Caroline Ridderstolpe's music remained virtually unknown for almost 200 years, until Anna Paradiso rediscovered it as part of her research into nineteenth-century Swedish salon music....

Caroline Ridderstolpe's music remained virtually unknown for almost 200 years, until Anna Paradiso rediscovered it as part of her research into nineteenth-century Swedish salon music. Born in Berlin, Ridderstolpe received an extensive musical education that included singing, instrument-playing and composition. After her marriage to a member of the Swedish aristocracy, she settled in Sweden, participated in the salons held at the royal court and socialised with some of the finest musicians, writers and painters of her time. Ridderstolpe mainly composed songs and pieces for solo piano that belong to the genre of salon music which, far from being mediocre as is sometimes claimed, actually allows greater intimacy with the listeners. Ridderstolpe's songs are often based on poems by Swedish writers and represent a perfect union of text and music. According to Anna Paradiso, Caroline Ridderstolpe's music has a kind of sadness and depth that could be described as 'modern', reminiscent of the lieder of Beethoven, Schubert and the Schumanns. In keeping with the soundscape of Ridderstolpe's era, the music is performed here by Anna Paradiso on an original square piano whose particularity and charm lie not in the evenness of all the notes as one might expect from a modern instrument, but rather in the independent beauty of each string. This instrument is combined with the expressive voice of the eminent mezzo-soprano Kristina Hammarstrom. By giving once more a voice to Caroline Ridderstolpe's music, the performers wish to cast new light on women's power over their own creativity and therefore over their own lives.