Klas Torstensson composed City Imprints for the quadrennial of the city of Gothenburg, commissioned by the Gothenburg Symphony Orchestra. At the time, the premiere there could not take place because of the corona pandemic. And so recently, the NTR Saturday Matinee had the piece’s world premiere.
Reviewer Joep Stapel was positive about work and performance in the NRC: “Recurring motifs, such as a tittering tone charger or the sultry string melody, formed an exciting mosaic of conflict, ambition and hope. That this was a northern city – and for Torstensson, the city of farewell, where he boarded the train half a century ago – could be heard in the stones (pebbles) that percussionists tapped and rubbed against each other.”
In the brief interview with Hans Haffmans, Torstensson said he had really enjoyed the composition process. “You get a kind of compensation for suffering for writing a piece like that. It took me a very long time: a year. Then it’s extra nice to know that it’s not just a premiere, but that it will be done in another country, by another orchestra and by another conductor.”
The piece is about Gothenburg, a city with a clear Dutch link. “The inner city has a Dutch map, and the city’s main language in the early years was Dutch.” The composer says the piece ends in the mud, basically the demise of the city. “I could never get it over my heart to end a piece with celebratory fanfares. Misery and tragedy is a lot more fun.”
“I had never conducted any of Torstensson’s work before,” says Ingo Metzmacher. “I listened to some of his pieces, and I read how he composes. I found all that very sympathetic. So I agreed.” Although the conductor has conducted many premieres before, this time it was extra exciting. “It really is a very difficult piece. He knows his craft to the bone. He knows exactly what he wants to be heard. If it’s not all underneath, you hear it right away. So if I’m honest, I was pretty nervous before the performance today. But I’m very impressed. The orchestra played insanely well.”
“But I like conducting unusual programs,” he says. “The familiar pieces you can listen to anywhere.” For Metzmacher, returning here is a joy. “The NTR Saturday Matinee is the best concert series in the world. The program can include works from Sweelinck or Gesulado to the present day. That’s unique, and I love being a part of it.
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