Score and parts for hire

‘This artfully shaped, 13-minute symphonic poem is patterned by the cries and wingbeats of birds: a powerfully crafted landscape of slow-moving ice floes and ice screams, voiced by layers of strings striated by heavy brass chords and tingling percussion.’

The Times (Hilary Finch), 27 August 2011

 

‘The title suggests the contrasts in the music, where two calmer parts surround an agitated section. A slow, broken cantus firmus in the background is set against a sensual, colourful sound- throng… Evocative.’

Svenska Dagbladet (Lars Hedblad), 12 April 2013

 

'As its title suggests, Cold Heat is all about paradox... Zinman often comes over as fastidious and poised, yet he asked Hillborg for a "rock'n'roll-ish, toe-tapping, rhythmic sort of a piece with no slow music whatsoever". Hillborg's decision to meet him halfway resulted in a score that plays games with ideas of speed and pace. In essence, Cold Heat is a scherzo, much of which proceeds at a considerable lick... The whirling figurations, however, are underpinned by a series of sustained chords in brass and strings, and what we actually experience is a slow-moving chorale, fantastically and wildly embroidered. The central section takes the chords away, allowing the music to dance freely. But the chorale returns before the work sinks to its peaceful close...‘

The Guardian (Tim Ashley), 28 August 2011

‘For those who have followed Hillborg it is interesting to see how many familiar elements are to be found in Cold Heat: the long chords that slowly grow, fade and slide into each other like the ebb and flow of tides, the virtuosic woodwind textures which may represent the cold and the low notes of the double bass which perhaps represents the hot, the bombastic drumming and chord progressions built with long static notes held at the bottom of the chords. An almost metallic sheen cuts through Cold Heat. One of the best things about the piece is its length. In thirteen minutes Hillborg creates a whole that is not overly long, but full of succulent juice. Penetrating music.’

Hufvudstadsbladet (Wilhelm Kvist)

 

‘It's neat and efficient dramatically, and I cannot help but call it cinematic...’

Nutida Musik (Andreas Engström), 16 January 2011

 

‘It starts with a lively suggestion of whirring birds in the woodwinds over quiet strings. Hillborg knows how to bind everything together and engage, without ever putting himself in the fetters of any doctrines ...'

Berliner Morgenpost (Klaus Geitel), 14 January 2011