The Fanfare and Hymn was written to a commission from the City of Bergen. It is one of his most immediately melodic pieces. Despite its late date it shares the same soundworld as the Psalme and Dolorosa.

Much to the composer's satisfaction the Piano Concerto was taken up by none other than Andor Földes although dedicated to the Norwegian pianist Robert Riefling. By the time he had completed it he had written seven symphonies (only two more to be written). The Salme-Symphony, Sinfonia Dolorosa and the Kjempevise-Slåtten had made his name in musical circles. By contrast the concerto has the brittle, clarified and stripped down sound of the Williamson and Berkeley piano concertos as well as the convulsive acerbities of the Britten. It is neither neo-classical nor atonal. It is a lithe work yet one not aiming for charm punchily despatched by Bis regular, Noriko Ogawa.

The Ninth Symphony like its predecessor is in four movements. It was premiered at the Bergen Festival conducted by Karsten Andersen. After a conflict-ridden allegro appassionata comes a fractured dance which when it finds itself whole appears in Prokofiev-like avian finery. Such singable melodies borne high on flute and clarinet return for the finale in which there is some mild dissonance amid an energy that is almost Beethovenian - how often does LvB put in an appearance in the twentieth century symphonies - listen to those by Fernstrom and Martinu. The orchestral piano is a prominent presence in the first and last movements.

Rob Barnett

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