Rasmussen is the first and only conservatory-trained composer to come out of the Faroe Islands. He writes in a thoroughly avant though not necessarily serial style. A background in rock and jazz influences his writing, and he attempts to portray the sounds of nature of his islands with complex overlays of sounds, including some derived from the overtones of Faroese folk songs. The symphony dates from 1995-97; its title refers to a poem which uses the ocean as a metaphor for the contradictions and absurdities of life. The music shifts very suddenly in dynamics, moving in undulating motions similar to surf breaking on a beach. But don’t expect a Nordic version of La Mer. Two major themes come from Faroe song tradition – one from a sacred song and the other a secular song.
The Saxophone Concerto is also based on Faroese music – a hymn in particular. The soloist switches between baritone, tenor, alto and soprano sax – ascending the pitch scale from low to high with each of the four movements of the work. In the third movement part of the orchestra is placed far back on the stage for an echo effect with the other musicians. The final movement is more traditional, with alternation between the orchestra and soloist. Rasmussen’s jazz background seems to contribute to a more interesting solo part than most contemporary semitonal sax concertos – though this is by no means a jazz sax concerto. (In the U.S. the saxophone in classical music has a Rodney Dangerfield complex.) The wide spread and spatial accuracy of the 5.0 recording aids in following the many complexities of this primarily atonal music.
– John Sunier
