instruments alto solo and chamber ensemble;
alto, clarinet, bass clarinet, mandolin, guitar, violin, viola and violoncello

text by Tomas Tranströmer from the collection Sorgegondolen (”The Sad Gondola”)

movements
1. April och Tystnad
2. Tre Strofer –
3. Intermezzo I (instrumental) –
4. Tystnaden –
5. Intermezzo II (instrumental)
6. Landskap med solar

year of production 2009 - 2010

dedication Carina Vinke, Christian Karlsen and New European Ensemble

commissioned by New European Ensemble

duration 20‘ (ensemble) 12‘ (piano)  

first performance
April 18 2009
Arnold Schönberg Zaal,

Koninklijk Conservatorium,
Den Haag, Netherlands
(first version: only mov 1, 2 and 6)

Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

version for alto voice and piano
October 11 2009

work comments

Tranströmersånger (”Tranströmer Settings”) (2009-10) was commissioned by and dedicated to Carina Vinke, New European Ensemble and Christian Karlsen. It was originally composed for voice and ensemble (consisting of clarinet, bass clarinet, mandolin, guitar, violin, viola and violoncello) and later set for voice and piano with the instrumental intermezzi left out.

The starting point for this work was poetry from Tomas Tranströmer’s Sorgegondolen “The Sorrow Gondola” which describes an author’s inability to write. The title is derived from a piano piece by Franz Liszt called La lugubre gondola, that was composed around the time of Richard Wagner’s passing and funeral procession in the canals of Venice.

The harmonic backbone is based on the same pitch material as one of my previous works for solo guitar, Arpalinea. Using the same instrumentation as in arnold Schönberg’s Serenade op. 24, the sound world is italian and inspired by paganini’s concertante-works, which included violin and viola along with mandolin and guitar. Musically i wanted to bring out the lyric and dramatic moods in these poems where you can picture the poetic content as a ”music drama without a stage”.

Tranströmersånger has been widely performed on tour with the New European Ensemble in the autumn of 2010 in Sweden, and in Holland at Pulchri Studio in The Hague and at White Crow Music Festival in Leiden.

Reviews on Tranströmersånger:

Foajén, Malmö Opera

May 15 2010 SWEDISH PREMIERE (piano version)
Emma Lyrén

Max Lörstad

[…] "Benjamin Staern is a composer from Malmö with every reason to keep an eye on. He has apparently been busy and have had works appearing on several international festivals, but I must admit that I knew nothing about his activities as a composer until I heard his "Contrasts in Motion" at the Malmo Opera Percussion Concert "Wildfire" earlier this year. The work was interesting, captivating, indeed purely entertaining and I was curious to hear more of his music. At Saturday's chamber concert at the upper foyer of the Opera singer Emma Lyrén and pianist Max Lörstad performed three of Benjamin Staern compositions to poetical settings of Tomas Tranströmer. It was intelligent, well-written musical in the spirit of older romance art, with interesting contrasts, clear melodic vocal part and intricate passages for the piano. You get a clear sense that Staern actually writes for its listeners to tell you something and he expresses himself very well. It will be very interesting to see what he achieves in the future. For the good impression of these songs also contributed greatly Emma Lyréns well-modulated yet dramatic mezzo and Max Lörstads elegant touch with the piano part." […]

Lars-Erik Larsson, Skånska Dagbladet May 17 2010.

Västerås Konserthus

October 9 2010 WORLD PREMIERE of extended version
Carina Vinke
New European Ensemble

Christian Karlsen

[…] ”Tranströmers clear drawn images receives a further dimension with aid of strings, winds and Carina Vinkes voice.” […]

Dan Linder Vestmanlandstidningen October 10th 2010

Capitol, Stockholm

October 9 (ensemble version) STOCKHOLM PREMIERE
Samtida Musik
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

[…] ”[was] the highlight of the evening. Staerns lyrical and virtuosic driven modernism is recognizable in these short settings there Vinkes voice had space to glare out in a dramatic top form. It was also received in the ensemble...They are playing impeccably great! I’m looking forward to hear more.”

Andreas Engström, Nutida Musik 4/2010-2011

2010

May 15 SWEDISH PREMIERE (piano version)
Foajén, Malmö Opera

Emma Lyrén

Max Lörstad

October 9 (ensemble version) WORLD PREMIERE of extended version

Västerås, Konserthuset

Västmanlandsmusiken
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

October 9 (ensemble version) STOCKHOLM PREMIERE

Capitol, Stockholm

Samtida Musik
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

October 12 (ensemble version)

Röhsska muséet, Gothenburg
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

October 13 (ensemble version)

Caroli Kyrka, Malmö
Connect Festival 2010
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

November 13 (piano version) DUTCH PREMIERE

Aalmarkthall, Leiden, Netherlands
White Crow Music Festival 2010
Carina Vinke, alto

Stefan Petrovic, piano

November 28 (piano version) FRENCH PREMIERE

Domaine de la Grange, La Prévôté, Savigny-Le-Temple, France

Gitta-Maria Sjöberg, alto

Philippe Cassard, piano

2013

April 11 (ensemble version) DUTCH PREMIERE
Muziekgebouw aan ’t IJ, Amsterdam, Netherlands
Carina Vinke, alto

New European Ensemble

Christian Karlsen, conductor

Carina Vinke, Tomas Tranströmer, the composer and Christian Karlsen after the first performance of the new extended version in Västerås October 9th 2010.