ReviewsPowerful confirmation of a distinctive voice in Norwegian music.
Richard Whitehouse, Gramophone, June 2008
"The Norwegian composer Rolf Wallin is increasingly gaining inernational recognition, and this disc is likely to win him further admirers. The percussion concerto Das war schön! refuses to conform to the genre's stereotype of superficially impressive crashing and banging. This Mozart tribute combines a genial charm, with flair and a sometimes impish sense of humour
(...) A more classic approach to percussion is taken in Tides, for six percussionists and orchestra. The opening is essentially a study on cymbals, which might seem like an arid prospect without Wallin's sense of pace, allied to, and inspired by the superlative skills of the Kroumata Percussion Ensembe. Nonetheless, it is the orchestral writing that impresses, even if Wallin professes that this comes out of the solo parts. This impression is reinforced by Act, which starts in headlong fashion before cranking up the pace and tension. It is a star that burns briefly, but brightly, and, like all the works on this disc, is given an utterly committed and convincing performance
Cristopher Dingle, From BBC Music Magazine, Proms 2008 issue
A wonderful and almost addictive disc.
Tobias Pfleger, klassik.com, February 1, 2008, *****
Ce beau disque propose un portrait convainquant d'un compositeur dans l'air du temps : urbain et complexe à la fois.
Pierre-Jean Tribot, 5.2.2008, La Clef ResMusica.com
Wallin's music is spectacular in the good sense of the word. Sound events are staged in a mystical way and with such a plastic vitality, that it seizes your guts.
Julia Schölzel, Bayern 4 Klassik, December 22, 2007
"Exactly in this meeting between the recognizable and the changing lies another keys to Wallin's success. He speaks to the learned through the formidable orchestration with which he makes constant variation, while at the same time the material is recognizable enough that 'the man in the street' don't get lost. He challenges while at the same time being sensual.
In Act he draws this to the limit. The work is among the most physical I have heard, and it ends in a raw and brutal orgasm, in a scream, in total lack of restriction. It is a work one can hear time and again. Like eroticism is built on a relation, Act is equally complex and differs enough from a categorical understanding to be incessantly changing. Surely, it can't be only me who wants to repeatedly relisten the ending, but to bereave the orgasm the foreplay is to belittle it, to make it pornographic
Magnus Andersson, Morgenbladet 21 December 2007