Norwegian violinist Nils Økland and keyboardist Sigbjørn Apeland have been collaborating for 30 years, largely exploring the place where Norwegian traditional music and improvisation meet. On Glimmer they delve into a collection of folk music and originals arranged for Økland’s Hardanger fiddle and violin, and Apeland’s harmonium. It’s a classic combination, one I first beheld at a dance played by the Finnish-American duo Kaivama.
The music on Glimmer, however, is far from those dance tunes. Much of it comes from or is related to the region of Western Norway known as Haugalandet, which includes Nord-Rogaland and Sunnhordland. The bulk of the pieces here were collected by Apeland in the region, along with several old transcriptions and archive recordings. In addition there are some compositions by each of the duo and one they created together.
The overall mood is somber, melancholic and reflective, since the tunes mostly were taken from the serious folk song tradition rather than the region’s dance music. The first half of the program is weighted more toward the traditional pieces including the opener “Skynd deg, skynd deg” which begins on a stately set of chords on harmonium before Økland enters on the lovely violin melody. If the title truly means “hurry, hurry” as an online translator says, it’s perhaps unintentionally ironic for such a deliberate tune.
“Gråt ikke søte pike” (don’t cry sweet girl) pairs the lilting tune on Hardanger with the harmonium’s deep drone; some subtle improvisation around the tune is full of shifting tonal colors. Smack in the middle of the tracklist are two traditional pieces that lighten the mood considerably. The transcription “O, venner” (Oh, Friends) is warm and uplifting, with both of the musicians providing lots of twinkly improvised grace notes. And even warmer is the lovely, hymnlike “Se solens skjønne lys og prakt” (See the beautiful light and splendor of the sun), which was a perfect listen on the evening of the solstice, I assure you.
I guess I’m more attuned to modern Nordic folk/improvised music, because I find the originals most appealing. The real center of gravity for me is the four-track run of “Myr” by Apeland, Økland’s two brief sketches “Malurt” and “Dempar,” culminating in their co-written “Rullestadjuvet.” “Myr” or Swamp is a tour-de-force harmonium solo driven by a constant run of droning quarter notes, full of tension, rising to multiple dissonant crescendoes. Økland follows with two solo Hardanger excursions, leading into the joint composition “Rullestadjuvet.” Some or all of these were inspired by the troubled life of Lars Hertervig, the great 19th century Norwegian landscape painter Lars Hertervig, one of whose sketches is used as cover art on Glimmer. The title track by Økland bears mention, a brief shimmering duet that any fan of the fiddler would instantly recognize as his work. Also worth noting is the atonal polyphony of Apeland’s “Valevåg,” inspired by the compositions of the ahead-of-his-time Norwegian modernist composer Fartein Valen (1887-1952).
This is Økland’s sixth album for ECM, which include another acclaimed collaboration with Apeland, 2011’s Lysøen – Hommage à Ole Bull. The keyboardist also contributed to one of my favorite albums of the past decade, the Nils Økland Band’s Kjølvatn. Glimmer is a more focused and mostly somber affair, but undoubtedly a worthy addition to the discography. Highly recommended.
(ECM, 2023)
