Maria Magdalena Motettkör, (conductor: Ragnar Bohlin)
Stockholm Wind Symphonic Band
Jesus: Olle Persson,
Maria: Boel Adler,
Evangelist: Jan Nilsson,
Marta: Madelaine Wibom (also on nosag CD 022)
and with Marianne Lundquist, Kjell Gustavson
organists: Ralph Gustafsson, Mathias Kjellgren
conductor: Mika Eichenholz (also on nosag CD 011)

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Sagvik: from Gloria

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music by contemporary Swedish composer Stellan Sagvik
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a site with lighter music by the same composer.

THE CRITICS:

C-G Åhlén: "With strong accents from wind and percussion (—) with close changing of beat, a kind of gasping declamation with an adventurously high tessitura that heats the tone language so it almost burns (—) as the choral parts are among the best being written in several years!"

Svenska Dagbladet: "Here the assiduous Sagvik has written a music often among the most beautiful from his hand that ever sounded."

MusicWeb: "The work is certainly dramatic and, finally, cathartic. It opens deceptively before a sudden eruption of brass and percussion and voices; instrumentally one hears the coiling sound of saxophones as well. The Kyrie is sonorously meditative, the next movement strenuous with compelling and slowly moving brass behind the soloist. One can hear in Marta och Maria starkly modernist devices married to parlando and speech-singing elements. Where Sagvik asks for tricky balances (brass and percussion, bell tolls, solo voices heard in different spaces) the recording can be slightly askew but equally one can be arrested by a sumptuous and radiant sound, such as he produces in the Gloria with its somewhat marchy-jazzy, almost Waltonian presence. The Mass takes in the story of Lazarus, the longest movement by some way, but reaches a peak of the viscerally pictorial with the nails being hammered through flesh in the Credo – punishing rhythms and declaiming choral interjections; baleful, brutal, leaving little to the imagination. This is reinforced in the Vid Golgata, which is viciously pounding and then flooded with plaintive reflection before we reach the Sanctus. Here triumphalism is interrupted by solo voices singing with yielding pliancy and the work arcs in a satisfactory way. This is never an easy listen but the concentration seldom sags. Curiosity may well be rewarded. "

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