The human voice is occupying an increasingly central role in the work of Swedish composer Daniel Börtz. This new album presents a multi-movement choral work and a song cycle; both speak of the composer’s intense reaction to texts and his stringent belief in the power of the human voice in a world of violence and clamor.

Börtz’s musical style constantly evolves but has embodied a new focus, humanity and harmonic richness following his work in the opera house. In the Darkness of Voices for choir followed the opera Medea (2016), responding to Göran Sonnevi’s evocative text across seven movements that confront pain, sensuality, love, brotherhood and annihilation with richness, delicacy and atmosphere and a wide dynamic range.

Sounds’ Songs for baritone and piano followed the opera Marie Antoinette (1998) and sets poetic texts by Sonnevi that are full of pictorial evocation and dramatic vision. Börtz’s concise, concentrated but varied songs represented a major addition to the Nordic song repertory when they were published in 1998.

For words and music that hinge on the respect and dependency of fellow human beings, Footprint is pleased to have collaborated with some of the foremost artists in Europe for this new release. The justly famous Eric Ericson Chamber Choir performs In the Darkness of Voices under its chief conductor Fredrik Malmberg while baritone Fredrik Zetterström and pianist Thomas Schuback unite for Sounds’ Songs. Voices in the Darkness documents significant work by Börtz and Sonnevi, two of the most important figures in Sweden’s contemporary creative life.