Rising quietly from the black depths of the void, a male chorus with solo tenor and the Priest-Chieftain sing ominously of the misery of the Norse gods in a destroyed world. Together they bemoan the death of Balder, son of Odin, believed to return from the underworld only in a renewed world. This first scene ends, however, in serene optimism, as the Skuld and chorus sing of the ultimate return of life.

The 23-minute second movement, entitled "Kongen" ("The King") celebrates the triumphant home-coming of King Olav in 1015 from the battlefields (which ranged from Scandinavia to England to Spain). Soloists and choir join to celebrate, as the King greets his "farmers and chieftains/ and all worthy men". The Bishop bids all to follow the way of Christ, and the Priests sing the Te Deum. Finally, the solo tenor asks whether the "white Christ,/ who comes form the south" is the "Balder whom we lost - /that gentle God?" Naturally, the King answers that Christ is "Mightier than [Thor], /brighter than Balder". Gullvåg's skill in dealing with the "conversion" aspects of the subject text, "transforming" worship of Balder to worship of Christ, is very impressive, poetically and subtly done.

Left: Detail of King Olav, from the centre of the St. Olav antependium from the Haltålen stave church, 14th century.

The language of Irgens-Jensen's music is wholly accessible (meaning to say, nothing experimental in the modernist sense). This is not to say it is simplistic, conservative, cheaply romanticised/sentimentalised or uninteresting. In fact, I daresay that it is a more unified work than say, Mendelssohn's Elijah. For a subject which involves battle, betrayal and death, Heimferd also focuses on an essentially optimistic tone. Perhaps some may find this a waste of the darker parts of the libretto; I myself find it peculiarly well-balanced in conception.

Heimferd's Late Romantic voice is very well controlled - at no point did I detect any over-indulgence. Though the notes indicate some influence by Brahms, Reger, Bruckner and Mahler (with reference to Japanese Spring), I find Irgens-Jensen's music to be much more concise and solid, more purposefully moving, especially with regard to his fine control of the interweaving between soloists, choir and orchestra. His use of the orchestra is likewise very admirable, one that pays full respect to its vocal component. The orchestration surges like a sea or wind beneath the choir, colouring the scenic soundscape, booming quietly in darkness and ominosity, or bellowing mountainously when the choir rises in majestic triumph - as in the final Sanctus of the second movement.

The third and fourth movements, "The Desertion" and "The King in Exile" depicts Olav's flight to Russia, having been forced out by Canute, King of England and Denmark. Olav laments on his weakness, but is roused by the sight of his kinsmen coming to bring him home. The Shining Elf and Dark Elf converse on the point of struggle, the latter arguing for ultimate oblivion, the former, the "glimmer of hope". As expected, she gets the last word, and the boys' choir recalls the tranquility of the Sanctus

Trøndelag sees he with hamlets encircling the fjord that so fair 'neath the morning sun lies Farther he gazed. Country-wide. He saw his country. Peaceful, 'gainst mountains, lay villages, farms - small homes afar upon the horizon warmed by God's sun and the countryside's charms. - from the "Heimferd" movement

Immediately, the title movement "Heimferd" begins. King Olav sets out with his "[h]undreds of horsemen and valiant kingsmen" to regain Norway. A moderately-paced journey is depicted by orchestra with choir, as they ride with increasing confidence homeward bound. The gentle choral description of Norway depicts the King's nostalgia and hope as he sees his homeland again.

The Battle of Stiklestad of 1030 is one of the most famous in Norwegian history. It was here that Olav's army was defeated, and the King himself killed amidst reports of miracles. The sixth movement, "Stiklestad", begins with a wistful setting of the Kyrie eleison and Gloria of the Mass. No misery is heard, but neither is there joy. Instead there is a serene contentment in this beautiful choral section, the layers of voices and orchesta swimming around each other almost blissfully.

The heroic Bjarkemål (Old Lay of Bjarki) is sung to rouse the army to arms - but all is in vain, as the superior Norwegian peasant and Danish army overwhelms Olav. Significantly, although a solo tenor voice urges Olav to set fire to the peasants' farms to distract them, the King refuses, for "He who holds open /the pathway to heaven /wants us to triumph /with righteous weapons." The music rarely reaches a real fortissimo, despite the imagery of battle. In fact, it slowly drains away into silence, as the king breathes his last.

With no break, accompanied by string quartet, the soprano opens the last movement "Postludium", grieving but singing of the heroic sacrifice of Olav. An orchestral interlude follows, gainly in momentum in an almost fugue-like way; above this the choir eventually enters, joining in Irgens-Jensen's final tribute to Olav Haraldsson.

The only problem is with the notes, which although giving adequate information on the composer and the piece, does not elaborate on the history of Olav's life. Novice to Norwegian history, I was left wondering why after his first home-coming he was thrown out of Norway again in the Desertion and Exile movements - until I dug up the details from an encyclopaedia on my own.