Johan Helmich Roman

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Johan Helmich Roman is said to be "the father of Swedish music", and "the Swedish Handel". His music is seen as the foundation of Swedish classical music. Well-known for his Drottingholmsmusiken, he also wrote hundreds of other works, including some 120 instrumental works and 200 vocal works. This recording contains 12 suites for harpsichord, which, like most of his music, was not published during his lifetime.

Foremost among Swedish Baroque composers, Johan Helmich Roman travelled to England (1716-21) then to France, Italy, Austria and Germany (1735-37), gaining valuable firsthand knowledge of European music. At home in Stockholm he conducted the court orchestra, introduced Handel’s music, and was active in developing public concert life. His rich output includes these twelve charming and highly accomplished Flute Sonatas, the first such published in Sweden, whose galant character combines the baroque and emerging pre-classical styles.

World premiere recording of these titles by Johan Helmich Roman, Swedish Baroque composer. A specialist in baroque music, violinist Sue-Ying Koang has notably played with Les Arts Florissants and the Pygmalion ensemble.

290 years after Count Golovin’s feast, as Dan Laurin and his colleagues in Höör Barock recorded the complete work, their approach was a different one. Making use of a total of 18 different instruments – from sopranino recorder and oboe da caccia to bassoon, strings and baroque guitar – and featuring highly imaginative continuo playing from Anna Paradiso at the harpsichord, their performance sounds as full and varied as one might wish for, without any added parts. Laurin’s performing version also follows the order of Roman’s score, creating a number of smaller suites out of this greater whole that a wider audience now can enjoy for the very first time.