Naxos recorded both of these pieces very successfully and coupled them differently, but questions of price notwithstanding, this newcomer edges out the competition in two respects. First, the characteristically first-class BIS sonics eclipse even the otherwise excellent Naxos productions, offering more natural instrumental perspectives and a richer bass response, so important in this colorfully scored music. Second, Nils Mortensen and Ole Ruud take just a bit more time with each work, and rather than lowering the level of tension, this extra maneuvering room brings to the surface even more ear-catching detail while permitting a touch more bounce to Tveitt’s folk-influenced rhythms.
Both pieces have as their basis the Hardanger folk songs that provided the inspiration for so much of Tveitt’s music, and pianists Mortensen and (in the Variations) Sveinung Bjelland give impressive accounts of the very full solo parts. Let’s hope that someone soon gets around to reconstructing the Third Piano Concerto, a tape of which exists along with, we presume, what remnants of score survived the fire that consumed so much of the composer’s life’s work. I’ve been singing Tveitt’s praises for a couple of years now, and I see no reason to alter my view of him as one of the most enjoyable and important Scandinavian composers of the past century. Do get to know him. [5/10/2004]
