Holmboe: Sinfonias I-IV, Op. 73a-73d

2010

“These four sinfonias for strings (1957-62) can be played either as independent pieces or – in a very particular sequence – as a large meta-symphony, Chairos, in which the four movements of Sinfonia IV frame and interlock with the single spans of IIII.
Dacapo present, intelligently, both versions, each on its own disc.
Holmboe explained that 'Chairos means “time” in the psychological sense, that is the passage of time as we sense it', in contrast to measured time (Chronos). Sinfonias I-III all embrace the main elements of traditional symphonism in their unbroken designs, the first two adopting broadly a slow-fast ground plan, III the reverse. If IV's sequence of prelude, interludes and postludes suggests something lightweight, this is misleading, for it's a highly impressive structure; the movement titles are relevant mostly for the larger composition.
It's unclear when Holmboe conceived this unusual double-form. The expressive characters and relative brevity of I and III suggest that he may have had a larger design in mind at first, though II, at 19 minutes, the longest by far of the four, hints at a totally separate genesis.
However the music started out, the achievement of Chairos is splendid testament to Holmboe's near-unique skill as a composer in the 20th century. In its larger form, it evinces a freedom of line and spontaneity of incident that suggests the tyranny of beat and bar-line had been cast off, yet in reality all is closely argued and achieved by total precision of means. Koivula and the Danish Radio Sinfonietta embrace this dichotomy in the music's soaring lines (which in the highest registers can sound just a touch thin) and multi-faceted fantasy.
Dacapo's sound is of demonstration quality.
Strongly recommended.”