Bought in May 2017.
First listen: 21-6-2017.
CD 1 from 2.
Recording dates: August 2009.
Recording venue: Olavshallen, Trondheim, Norway.
Recording engineer: Stephan Reh.
Running time: 59:04.
Relevance to me: Essential.
Tema con Variazioni.
Suite, "Kong Bladvines Armring".
Works performed by:
Trondheim SO, Eivind Aadland.
On the 24 of April 2017 I played for the first time music by this composer. On this CD recorded by Naxos, were the following compositions, namely the Symphony in D minor in the original version, the Air composed in 1959, and the Passacaglia. It was recorded on May 2009, so 3 months earlier as the present disc, and they could claim, World premiere recordings. All works on the Naxos disc, apart from the Air, are on the second CPO disc which I will play in due time.
I am new to 3 compositions on this disc, and only the air I know. A work of 3:06 duration, there is no big difference between both versions. It is a well crafted work, very effectively scored.
Tema con Variazione has 17 movements in which Jensen shows his orchestral skills in full flight. Colouristically and stylistically it is a contrasting programme whose differences absolutely sing together as a unit. There is a shapely kind of virtuosity with rich textures and a confident kind of energy.
The Partita Sinfonica is a powerful but concise work, very economically scored. There is a sense of expectation that is duly rewarded by an intriguing and introspective orchestral colouring. Especially the second movement "Lento", that has a magical ring to it.
The Suite is an adorable piece, a musical representation of a children's comedy on stage. In its time it was very successful. Again you are met by unexpected moods, melodically rewarding, and pittoresque. Tonal and romantic in its demeanor, it is a great privilege to listen to Jensen's music. The recording is very good. Aadland is a conductor that shuns too much sentimentality or sweetness, so the moments of warmth are rare. His mind is more attuned to rationality, therefore his emotional involvement suffers a bit, something I already noticed in his complete survey of Edvard Grieg's Orchestral music. But is something I take for granted, for he presents a clear picture of the music.
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