Before the world premiere of Paula af Malmborg Wards and Ebba Witt-Brattströms opera ”Kärlekskriget” in 2017, I asked the question in an essay about how it is with the postmodern love. Where the referenced I to the psychoanalyst and the historian Per Magnus Johansson’s essay in the Arche (the 2016 no 54-55), which poses the question of how prepared we are today, to expose us to the risk of love.
He notes that kärlekskvalet lost its pathos, at the same time as the love the importance of self-esteem is greater than ever. But the question of their own ability to love is not as often in the day. Kärlekskänslorna and the romance has cooled.
forming the ”Kärlekstrilogin”, composed between 2014 and 2016, taking Marie Samuelsson up this thread. The intention behind the trilogy is to remind about the power of love in a time when the often forgotten or even replaced by the fear for the foreign. And it is a very trying and searching composers we hear in all three parts.
The first is called ”Aphrodite, fragment of Sappho” and is written for mezzo-soprano and orchestra. This sounds Katija Dragojevics glowing voice in långspunna melodilinjer to Jesper Svenbros translated diktrader where it kärlekslidande self fall apart, trembling with desire for the lost beloved. A lonely cry for help as He was at a marvelous opportunity to be responded to as lonely violinstämma.
Beauty is also noticeable when she gets in this first part, in introduction to the travel itself, like a slow uplift from the sea. And where fill the air with the archaic-sounding sound high up in the treble. A stillness in which, however, begins to tremble by the force towards the end of the pulse is increased and in which the grids and the wines on an exposed snäckskalsstrand.
The second part is called ”A new child of infinity, to my two sons.” is written for the clarinet, and is inspired by Göran Sonnevis lines in ”The impossible”: ”Every child bears/in the flesh, in the swirling centre/a new child/of infinity”.
and its mobility is almost limitless. A joyful feeling as Andreas Sundén playing on the clarinet. But just like Sonnevi, and in the real life is the love of the child and to the child multi-directional. The clarinet has a different tone, deeper, and easily distorted, which is a pain.
The third part is called ”Eroseffekt and solidarity” and is written just for the orchestra, which, however, have dual roles when, on several occasions, reciting sentences from an article by the american sociologist George N Katsiaficas.
It is about solidarity and community, but the music is anything but militant. Here He was chosen to be the most applicants and the fragility of the entire kit, among other things, in the most beautiful string and blåsarstämmor.
As if she is here also called the Sonnevi who say that sometimes there is a relationship between many people who are ”of the same finhetsgrad that Mozart’s music!”
: ”Aphrodite, the fragments of Sappho”
Read more music reviews by Martin Nyström, for example, about how Ann-Sofi Klingberg, interprets the passage of cycles composed by Andrea Tarrodi and Ylva Skog.
