{"product_id":"vintage-wirzn-1","title":"Vintage Wirén","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eWIRÉN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eConcert Overture No. 2.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Serenade for String Orchestra.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eIroniska småstycken \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e(Ironic pieces)\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e for Piano.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Piano Sonatina.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Miniature Suite for Violin \u0026amp; Piano.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Cello Sonatina.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Cello Concerto.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3,9\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Sinfonietta\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4,8 \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eTor Mann, \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eSixten Eckerberg, \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eSixten Ehrling, cond; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eStockholm R O; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eGothenberg S O; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eCamilla Kinberg; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eStig Ribbing (pn); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eSven Karpe (vn); Dag Wirén (\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003epn,\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e8\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e cond); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eMaurice Maréchal (vc); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e9\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHarry Ebert (pn); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eGustav Gröndahl (vc) \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e CAPRICE 21761, mono (79:47) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eArné Wirén was a Swedish bass who recorded with (among others) Hjördis Schymberg, Bette Björling, and Erik Sædén. This Wirén’s first name was Dag (1905-1986), and I was rather relieved to discover online that he “is not widely known outside his native Sweden, though his music began gaining notice internationally on recordings in the decade following his death. His first serious compositions date to the 1930s and divulge a neo-Classicism tinged by a Romantic warmth.” So if this is your introduction to Dag Wirén, as it was mine, there’s the skinny on him. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis disc, titled \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVintage Wirén,\u003c\/span\u003e \u003cspan\u003e presents what are possibly the first recordings of these pieces. I say “possibly” because of the obscurity of these recordings in the West, and the fact that the liner notes don’t volunteer this information. (Whatever happened to the days when record companies told you EVERYTHING—whether or not the recordings were first versions or not, whether or not they’ve ever been on LP and\/or CD before, who the performers are, etc.? This is the bane of modern record collecting, and reviewing. Modern-day record labels generally tell you very little or nothing.) This CD was initially reviewed by James A. Altena in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare \u003c\/span\u003e \u003cspan\u003e33:6, and I am indebted to him for explaining that “Tonsåttaren,” who is listed as the pianist in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMiniature Suite\u003c\/span\u003e \u003cspan\u003e and conductor of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSinfonietta,\u003c\/span\u003e \u003cspan\u003e is the composer himself. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eWhat one hears on this disc are light but well-crafted works of the style I tend to call “popular neo-Classic.” The “Andante espressivo” of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSerenade for String Orchestra,\u003c\/span\u003e \u003cspan\u003e for instance, strongly resembles the contemporary work of young Sam Barber or Copland in his popular phase, although the entire serenade shows the influence of both Stenhammar and of Prokofiev’s “Classical” Symphony. This is not a bad thing, and Wirén very obviously had a sense of humor, as his music practically bristles with it. The notes claim this the single most popular contemporary Swedish classical piece in existence, though later on in the notes they explain that it wasn’t issued in its entirely until 1949, nine years after it was recorded. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eIronic Pieces\u003c\/span\u003e \u003cspan\u003e for piano also runs in the Prokofiev vein, although Wirén purposely avoids some of the spikier harmonies of that style. Camilla Kinberg plays them with tremendous drive, finesses, and—yes—humor, particularly in the “Promenade” which starts and ends with a light tread but, in the middle, stomps around noisily with solid whacking notes in the bass. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe problem I had with the piano Sonatina was not the quality of the music, which was fine, but the condition of the records. All of these seem to have been pressed off-center, which causes the phenomenon known as a “swinging copy.” This, in turn, makes the pitch constantly fluctuate. What’s so annoying is that this is an easily correctable flaw: just get a turntable with a removable spindle. Put the record on the turntable with the spindle in, then remove it and start playing it at a slower speed (like 33 rpm). Watch how the grooves “swing,” and then very gently tap the edge of the disc with your fingernail until it looks more centered and regular. It works every time. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe Miniature Suite for Violin and Piano starts with a fairly innocuous, 49-second opening, but the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAdagio\u003c\/span\u003e \u003cspan\u003e is considerably interesting and moody. The remaining movements, though brief and lighthearted, are a bit less humorous or frivolous. So, too, is the Cello Sonatina, played well by Maréchal and pianist Ebert, who at this time (1940) was the regular accompanist for tenor Jussi Björling. My one complaint about this piece was that it seemed to be recorded rather distantly. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eEven better, as both a piece and as a recording, is the Cello Concerto, though the soloist (Gröndahl) is not as secure in his bowing or intonation as Maréchal. On the other hand Sixten Ehrling, heard here in a very early recorded example of his work, shows why he was considered one of Sweden’s better conductors. This work’s moody, more serious quality reveals Wirén to have been a fine composer who might have developed more seriously had his beloved “Serenade” not taken over the imagination of the public. He creates a fine feeling of suspense in the “call-and-response” style of the concerto, and at roughly 16 minutes it does not overstay its welcome. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe transfers are, for the most part, masterfully done. Remastering engineer Marie Wisén (if I translate the word “Redaktör” correctly) has removed all traces of record sound, leaving just the music to be savored without damaging the quality of the string tone, always a hazardous operation. My only complaint is that she did not then boost the treble to restore some of the upper frequencies, which makes these recordings sound muffled. I was able to obtain good quality sound, however, by turning the treble control on my amplifier all the way up. Otherwise, recommended. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Lynn René Bayley \u003c\/span\u003e\u003cbr\u003e","brand":"Caprice","offers":[{"title":"CD","offer_id":49711214854424,"sku":"7391782217612","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1351699.jpg?v=1777788434","url":"https:\/\/hbdirect.com\/products\/vintage-wirzn-1","provider":"HBDirect","version":"1.0","type":"link"}