IMCD 095

Erland von Koch
The 18 Monologues for Solo Instruments

IMCD 096
Release date : 26 April 2005
Producer :
Jan Johansson

Recording dates & engineers :
No 1 : Stenhammarsalen, the Concert Hall, Göteborg, October 2004 by Peter Lundin / No 2 & 10 : The Concert Hall, Göteborg, March 2005 by Michael Bergek (2) / Peter Lundin (10) / No's 3 – 9, 15 – 18 : Nilento Studio, Kållered, Göteborg September 2004 by Lars Nilsson and Peter Lundin / No 10 : Studio Överljud, Malmö April 2005 by Olle Skog / No 12 & 13 : The Concert Hall, Göteborg, September 2004 by Peter Lundin / No 14 : Nilento Studio, Kållered, Göteborg March 2005 by Lars Nilsson
Edited and mastered by Lars Nilsson/Nilento Studio

CD I
No. 1 for Flute (1973/1975) [6'15]
Håvard Lysebo : flute
No. 2 for Oboe (1975) [6'25]
Mårten Larsson : oboe
No. 3 for Clarinet (1975) [6'09]
Åke Schierbeck : bass clarinet
No. 4 for Saxophone (1975) [6'18]
Sven Fridolfsson : soprano saxophone
No. 5 for Bassoon (1975) [6'04]
Arne Nilsson : bassoon
No. 6 for French horn (1975) [6'52]
Per Göran : french horn
No. 7 for Trumpet (1975) [5'01]
Bengt Danielsson : trumpet
No. 8 for Trombone (1975) [5'52]
Lars-Göran Dimle : trombone
No. 9 for Tuba (1975) [6'05]
Morten Agerup : tuba

CD II
No. 10 for Guitar (1977) [6'22]
Michael Resare : guitar
No. 11 for Percussion (1977) [8'51]
Roger Carlsson : percussion
No. 12 for Harp “La primavera” (1977) [9'12]
Masayo Matsuo : harp
No. 13 for Piano (1977) [6'33]
Erik Risberg : piano
No. 14 for Voice (1977) [5'56]
Helena Ek : soprano
No. 15 for Violin (1974/1977) [7'34]
Nicola Boruvka : violin
No. 16 for Viola (1975/1977) [5'34]
Ane Lysebo : viola
No. 1 7 for Violoncello (1977) [8'07]
Paula Gustafsson : violoncello
No. 18 for Double bass (1976/77) [7'12]
Jenny Ryderberg : double bass

total time: 55'03 (CD 1) / 65'24 (CD 2)

For the first time
All of the 18 Monologues collected on two CD's

Erland von Koch

From the booklet :

Erland von Koch (born in 1910), alderman of Swedish music, is one the few Swedish composers who has remained faithful, throughout his career, to his own personal musical heritage. He grew up in a somewhat bohemian family, one parent a musician the other an artist. Sigurd von Koch (1879 - 1919), his father, was a major early twentieth century Swedish song composer. Kaju von Koch, his mother, was an artist and book illustrator. In his memoirs (Musik & minnen, in Swedish only, English equivalent title "Music & Memories", Författarförlaget 1989), Erland von Koch describes her as a warm and creative woman. In the same book, he goes on to describe the difficulties involved in choosing a career in music. The family was divided regarding the question of becoming a musician. Choosing to be a composer then, became an appropriate route for him to follow. Erland von Koch often describes himself as a stubborn soul, and as a result of his persistence, his studies at the Stockholm Music Conservatory (1931-35) were the beginning of a long ecclesiastical career. His degree was in organ performance and church music. Then he went on to study abroad (1936 - 38): composition with Paul Höffer, conducting under Clemens Krauss and piano with Claudio Arrau. Upon his return to Sweden in 1939, he obtained a teaching position at K. Wohlfart's music school. During World War II, he worked as conductor and balance engineer for the Swedish broadcasting company. From 1953 through to 1975 when he retired, Erland von Koch taught theory and harmony at the Stockholm Music Conservatory, where he received the title of Professor in 1968. He was elected to the Royal Swedish Academy of Music in 1957.

The list of compositions by Erland von Koch is extensive, including six symphonies (notably number 6, "Salvare la terra" 1991-92), 12 Scandinavian Dances, Impulsi and the Oxberg trilogies for orchestra, as well as a dozen concerti for solo instruments, a children's opera ("Pelle Svanslös"), music for ballet and film, seven string quartets, additional chamber music works and songs. No matter what von Koch's musical material is based on, be it folk music or twelve tone technique, it is always infused with a personal and consonant sound, embodied in anything from light dialogue to full-bodied harmonic structures. In his compositions, he often strives to achieve a transparent simplicity, with a vigorous rhythmic character and simple harmonisations.

He once said: "the older you get, the more clearly you realize the importance of melody". von Koch's neo-classical simplicity is his mark. He adds nuance to it with both modern and traditional compositional techniques in a manner that has remained consistent throughout his career. History may very well come to regard Erland von Koch as the most significant Swedish postmodernist. The Eighteen Monologues were written both as instructive and recital pieces. They may be seen as a sort of pendant to Benjamin Britten's "The Young Person's Guide to the Orchestra", in which each instrument has the opportunity to introduce itself independent of the orchestra. Each individual monologue focuses on investigating the potential of the instrument in question in terms of both timbre and expression. The monologues all open with a melodious movement and conclude with a fast one. As ever, the composer has not only woven in subtle references to folk music, but has also used a myriad of clever compositional techniques, which both challenge and reward the performer.

translation : Linda Schenck

Web Master

Erland von Koch The 18 Monologues for Solo Instruments
	IMCD 096 Release date : 26 April 2005 Producer : Jan Johansson Recording dates & engineers : No 1 : Stenhammarsalen, the Concert Hall, Göteborg, October 2004 by Peter Lundin / No 2 & 10 : The Concert Hall, Göteborg, March 2005 by Michael Bergek (2) / Peter Lundin (10) / No's 3 – 9, 15 – 18 : Nilento Studio, Kållered, Göteborg September 2004 by Lars Nilsson and Peter Lundin / No 10 : Studio Överljud, Malmö April 2005 by Olle Skog / No 12 & 13 : The Concert Hall, Göteborg, September 2004 by Peter Lundin / No 14 : Nilento Studio, Kållered, Göteborg March 2005 by Lars Nilsson Edited and mastered by Lars Nilsson/Nilento Studio
CD I No. 1 for Flute (1973/1975) [6'15] *Håvard Lysebo : flute* No. 2 for Oboe (1975) [6'25] Mårten Larsson : oboe No. 3 for Clarinet (1975) [6'09] Åke Schierbeck : bass clarinet No. 4 for Saxophone (1975) [6'18] Sven Fridolfsson : soprano saxophone No. 5 for Bassoon (1975) [6'04] Arne Nilsson : bassoon No. 6 for French horn (1975) [6'52] Per Göran : french horn No. 7 for Trumpet (1975) [5'01] Bengt Danielsson : trumpet No. 8 for Trombone (1975) [5'52] Lars-Göran Dimle : trombone No. 9 for Tuba (1975) [6'05] Morten Agerup : tuba CD II No. 10 for Guitar (1977) [6'22] Michael Resare : guitar No. 11 for Percussion (1977) [8'51] Roger Carlsson : percussion No. 12 for Harp “La primavera” (1977) [9'12] Masayo Matsuo : harp No. 13 for Piano (1977) [6'33] Erik Risberg : piano No. 14 for Voice (1977) [5'56] Helena Ek : soprano No. 15 for Violin (1974/1977) [7'34] Nicola Boruvka : violin No. 16 for Viola (1975/1977) [5'34] Ane Lysebo : viola No. 1 7 for Violoncello (1977) [8'07] Paula Gustafsson : violoncello No. 18 for Double bass (1976/77) [7'12] Jenny Ryderberg : double bass total time: 55'03 (CD 1) / 65'24 (CD 2)	For the first time All of the 18 Monologues collected on two CD's *Erland von Koch* From the booklet : Erland von Koch (born in 1910), alderman of Swedish music, is one the few Swedish composers who has remained faithful, throughout his career, to his own personal musical heritage. He grew up in a somewhat bohemian family, one parent a musician the other an artist. Sigurd von Koch (1879 - 1919), his father, was a major early twentieth century Swedish song composer. Kaju von Koch, his mother, was an artist and book illustrator. In his memoirs (Musik & minnen, in Swedish only, English equivalent title "Music & Memories", Författarförlaget 1989), Erland von Koch describes her as a warm and creative woman. In the same book, he goes on to describe the difficulties involved in choosing a career in music. The family was divided regarding the question of becoming a musician. Choosing to be a composer then, became an appropriate route for him to follow. Erland von Koch often describes himself as a stubborn soul, and as a result of his persistence, his studies at the Stockholm Music Conservatory (1931-35) were the beginning of a long ecclesiastical career. His degree was in organ performance and church music. Then he went on to study abroad (1936 - 38): composition with Paul Höffer, conducting under Clemens Krauss and piano with Claudio Arrau. Upon his return to Sweden in 1939, he obtained a teaching position at K. Wohlfart's music school. During World War II, he worked as conductor and balance engineer for the Swedish broadcasting company. From 1953 through to 1975 when he retired, Erland von Koch taught theory and harmony at the Stockholm Music Conservatory, where he received the title of Professor in 1968. He was elected to the Royal Swedish Academy of Music in 1957. The list of compositions by Erland von Koch is extensive, including six symphonies (notably number 6, "Salvare la terra" 1991-92), 12 Scandinavian Dances, Impulsi and the Oxberg trilogies for orchestra, as well as a dozen concerti for solo instruments, a children's opera ("Pelle Svanslös"), music for ballet and film, seven string quartets, additional chamber music works and songs. No matter what von Koch's musical material is based on, be it folk music or twelve tone technique, it is always infused with a personal and consonant sound, embodied in anything from light dialogue to full-bodied harmonic structures. In his compositions, he often strives to achieve a transparent simplicity, with a vigorous rhythmic character and simple harmonisations. He once said: "the older you get, the more clearly you realize the importance of melody". von Koch's neo-classical simplicity is his mark. He adds nuance to it with both modern and traditional compositional techniques in a manner that has remained consistent throughout his career. History may very well come to regard Erland von Koch as the most significant Swedish postmodernist. The Eighteen Monologues were written both as instructive and recital pieces. They may be seen as a sort of pendant to Benjamin Britten's "The Young Person's Guide to the Orchestra", in which each instrument has the opportunity to introduce itself independent of the orchestra. Each individual monologue focuses on investigating the potential of the instrument in question in terms of both timbre and expression. The monologues all open with a melodious movement and conclude with a fast one. As ever, the composer has not only woven in subtle references to folk music, but has also used a myriad of clever compositional techniques, which both challenge and reward the performer. translation : Linda Schenck
Web Master