplattenkritik.
The Estonian conductor Tõnu Kaljuste is familiar to Swedish audiences after his time as the Swedish Radio Choir’s Chief Conductor from 1994–2000. This versatile musician has been a driving force in awakening interest in the Nordic region to music from the Baltic countries. He founded the Estonian Philharmonic Chamber Choir and then, ten years later, the Tallinn Chamber Orchestra, both of which have become very successful and perform at the world’s major concert venues and festivals. He is known for his interpretations of the works of Krzysztof Penderecki, Alfred Schnittke, Arvo Pärt and Veljo Tormis, and has won prestigious awards for his many recordings. Among his latest collaborations are the Norrlandsoperan Symphony Orchestra, the Wrocław Philharmonic and the choir at Orquestra Gulbenkian in Lisbon.
Sigvards Kļava has been Artistic Director of the Latvian Radio Choir since 1992. He has worked with the leading choirs in Latvia as well as with RIAS Kammerchor in Berlin, the Netherlands Chamber Choir, the Radio Choir at MDR Leipzig, and many others. He has made over 20 recordings with the Latvian Radio Choir, and has had productive collaborations with Latvia’s major contemporary composers: Maija Einfelde, Erik Ešenvalds, Juris Karlsons and Pēteris Vasks, to mention but a few. Since 2000, Klava has been professor of conducting at the Latvian Musical Academy in Riga. As conductor, he has performed at the Royal Albert Hall in London, the Concertgebouw in Amsterdam, Berliner Philharmoniker, among others. He regularly acts as a judge on jury panels at international choral competitions.
In 2008, the composer and pianist Raminta Šerkšnytė became one of the youngest recipients of the Lithuanian National Prize, her native country’s foremost artistic distinction. Gidon Kremer, with whose ensemble Kremerata Baltica she has worked numerous times, has described her De Profundis for string orchestra as the business card of Baltic music. Ensembles including the City of Birmingham Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks and Les Percussions de Strasbourg have performed her works. Šerkšnytė frequently participates in contemporary music festivals and events, both as a pianist and a composer, amongst them the Gaudeamus Music Week in Amsterdam, the ISCM World New Music Days and Klangspuren Schwaz.
Concert length: 1 h 40 min incl. intermission
No bus to Berwaldhallen from Stockholm City –
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FESTIVAL OFFER (Östersjöklippet)
With the Baltic Sea Festival Offer (Östersjöklippet), you get three different levels at a discount – 10, 15 and 20% off the regular fare depending on whether you buy three, four or five different concerts at the same time.