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Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009) [Re-Up]

Posted By: Designol
Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009) [Re-Up]

Sinikka Langeland - Maria's Song: Folk Songs and music of Johann Sebastian Bach (2009)
with Lars Anders Tomter & Kåre Nordstoga

EAC | FLAC | Tracks (Cue&Log) ~ 414 Mb | Mp3 (CBR320) ~ 218 Mb | Scans included
Classical, Baroque, Nordic Folk | Label: ECM | # ECM 2127, 271 7097 | Time: 01:12:11

Norwegian folk musician Sinikka Langeland, singer and player of the kantele (the Finnish table harp) is a distinctly non-traditional traditionalist, redefining "folk" in successive projects. 'Maria's Song' finds her in the company of two distinguished classical musicians - organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter - and on a mission to restore Marian texts to sacred music, weaving folk melodies in between the timeless strains of J S Bach. Langeland made a lot of friends with her sparkling ECM debut Starflowers: "There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year" raved the Irish Times. Where Starflowers brought Langeland into the orbit of jazz improvisers, Maria's Song is a meeting and cross referencing of folk and 'classical' energies, and also a righting of historical 'injustice': Religious folk songs are amongst the most distinctive elements of the Norwegian folk tradition, yet the Virgin Mary rarely appears in them. Once a much-worshipped figure in the Far North she was, as Sinikka puts it, "reformed" away in 1537, so this album brings Maria back into the music. It was recorded in the beautiful Nidaros Cathedral of Trondheim, famous for its Baroque organ heard here.

ECM may be nominally dedicated to contemporary music, but Johann Sebastian Bach has been a vital touchstone in its classical recordings. Whether acting as a foil to modern works in Thomas Demenga’s multi-album traversal of the Cello Suites or as the exclusive subject of fresh interpretations by Keith Jarrett and András Schiff at the keyboard, Bach has either existed as a point of reference or as a master being reckoned with anew toward the asymptote of definitive interpretation. Only Christoph Poppen has gone a step further, weaving Bach into the work of Anton Webern (as Webern himself had done) and exploring hidden chorales of the solo violin literature. That was, until Maria’s Song, which is by far, and may always be, ECM’s profoundest reckoning with Bach.

Previously for the label, Norwegian folk singer and kantele (15-string Finnish table harp) virtuoso Sinikka Langeland had recorded Starflowers and The Land That Is Not, both of which sought to explore the shared heart of folk and jazz around the heliocenter of Langeland’s full-throated voice. This time she is joined by Lars Anders Tomter, previously of Ketil Bjørnstad’s The Light, who plays a Gasparo da Salò viola made in 1590, apparently one of the world’s finest examples of the instrument. With them is Kåre Nordstoga, playing the 30-register Baroque organ of Trondheim’s Nidaros Cathedral. Nordstoga is the principal organist at Oslo Cathedral and a Bach specialist, having performed two complete traversals of the composer’s organ music over 30 Saturday recitals in 1992 and 2000.

The program is a mixture of Marian texts from Luke set to folk melodies and medieval ballads, then threaded through the loom of Bach’s hymns (and the Concerto in d minor, BWV 596) at the organ. In addition, Tomter plays viola arrangements of the Solo Cello Suite No. 1 in G major, BWV 1007 (played an octave higher) and the Chaconne from the Solo Violin Partita No. 2 in d minor, BWV 1004 (transposed to g minor). A few things make this a remarkable project. First is Langeland’s immensity of knowledge, on which she draws to assemble a program of such originality that it feels as seamless as its pairings of word and melody. Second is her voice. Possessed of a luminescent, youthful energy, her intonation makes scripture feel like a sheaf of grain distilled into something digestible by the soul. Last is the utter respect with which the musicians perform, respect that emits a sacred light of its own. And no wonder, considering that the spirit of these texts was at one time forbidden in Norway, where the Reformation of 1537 disbanded monasteries and consigned church relics and artifacts, including depictions of Mary, to state storehouses. Worship of the Virgin thus became the stuff of hidden messages and codes, and in these songs Langeland has enacted their recovery.

“Lova lova Lina” is the first encoding of Mary and, like many of Langeland’s segues throughout the disc, is sung with only the cathedral’s resonant air as accompaniment. Along with the “Ave Maria,” it reappears transformed. At times, Langeland’s fingers find their way to the kantele, both as support for the voice and as a voice unto itself. A reprise of “Lova lova Lina” is especially potent for marrying the two. Narratively inflected singing throughout makes of the shuffled program something of a passion play, in which dialogues between Heaven and Earth come to define the natural order of things. One might expect the viola to brighten Bach’s solo cello writing, when in fact it casts a deeper, more spectral shadow. The feeling is distinctly cyclical, as emphasized by the vocal surroundings, and reaches open-gated confluence in the mighty Chaconne, over which the “Ave Maria” is dutifully papered. The organ, too, sings as it speaks, lifting Langeland in “Vom Himmel kam der Engel Schar,” BWV 607 and, on its own, ascending the spiral staircase of the “Fuga sopra il Magnificat,” BWV 733 at hub of it all. Even the Concerto transcription unleashes the Holy Spirit at an intersection of past and future. As Langeland recalls in her liner notes, “While we played our way through time, the Nidaros Cathedral reflected the spiritual currents of a thousand years. The large Russian icon stared at us as we began to record. The dawn light poured through the huge rose window as we finished the night’s recording.” To be sure, we can feel all of these things…and more.

Review by Tyran Grillo, ECMreviews.com


This is a fascinating disc which starts off merely having a great deal going for it, and ends up becoming more than the sum of its seemingly disparate parts. This will however only be your response if you are prepared to accept a mixing and matching of what on the face of it appear to be entirely different musical worlds. We’ve been treated to many kinds of ‘crossover’ albums before now, and the ECM label has its own niche in this regard. The meeting of, say, a jazz saxophonist with a medieval choir, wouldn’t have been anyone’s idea of a bestseller not so many years ago. A Norwegian folk singer singing in her own national/personal style set alongside a violinist and organist playing Bach is therefore perhaps not such a huge leap after all.

Folk music is the mainstay of Sinikka Langeland’s highly distinctive performing, but she is clearly more than willing to see the boundaries between her own background and idiom blurred and redefined in her recording projects. Described as a ‘non-traditional traditionalist’, her previous ECM CD Starflowers saw her working with improvising jazz musicians. Maria’s Song has an entirely different atmosphere, but this has plenty to do with the theme around which the music revolves. To quote Langeland’s own booklet notes, “Religious folk songs are among the most distinctive elements of Norwegian folk music, but the Virgin Mary is only represented with a few variants of the hymn ‘Maria hun er Jomfru ren’ (Mary is a virgin pure). The reason for this is obvious: she was ‘reformed’ away in 1537 along with a large number of beautiful church paintings and sculptures, and anyone who persisted in worshipping her risked harsh punishment. But the myth of the Virgin Mary lives on in the Norwegian folk tradition in the form of nicknames for flowers and in the legends that are recounted in folksongs and sagas.”

Sinikka Langeland has combined Bach with Norwegian hymns before, so this CD furthers of a line of recordings. The First half of the programme alternates Medieval ballads with Bach’s Suite No.1 for cello, played here on the viola with great panache by Lars Anders Tomter. The tonality and mood of the pieces is carefully matched, the thrilling ‘de-tuned’ folk scales sometimes making the Bach seem a bit middle-of-the-road. Compare the version of He Will be Great and Mary Asked the Angel with their quasi quarter-tone relationships, with the sandwiched Sarabande, making it seems relaxed and easy by comparison. These tonal scrunches in the voice take on a different quality again when compared with the Baroque tuning of the organ, but in each case the melodic shapes and the sheer qualities inherent in the music bring both styles and idioms closer together than one could have imagined before the disc started.

This reaches its logical climax where Langeland joins with the organ, her open ‘mountain/fjord’ singing voice more than equal to that instrument and soaring above it in a remarkable way. This is not always entirely comfortable listening, and if you are looking for the kind of meditative experience often created by Jan Garbarek and the Hilliard Ensemble then this is something entirely different. Kåre Nordstoga is principal organist at Oslo Cathedral and is a recognised Bach performer. His playing is superb throughout, but makes no compromise in terms of ‘accompanying’ the singer - it is she who adapts her melodies to the Bach rather than the two forming a particularly unified ensemble, although the sung melodies and the Bach do link remarkably well. The opening of the Concerto in D minor with voice is quite dramatic, especially with the entry of the Fugue after the few notes of Blessed is she who has Believed. More sustained is the Largo e spiccato, but still with an edge which is more Nyman than new-age. The final track is the complete Chaconne from the Partita No.2 in D minor BWV 1004, against which Langeland sings an Ave Maria. With the two ‘voices’ closer in range this is a more risky venture than with the organ, but escapes sounding like cats fighting in a bag. Langeland wisely keeps things simple while the viola dives through playing melodies and harmony at the same time, and makes herself absent for significant periods.

Other highlights include the second version of Lova Lova Lina which is beautiful in the simplicity of its bell-like kantele sonorities, and I’m just a big old softie for all of the kantale solos. Just the sound of those gently beaten resonant strings is good enough for me, never mind that it’s marvellous music as well.

This is a fine and fascinating disc. I’m not always entirely convinced by the recording of the voice, which seems to push the equipment to some kind of limit at times. I’m sure a little more distance might have cured this, though the resonance of the Nidaros Cathedral might have become too swampy as result. I’ve tried this on the best equipment I could find, and the effect of a kind of overtone overload remains, though this is not something which should really put people off. Sinikka Langeland’s open ‘outdoor’ vocal sound is easy to listen too, though should not be compared with your average soprano or mezzo – operatic or otherwise. If broadening your horizons is a priority in your search for interesting new sounds and combinations of programming, then this CD might well do the trick – it certainly has plenty spirit, in all senses of the word.

Review by Dominy Clements, MusicWeb-International


Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009) [Re-Up]

Lars Anders Tomter, Sinikka Langeland, Kåre Nordstoga (L to R)

Sinikka Langeland at Allmusic
Sinikka Langeland Website
Sinikka Langeland at Wiki


Sinikka Langeland - voice, kantele
Lars Anders Tomter - viola
Kåre Nordstoga - organ

Recorded February 2008, Nidaros Cathedral, Trondheim

Tracklist:

01. Lova lova Lina (00:50)
02. Meine Seele erhebet den Herren, BWV 648 (02:32)
03. Ave Maria (05:00)
04. Suite No. 1 in G major, BWV 1007: Prelude (02:17)
05. The angel Gabriel greets Mary (01:20)
06. Suite No. 1 in G major, BWV 1007: Allemande (03:34)
07. But the angel said to her (01:01)
08. Suite No. 1 in G major, BWV 1007: Courante (02:32)
09. He will be great (01:07)
10. Suite No. 1 in G major, BWV 1007: Sarabande (02:35)
11. Mary asked the angel (01:28)
12. Suite No. 1 in G major, BWV 1007: Menuet I & II (03:01)
13. Even Elizabeth (00:58)
14. Suite No. 1 in G major, BWV 1007: Suite No. 1 in G major (01:27)
15. Vom Himmel kam der Engel Schar (01:17)
16. Lova lova Lina (03:38)
17. Fuga sopra il Magnificat, BWV 733 (05:10)
18. Mary visits Elizabeth (00:54)
19. Kantele (00:58)
20. Concerto in D minor, BWV 596: I (01:00)
21. Blessed is she who has believed (00:22)
22. Concerto in D minor, BWV 596: II. Grave & Fuga (04:07)
23. Song of Mary (02:19)
24. Kantele (00:54)
25. Concerto in D minor, BWV 596: III (02:58)
26. Concerto in D minor, BWV 596: IV. (without tempo indication) (03:31)
27. Kyrie (02:05)
28. Partita No. 2 in D minor, BWV 1004 (13:04)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 8. May 2014, 2:34

Sinikka Langeland / Maria's Song

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[CTDB TOCID: Y4by1UZ8B6xs7WEcUeLTVqHcmPk-] found, Submit result: Y4by1UZ8B6xs7WEcUeLTVqHcmPk- has been confirmed
[94cfbc2e] (2/2) Accurately ripped


==== Log checksum B0C544FBB098A68E9AD637603EF73AA58BAF8BDC6E72004F83C77479478C5F0B ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-01-26 16:12:44

––––––––––––––––––––––––––––––––––––––––
Analyzed: Kare Nordstoga / Maria's Song (1-4)
Lars Anders Tomter / Maria's Song (5-10)
Sinikka Langeland & Kare Nordstoga / Maria's Song (11-13)
Sinikka Langeland & Lars Anders Tomter / Maria's Song (14)
Sinikka Langeland / Maria's Song (15-28)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
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DR9 -4.17 dB -15.83 dB 2:32 02-Meine Seele erhebet den Herren, BWV 648
DR10 -1.09 dB -13.37 dB 5:11 17-Fuga sopra il Magnificat, BWV 733
DR10 -0.80 dB -13.99 dB 4:07 22-Concerto in D minor, BWV 596: II. Grave & Fuga
DR11 -1.91 dB -16.21 dB 3:32 26-Concerto in D minor, BWV 596: IV. (without tempo indication)
DR9 -3.48 dB -15.64 dB 2:17 04-Suite No. 1 in G major, BWV 1007: Prelude
DR11 -4.12 dB -17.16 dB 3:34 06-Suite No. 1 in G major, BWV 1007: Allemande
DR11 -2.75 dB -16.45 dB 2:32 08-Suite No. 1 in G major, BWV 1007: Courante
DR10 -4.95 dB -19.32 dB 2:36 10-Suite No. 1 in G major, BWV 1007: Sarabande
DR10 -5.41 dB -18.24 dB 3:01 12-Suite No. 1 in G major, BWV 1007: Menuet I & II
DR10 -4.46 dB -17.23 dB 1:28 14-Suite No. 1 in G major, BWV 1007: Suite No. 1 in G major
DR9 -3.33 dB -14.24 dB 1:18 15-Vom Himmel kam der Engel Schar
DR9 -2.47 dB -16.14 dB 1:01 20-Concerto in D minor, BWV 596: I
DR10 -5.72 dB -17.59 dB 2:58 25-Concerto in D minor, BWV 596: III
DR11 -3.29 dB -17.50 dB 13:04 28-Partita No. 2 in D minor, BWV 1004
DR8 -4.97 dB -16.73 dB 0:51 01-Lova lova Lina
DR9 -4.87 dB -19.18 dB 5:01 03-Ave Maria
DR11 -5.05 dB -21.63 dB 1:20 05-The angel Gabriel greets Mary
DR10 -7.03 dB -21.40 dB 1:01 07-But the angel said to her
DR9 -4.34 dB -17.75 dB 1:07 09-He will be great
DR11 -6.77 dB -23.14 dB 1:29 11-Mary asked the angel
DR9 -5.43 dB -17.59 dB 0:58 13-Even Elizabeth
DR9 -4.50 dB -17.93 dB 3:38 16-Lova lova Lina
DR9 -5.12 dB -16.85 dB 0:54 18-Mary visits Elizabeth
DR11 -4.85 dB -23.27 dB 0:58 19-Kantele
DR8 -6.06 dB -18.73 dB 0:22 21-Blessed is she who has believed
DR9 -3.02 dB -17.33 dB 2:20 23-Song of Mary
DR11 -7.59 dB -23.03 dB 0:54 24-Kantele
DR9 -5.68 dB -17.83 dB 2:05 27-Kyrie
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 28
Official DR value: DR10

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 657 kbps
Codec: FLAC
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Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009) [Re-Up]

Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009) [Re-Up]