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Bilbo- Pär Lindh & Björn Johansson 1. The Shire
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The Story Story behind the album - The Songs Description of the songs - Björn Johansson Who is he? |
Pär Lindh: Drums, timpani, congas, gong, electric percussion and hot boiling plate (!), Hammond organ, Mellotron 400 & Mark V, Grand piano, Harpsichord, Church organ, Clavinet D6, Solina string ensemble, Fender basspiano, 11 Synthesizers including the LSE 1, Korg 3100 and Yamaha SY 1. Björn Johansson: Classical guitar, electric & slide guitars, Rickenbacker bass, basoon, zither, jews harp, hot boiling plate (!) and 22 Mandolins!. Magdalena Hagberg: vocals.
Anna Schmidtz: flute and oboe.
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The Story On the fourth of May, 1996, the new Tolkien-inspired CD "BILBO" by Pär Lindh and Björn Johansson was released. This is a full length CD, 65 minutes,which tells this classical epic story in a musical language. The musical mood is that of celtic and nordic folkmusic placed in a tonal landscape which spans from mideval ballads to progressive rock. Sometimes the music has been classically orchestrated in order to fully capture the dramatic moments of the book. The cooperation with Björn began after the progressive rock festival in Uppsala 1993 which was the last festival Pär arranged as chairman for the Swedish Artrock Society. Björn attended and made possibly the best performance at the whole festival as he after the rain had stopped and the sun had broken through the clouds sat down and played some very beautiful classical guitar solos. Pär says "later we started jamming and Björn who is a fantastic musician and very versitale soon became involved in the Gothic Impressions project on various instruments. At christmas time 1994 resting from the work with Gothic we were jamming and suddenly magical things started happening as all these beautiful, somewhat eerie, fairytale like tunes were being played comming from both of us. I said well I wrote this music to the lyrics to BILBO at age 13 or 14 and then Björn said well I wrote this piece at more or less the same age. The music fitted together like as if we had composed it together. It was pure music. So without saying much we both realised that this would become a CD sometime in the future". Which it also has. This CD was co-production between Crimonic Label and Discus Ursi. |
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The Songs HOBBITON (including Bilbo theme) From inside Bilbo´s window you hear the birds of a summer´s day in the Shire. Then imagine that you fly away over the hill with a birdeyes view. Then in the middle of the song the *2.34 "Bilbo theme" is first intruduced. This theme is going to return several times throughout the entire work whenever Bilbo is in a tight spot longing to be back home by the fireplace as the kettle beginns to whistle. GANDALF Gandalf knocks on the door. The mood we tried to catch in this piece is that of an ancient old wizard who is generally very kind but make no misstakes! He can suddenly explode into a dangerous wizard of freightful power (wizards are after all wizards). FAR OVER THE MISTY MOUNTAINS COLD You hear the dwarves humming behind Magdalenas beautiful voice as she sings their song. Viols, oboes, flutes, bells and a harp can be heard throughout the song. Pär wrote this song at the age of thirteen. RIVENDELL Rivendell speaks for it self I think. THE DARK CAVE (inluding Bilbo theme) On the mountain path then sheltering in the cave. Suddenly a stone door opens *0.38 and the gobblins rushes in and there is a terrible turmoil. Bilbo in the end gets a knock on the head *1.12 then awakes in darkness and walks down (Bilbo theme on classical guitar) to the lake benieth the ground. The Ring is found at *2.35 RUNNING TOWARDS THE LIGHT After the riddles with Gollum *3.21 (a sinister synthesizer represent Gollum and a careful Hammondorgan Bilbo) Bilbo sees the light at the end of the tunnel and runs for it. First jumping over Gollum *1.49 (the gig) then wrestling his way past the gobbling guards *2.19 (bass and drumsolo) free at last and once again together with his friends. UNCOMFORTABLE SEATS Suddenly wolves howels are heard and the hunt is on. You hear Gandalf´s flash *2.16 just as the eagles carry the company of to safety. In the eagles nest Bilbo longs for home and for warm food (his theme again). Then the eagles take off again. BEORN In Beorn´s garden you hear bees buzzing and bagpipes set´s a cosy but eyrie atmosphere. When Beorn walks as a bear we have put in a bit of humour into the album because we think it is needed and also the book itself by the late Tolkien has a lot of humour in it. Notice Teddy bears picnic theme on basoon. MIRKWOOD-SUITE Setting the mood of the strange somewhat threatning atmosphere of Mirkwood. In Mirkwood notice the barrel falling into the stream *5.31 before the barrelride section of the song and the rowboat passing *7.46 as they reach the lake. SMAUG The breath of Smaug and spooky glow in the great mountain hall. First there is the conversation and then Smaug flies out and attacks Laketown. The parts with bassdrum represent Smaug attacking and those with snaredrum represents the town fighting back. THE BATTLE The pizzicato part is when the dwarves are wondering where Smaug has gone and then you hear the thrush and Röak who tells his tale. As the pizzicato continues it represents the armies each other before the battle starts. The battle ends with Bilbo who wakes up and seeing the battlefield before him. Thorins funeral. AFTERTURE Afterture represents the journey homeward where the different themes of the album comes back in short glimpses as Bilbo and Gandalf pass familiar places. The howling wolf you hear is when they pass north of mirkwood. The wolves have been defeted but some few remains to show that danger still remains in middle of Yuletid as well. Then passing the mountains with snowstorm (having been caught in snowstorm myself a few times so I know that it´s not a game) then arriving at Rivendell again. When they come to the borders to the shire Bilbo bursts out into his song "the shire song". Then returns the Hobbiton theme and the CD ends the way it started with birds singing in the Shire. THE END When you find a * in the text it indicates the time where something happens, for example Gandalf´s flash before the eagles carry the company away from the burning trees. |
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- Björn Johansson Björn Johansson has been involved with many different bands in Sweden, playing
both symphonic and folk-rock. He also started the Gothenburg Art-Rock Society
in 1993, and has until 1997 been it´s chairman and doing a very good job,both
for the gothenburg and swedish progressive scene.
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Reviews:
"....stand up and applaude the best CD released of the decade."
Seventh Heaven, Jan 97 ARGENTINA
"This is symphonic rock at it´s best!"
Göteborgsposten SWEDEN
"Bilbo is a milestone in the music history of Sweden."
Ordo Pro Artes SWEDEN
"Bilbo is one of the year´s more ambitious works, and just might become a future classic!"
John Collinge PROGRESSION USA
"Recommened? Are you kidding?? Defenitely going to be one of 1996´s best releases."
The Laser´s Edge USA
"If you like Tolkien, Mike Oldfield and Anthony Phillips you should buy this album. It is worth the money!"
The Silent Coner SWEDEN
Tolkien-inspired music by Pär lindh and Björn Johansson
BILBO (Crimsonic Label 1996)
Dreamsongs from Middle Earth (Crimsonic Label/DiscusUrsi 2004)
Sweden has become especially known as a seedbed for progressive rock. One of the banner bearers of this movement is keyboardist Pär Lindh, who in 1991 organized the Swedish Art Rock Society.
Five years later, with two important albums under his belt, Lindh joined forces with prog guitarist Björn Johansson to record a symphonic narrative of_The Hobbit_.
The album BILBO, was enthusiastically received by the public and was used as the score for a theatrical production of The Hobbit.
The music was initally written to incorporate some of Tolkien´s own lurics, but pressure from the Tolkien Estata drove Lindh to substitute his own (which preserve the tone and meter of the originals remarkably well).
At times the melodies are reminiscent of Bo Hansson but Lindh and Johansson are more successful than their musical predecessor at expressing transitions of calm into action and back again.
Fans then began to clamor for a sequel that would tackle_The Lord of the Rings_.
Audiences would have nearly a decade to wait for the project to be realised; but now, at last _Dreamsongs from Middle Earth_ has been recorded and released, this time with a more elaborate ensemble of instrumental and vocal support.
Lindh and Johansson express themselves in their chosen medium with a significant infusion of Scandinavian folk melodies, creating a blend of modern and the traditional - which, I suppose, is one possible definition of progressive music. Into this mix is added Lindh´s French conservatory training with the piano, organ and harpsichord, all of which enhance the classical feel of these arrangements. (Tolkien would have approved.) Another plus is Lindh and Johansson´s reliance on ¨real¨ instruments and voices, rather than electronically generated analogues, to realize their compositions.
What ultimately gives these pieces coherence is the intangible, retrospective feeling that pervades the music itself. In this sense,_Dreamsongs_ is not so much a retelling of the trilogy as an extended meditation on its final chapter _ someting which, to my knowledge, has never before been attempted. It is this which sets Lindh and Johansson´s work apart from the mass of Tolkien-inspired concept albums that have appeared over the past three years.
A step forward for art rock and for Tolkien fans.
From review by Chris Seeman (www.tolkien-music.com)
After the brilliant "Gothic Impressions" was released, I have been looking forward to hearing more music from Pär Lindh. It came in the form of "Bilbo" which is the latest album by Pär Lindh and Björn Johansson. The music, which is written by Pär and Björn, is inspired by J.R.R. Tolkien´s "The Hobbit". This is a wonderful display of music, following a set storyline, the music describing the events in this tale.
TheShire starts off with bird singing, moving on to a quiet theme which builds up, getting fuller with more instruments. I´m sorry to bring Edvard Grieg into the proceedings again, but this opening piece reminds me of Grieg´s "Morning Mood" from the Peer Gynt Suite. It has a lovley atmosphere with nice variations and harmonies.
Gandalf the Magician starts off with a nice harpsichord part, moving on to a string ensemble and church organ, then back to the more quieter main theme - a very varied and well put together piece. This moves straight into Song of the Dwarfs, which is livelier and this is where we are introduced to Megdalena Hagberg´s vocals - she has a nice alto voice, which fits the music very well. This song has nice hammond parts by Pär and guitar parts by Björn - the latter builds the song up towards the end. Rivendell has a "Take a Pebble" feel about it in the opening, quiet piano chords. Magdalena sings this, nice, jolly folktune, which is answered by lots of various instruments, including oboe and flute (played by Anna Schmidtz). The Dark Cave makes us feel that we are really ina cave! Starts with quiet piano, into full organ, before turning to a more quieter part with harp, dripping water and organ. It creates a wonderful atmosphere. Straight into Running Towards the Light with quiet flute, before going into full swing of organ and guitar, in one part it has a strong resemblance to a synth part in Pictures at an Exhibition (1971) and moves into a wonderful display on the drums by Pär!
Uncomfortable Seats - quite a scary one! Wolves, dogs, with marching rhythms on the organ, getting fuller and faster, with more howling, builds up, creating a creepy atmosphere. It then slows down again. This piece has a lot of variations and puts you at the end of your seat! No chance of getting bored here!
In Beorns Garden & Beorns Walk to Carrock - Bagpipesound starts this one off, it has a distinct Scottish feel to it, followed by guitar parts and hammond parts, which are very rhythmic - the two instruments take turns.
Mirkwood Suite is in five parts. Mirkwood has a quiet atmosphere about it, with birds singing, building up to a nice guitar theme, which gets fuller with more instruments added. Pallace of the Elven King is quieter with more birds and dripping water. Barrel Ride speeds this piece up again with lots of variations, before we are treated to Laketown Fuhue, played on churchorgan in true Pär Lindh style - wonderful! Magdalena is back in great voice for the next one The Return of the King - great finale of the Suite, singing answered by a several instruments. This part is beautiful - one of the highlights on the album.
Smaug - this is quieter, with thunder. It is very atmospheric, with synth parts, building up to drumming and faster synth/guitar parts (in turn) and church organ, a very well put together and ingenious piece. Roacs Tale - we are treated to Anna Schmidtz´s flute again, the dogs are back and it has great atmosphere.
The Battle of the Five Armies starts off as a quiet march. It moves on to organ, gets faster as the battle starts, with fast drumming, quick rhythms and dogs. It builds up with more instruments and the church organ is back. This piece is so well played and the variations are breathtaking! The piece is slowed down at the end with quiet piano.
Thorins Funeral - as the title indicates this is a sad piece. It has quiet organ and gentle singing by Magdalena, which fades out at the end - beautiful...
Afterture - Quiet piano to start, with harp, oboe and flute in lovely harmonies. The wolves are back and the piece builds up on keyboard. There are the bagpipes again, then back to piano, flute and oboe, before getting livelier with various instruments and Pär´s clavinet gives it a baroque feel. Straight into the final song Shire Song - Magdalena sings this beautiful album out, with the clavinet as accompaniment. A brief guitar theme Shire theme that we started with. Breathtaking!
As you have probably all gathered by now, I really like this album. In fact, I can safely say that it is one of the best albums I have ever heard in my life. If I was stuck on a desert island, I would not want to be without this one!
The album is of special interest to ELP fans, as Pär draws his inspirations from Keith Emerson and that is apparent in the music. It has to be said though, that Pär has got his own very distinctive style and the range of instruments used by Pär and Björn are amazing - anything from electronic percussions and hot boiling plates to 22 mandolins and the more conventional keyboards and guitars. And anythingin-between! The result is a very varied and progressive album, which draws inspirations from several different music forms and it is a must in any progressive/keyboard fan´s music collection! Need I say it - HIGHLY RECOMMENED!!!
Liv G. Whetmore, Impressions
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