Västerås Sinfonietta framför Symfoni IV, Zarah-svit (dir. Eva Ollikainen), Pianokonserten (solist: Martin Sturfält, dir. Gabor Takàcs-Nagy) samt ¨Chaconne¨ f. solo piano (Sturfält)Skivrecension (DN): En av de främsta svenska symfonier som gjorts
Martin Nyström
Publicerad 2018-03-02
Det är alltid en fröjd att höra ett nytt verk av Anders Nilsson. I vilken genre det än må vara. I allt från mindre solostycken till storskalig opera slås man av vilken otroligt bra tonsättare han är. Och verken på denna fullmatade cd är inga undantag. Här hör vi den spänstigt fjädrande och lekfulla Pianokonserten, den beslöjat lugubra och aggressivt marscherande ”Zarah-sviten” ur operan om Zarah Leander och den Franz Liszt-osande ”Chaconne” för solopiano.
Men framför allt får vi hans organiskt flödande fjärde symfoni från 2016 med sitt underbart stigande fyrtonstema som vandrar från horisont till horisont, och som Västerås sinfonietta under Eva Ollikainen gör till ren magi. Det här måste vara en av de främsta svenska symfonier som gjorts.
Violinkonserten med Cecilia Zilliacus, Västerås Sinfonietta, dir. Fredrik Burstedt (db-Productions)
HagaDuo m. Sareidah Hildebrand, fl. och Joakim Lundström, git. framför ¨Ballade¨ f. altflöjt och gitarr. 
Uppsala Kammarsolister spelar stråksextetten ¨Höst¨ (2004) samt musik av Olofsson, Parmerud, samt Håkan Larsson
¨Phonetasy¨ med Rollin’ Phones, samt verk av Samuelsson, Breman, Söderberg, Jansson, Levander,¨ Sex tonsättare finns representerade på denna nya cd, som inleds med Anders Nilssons lysande stycke som gett skivan dess namn, Phonetasy. Vissa ekon från Stravinsky och minimalism i kombination med Nilssons särpräglade tonspråk gör Phonetasy till ännu ett mästerverk av honom. Härligt livsbejakande och vacker musik¨ (OPUS)
¨Anders Nilsson's Phonetasy is a good choice to open the programme. It is inventive, varied and marvellously lyrical, with many moments of real beauty¨ (Musicweb-international rewiews - March 2011)
¨The first work is in my view the most original and entertaining on the disc, that is the trio of Nilsson. The opening ‘Foxtrot’ is like no other you will ever meet but it is bright and rhythmic. It is followed by a ‘Habanera’. They makes some attempt at the typical dotted crotchet rhythm and a closing, exciting Rondo. The music has an inner life and vitality which is most appealing.¨ (Classical CD Reviews- Aug 2002 MusicWeb(UK/Gary Higginson)
Ilona Maros, sopr. Bengt Forsberg, org.: Aria, samt musik av bl.a. Mellnäs, Maros, Eklund. (Phono Suecia)
Raschèr Saxofonkvartett och Svenska Kammarorkestern: Concerto grosso I samt verk av Wuorinen, Hvoslef och Kaipainen (BIS)¨The Concerto grosso by Anders Nilsson (b. 1954) is the most traditionally structured of the three, written in three distinct movements, fast-slow-fast, with the quartet used very much in the manner of a latter day version of the concertino in a Baroque concerto grosso. The soloists play music with a kind of chunky, clownish, even impish quality—as if their collective exuberance cannot be tamed, even within the confines of the nominally slow middle movement. In its constant virtuosity and polyphony, as well as its diatonic if not especially tonal harmonic language, it could well call to mind the more concentrated work of the later Ligeti. It is a genuinely splendid work.¨ (Fanfare Magazine Issue 27:5 May/June 2004 John Story)
¨Several years ago, I found a second-hand copy of a Swedish disc (Phono-Suecia PSCD 53) entirely devoted to works by Anders Nilsson, a name then completely new to me. I found the music very appealing. I was delighted to hear one of his recent works on this disc. It happily confirms my earlier impressions. His music was aptly described by Thomas Roth (in his insert notes for the above-mentioned disc) as "full of the joy of being alive". In fact, as is the case with many younger Scandinavian composers, Nilsson’s background lies in the field of popular music in which he was active in his early years and from which he gained a refreshingly undogmatic approach to music, although there is nothing amateurish about his music. His Concerto grosso falls into three movements on the fairly traditional fast-slow-fast pattern (although the central slow movement is at times quite animated). There are several cyclical elements which help to maintain formal and thematic coherence (most themes re-appear in the final movement Allegro e corrente, a perpetuum mobile in all but the name).
At first, Nilsson’s music may give the impression that it is largely improvised; but it is actually carefully and fully worked-out although it maintains some improvisatory
quality. Nilsson has a remarkable flair for arresting orchestral textures, already quite in evidence in some of the pieces on the Phono-Suecia CD (e.g. his superb Organ Concerto) and amply confirmed in this extrovert often playful piece that in spite of its plain title deliberately turns its back on Baroque models.¨ (Classical CD Reviews- March 2004 MusicWeb(UK) Hubert Culot)
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Anders Kilström: Les cloches de la nuit samt verk av Hammerth, Martinsson; Lindgren (Daphne Records)¨His beautifully impressionistic Les Cloches de la Nuit inspired by a stay at the well-known Mont Saint Michel in France is a most welcome addition to his discography. It is a really fine piece that clearly deserves wider exposure.¨ (Classical CD Reviews- September 2005 Hubert Culot)
Lux Aeterna (1994), Erik Westbergs vokalensemble. Carl-Henrik Fernandi, sopransaxofon, Mattias Wager, orgel. (Studio Acusticum, även på iTunes och Spotify)
Urworte - Orphisch (Goethe) Erik Westbergs vokalensemble
Dessutom på följande LP-skivor:
Swedish Pianorama: Rèsonance (Kenneth Karlsson,pf.) Caprice
samt som musiker i Östan Sol Västan Måne:
(Silence Records)
(SR Records)