Fanfare (US)
BRITTA BYSTRÖM Ink-Wash on Paper1. By the Window2.  1Malin Broman (vn/va); 1,2Eriikka Nylund (vn); 1Maria Macleod (vc); 1,2Rick Stotijn (db); 1Niklas Andersson (cl); 1Henrik Blixt (bn); 1Chris Parkes (hn); 2Simon Crawford-Philips (pn/cel)  OUR 9.70870 (63:53) Reviewed from a WAV download: 44.1 kHz/24-bit
Swedish composer Britta Byström (born 1977) offers music of the most amazing sound palette; "palette" being the mot juste as she is often inspired by artists. Her remarkable Diagonal Musik (2017) for horn, violin and prepared piano is utterly remarkable and has been recorded by members who also play on this disc: Cristopher Parkes, Malin Broman, and Simon Crawford-Hilips (on the Alba label). That piece is inspired by the art of Olle Bærtling (1911-1981), mapping the artist's idea of "open form" in painting to open form in sound.
Byström's trumpet concerto Förvillelser (Delusions) made my Want List. There, the inspiration is a novel by Hjalmar Söderberg (with the soloist taking on the role of the wanderer-protagonist: review Fanfare 31:5, and in my 2008 Want List in 32:2). Here, though, it is the paintings and the ink-wash on paper technique of Gunnel Wåhnstrand that is the inspiration, and indeed Byström's previous collaboration with Bætling was vital for the cementing of the Byström/Wåhnstrand partnership: after hearing a performance of Diagonal Musik, Wåhnstrand found himself wanting the same, and the result is Ink-Wash on Paper (2020).
The art comes from photos, whether taken by the artist or indeed old family photos (the latter particularly significant as they were the only access Wåhnstrand had to his father). Byström made the selection of paintings, and they turned out to be, in chronological order, a journey from distance to closeness: the first four are landscapes from a distance and the interior of a museum, while the subjects for the later movements are rather more “zoomed in”.
So the first piece is “Långedrag" (Long Haul) which depicts two people observing a landscape. But the people are dwarfed by that landscape. Just as one cannot see the faces of the people in that painting, in this piece the octet acts as a unity, a shifting expanse of texture from which eventually the spirit of dance will out, giving the music a sense of irrepressible life. The performance is superb, and impeccably balanced in the recording. Simon Carford-Hilips' fingers dance; Malin Broman’s violin sings, as does Chris Parkes’ French horn.
There is a real sense of melancholy to Wåhnstrand’s Looking at Paintings, and that comes across in Byström's sonic reaction. It is as if old-fashioned melody and harmony seek to escape from her more complex palette, while whistling adds a slightly disturbing edge. The melancholy is important in another way: Byström reacts throughout to how white is used in a melancholic way in Wåhnstrand’s art. You can see that in the subject of the third movement, “The Meadow,” where again a pair of human figures are anonymised against Nature; perhaps the white is not the whole story when it comes to the melancholy, part of it is a reflection on the magnitude of Naure and the tininess of humankind in comparison.
The ambulatory feel of the next movement should not come as a surprise, given its title of “Walk”; the image is of a path in a park. I would argue there is more color in Byström's response than the original would allow, but as the music is a response, that can hardly be a criticism. And when reflection sets into the music around a minute before the movement’s end, it feels like an acknowledgement of the black-and-white.
A tide on a beach (with hints of color) is the basis for “The End of July,” complete with unashamedly Romantic gestures on strings against reverberating piano. The sustaining pedal is much used in the entire piece (it reflects Wåhnstrand’s use of white, which is actually the unpainted background of the painting emerging). Niklas Andersson’s clarinet is particularly notable in this movement, whether keening or restlessly agile. It is clear the images of “The End of July” and “Shallow Waters,” the next movement, are visually related (and they are juxtaposed in the booklet, while the rest are interspersed). The timbral space is different in “Shallow Waters,,” more otherwordly, with effects including the French horn player singing into his instrument (not quite multiphonics in the sense of full-on chords, more single instrument counterpoint here). It is a processional of sorts, together with a gradual crescendo. Finally, “Rose,” the photo what it says on the tin (a close-up of a white rose). A single line forms the basis of this piece, and again Romanticism threatens to emerge. There are multiple challenges to the performers in this movement (despite the actual compositional technique simplifying), all beautifully negotiated. The recording gives. nice strength to Rick Stotijn’s double-bass.
Presenting the art alongside the music is instructional, the experience symbiotic. As the composer puts it, “we also wanted to create the feeling of transportation through looking at the painting while listening to the music. The idea that music affects the gaze.” It certainly does.
A stand-alone piece for trio, By the Window is a reaction to a piece of art in which two young people look down intently at something, but the ”something” remains out of the bounds of the photo. There is a change of recording venue, from Gothenburg Concert Hall to Västerås Concert Hall. By the Window is scored for prepared piano, viola, and double-bass and dates from 2022. It moves from wistful through to almost jazzy music. Certainly, it is as if after an examination of the mystery of the image, Byström explores the irrepressibly playful side of childhood.
By the Window was first heard as part of the Båstad Chamber Music Festival at Torekov Church, Båstad, Sweden, on June 30, 2023, performed by the present musicians.
This short but valuable release performs multiple functions: it allows us to further explore the mind of Britta Byström while simultaneously allowing for an ever-deepening appreciation of the work of Gunnel Wåhnstrand. In addition to the reproduction of the art, there is a vital interview with both composer and artist in conversation with Tor Bilgren.
A highly recommended release. For a fine web-based introduction to Byström and her music, head over to her entry on the WiseMusic Classical website, which includes a film featuring Byström talking about her music and a short article by Andrew Mellow (sadly, Byström only gets the shortest of mentions in Mellor’s wonderful magnum opus, Journeys in Nordic Music & Culture, Yale University Press, New Haven & London, 2022). In the video, Byström states that she likes to think of her pieces as open windows, and as long as she is working, anything can come in; and, for sure, her music exudes infinite possibilities. Colin Clarke

five stars: An opportunity for deepening one’s appreciation of Byström’s music, and Wåhlstrand art