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The title work, from 1960, is based on Mediterranean travels which Tveitt may or may not have actually undertaken in his youth and its eight movements are less attempts at bogus ethnicity than at conjuring up a variety of moods – and as such are a rewarding play for string quartet. As is the irascible Norwegian’s surprisingly jolly ballet score The Household God.

PHILLIP SOMMERICH Read the full review on Agora Classica


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