NIELSEN: SYMPHONIES NO 1 & 6,

Classical Music

Classical Music

After completing a quintet for wind instruments in 1922 that would become one of his most celebrated works, Carl Nielsen hit upon the ideas of writing a full orchestral concerto for each of the instruments included in that quintet. Nielsen certainly unlocked something in those five individual instruments that few composers had before him o rindeed would after. "Now I think on the basis of instruments themselves...in a way I creep into them" he wrote around the time of the quintet; "it can surely be said that instruments have a soul". The two concertos of the planned five that did materialize - for flute and clarinet - certainly echo those sentiments. The Philharmonia Orchestra is one fo the world's great orchestras. Widely acknowledged for its pioneering approach to the role of an orchestra in the 21st century, the Philharmonia leads the field for the quality of its playing and its innovative work with residencies, music education, audience development and the use of new technology to reach a global audience.

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REVIEW:

Paavo Järvi presides over a splendidly stylish and invigorating Nielsen anthology featuring the Philharmonia at the top of its game throughout. Both concerto performances deserve the widest plaudits. First-rate annotations and production values add to the attractions of a thoroughly recommendable release.

– Gramophone

The idea of building great music from modest or fragmentary means has characterized the work of Nordic composers for generations. In Svend Hvidtfelt Nielsen’s music, that idea finds a particularly exquisite and absolutely contemporary expression. In Toccata the music glances towards a filmic chase-down, whereas Nielsen in Ophelia Dances claims to ‘hear the dancing’ of that fragile character from Shakespeare’s Hamlet. The album concludes with Nielsen’s single-movement symphony, Symphony No. 3, which sets in motion a cumulative journey upwards from low to high: a symphonic Tower of Babel, reaching for the heavens. All of the works on this release are world premiere recordings, and the album is being released to mark Svend Hvidfelt Nielsen’s 60th birthday. Nielsen is also a gifted church organist, and on this album he plays the organ solo part in the Toccata.

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REVIEW:

The Ophelia Dances is certainly strange and interesting music, more “ambient” in sound but still well structured beneath its odd sonorities. Though apparently a continuous work, it is clearly composed in discrete movements, placing the accordion in the midst of bitonal swirls of sound and pungent brass and string interjections.

The Symphony No. 3, written in 2010, uses a sort of musical “big bang” at the outset, followed by “stuttering fragments” which “muster to initiate the development of the symphony’s vertical structure, supported by foundations in the form of tectonic pedal notes.” This is indeed a technical description of what happens, but the listening process is more emotional and therefore more fascinating.

A strange sort of album, then, yet fascinating and certainly worth a listen!

– Arts Music Lounge

Classical Music

What amazed me the most about these works, particularly the last two, which are pretty good and original music, is the fact that in each case Nielsen was forced to work on a short deadline, barely more than two or three weeks.



NIELSEN-BANGERT Cantata for the Opening Ceremony of the National Exhibition in Aarhus NIELSEN Music for Hans Hartvig Seedorf Pedersen’s Homage to Holberg. Helge Rode’s Prologue to Shakespeare: Ariel’s Song. 1 Cantata for the Annual University Commemoration • Bo Holten, cond; Ditte Højgaard Andersen (sop); Mathias Hedergaard (ten); 1 Palle Knudsen (bar); Jens Albinus (nar); Aarhus Cathedral Ch; Danish Natl Op Ch; Aarhus SO • DACAPO 8.226079 (65:52 Text and Translation)


Cantatas by Carl Nielsen? Yes! Surprised? So was I, and I’m sure you’ll be too. One reason they aren’t known is that they were composed for specific celebratory functions whose initial presentation was interrupted by speeches, cheering, polka bands, more speeches, and lots of drinking. Not exactly an atmosphere conducive to great art. Add to that the fact that Nielsen didn’t want to compose some of them, had to work with an over-verbose librettist in one (and assigned half the composition duties to one of his pupils, Emilius Bangert), and carried on a running argument with the committee that commissioned it over the libretto of another, and you can well imagine that these aren’t among the composer’s best works.


Of course, this doesn’t mean that they’re bad pageant music—certainly not as bad as Beethoven’s Wellington’s Victory, which the composer practically laughed at until it turned out to be a really popular money-maker—but the music is only occasionally interesting because the texts are only occasionally interesting. In the first cantata, the Nielsen-Bangert collaboration written in 1909, the most interesting piece by far is No. 4, the one that the two composers split pretty much down the middle (Nielsen wrote the first 117 bars, Bangert the rest). Bangert’s other contributions, Nos. 2, 3, and 7, are by no means “bad” music—the older composer supervised his pupil’s compositions and possibly made suggestions—but they lack character and originality. It’s the age-old battle between craft and art.


The second cantata on this album is in fact the last one composed, in 1923. This is mature Nielsen, and since he had a strong affinity for Holberg anyway, having set his text for the opera Maskerade to music almost 20 years earlier, his heart was really in it. The beginning is not promising—it starts with a pompous brass fanfare in the same vein, and even the same key, that ended the last piece of the previous cantata—but it soon develops into interesting music. Nielsen himself said, “It is … a shame that this music is only for this particular occasion, but it is constructed in such a fashion that it can be performed repeatedly and in other circumstances [emphasis mine].” The first movement features a quartet of Muses; here, soprano Andersen is joined by soprano Eline Denice Risager and mezzos Birgitte Mosegaard Pedersen and Bolette Bruno Hansen. The second soprano and mezzo are not terribly good, but they get by. The second movement features a baritone solo; the third is purely choral.


This is followed by one excerpt, a tenor solo, from a cantata celebrating the tercentennial of Shakespeare’s death (1916). It is so isolated because it was published and performed separately after the event, primarily by Danish tenor Anders Brems. It’s a very nice piece that, unfortunately, is sung by Hedergaard with unsteady tone.


The Cantata for the Annual University Commemoration , written in 1908, is the only one of Nielsen’s cantatas written for a recurring occasion. It is one of the most thoughtfully composed, and most cantata-like in alternating sung recitatives accompanied by piano with full choral-orchestral passages. Again, ignoring the text, this is music that could be performed to other texts for other occasions. There is an unusual touch of harmonic darkness to the music of the second number, where Nielsen also cleverly integrated the piano used in the recitative into the orchestral fabric; during the second recitative, the piano’s role expands into almost song-cycle-like accompaniment. This is a truly inspired bit of writing. Toward the end of the movement, the piano’s role changes again, accompanying four horns in concerto fashion before the chorus returns, then remaining as a prominent instrument along with the full strings. A slow tempo, muted violins, and ostinato bass create a mysterious mood in No. 3.


What amazed me the most about these works, particularly the last two, which are pretty good and original music, is the fact that in each case Nielsen was forced to work on a short deadline, barely more than two or three weeks. His lack of interest in the Aarhus cantata undoubtedly led to his creating the shallowest music. As to the performances, they are absolutely first-rate except for the aforementioned unsteadiness of tenor Hedergaard and two of the lady Muses. Andersen has a very light-toned, pretty Bach-Mozart-type soprano voice. Although baritone Knudsen also shows some signs of unsteadiness, he is generally very good. Diction is crystal-clear. Both the Aarhus Choir and Orchestra and the Danish National Opera Chorus are rock-solid, transparent in texture, and firmly committed to giving the best performances they can. Conductor Holten walks a fine line between creating excitement commensurate to the occasions in question and delivering excellent, well-contoured performances, and he succeeds handsomely in this task. And, happily, the sonics are crystal-clear, no muddiness of sound. If you can ignore the bombast of the first cantata, then, this is a worthy addition to your Nielsen collection.


FANFARE: Lynn René Bayley

This is very, very good. We seem to be going through a particularly satisfying period as regards Nielsen symphonies on SACD. First we had Gilbert’s cycle with the New York Philharmonic on Dacapo, and now we have this sterling second installment of Oramo’s, containing the First and Third Symphonies. Both works receive marvelous readings, with world class playing from the Royal Stockholm Philharmonic and interpretations that propel the music forward with all of its muscular energy and lyrical intensity.

The First Symphony is, in this respect, perhaps a more remarkable (but not “better”) performance than the Third. Usually the work gets damned with faint praise: “early Nielsen;” “Brahms praised it;” and the like. Here the music sounds fully mature, the outer movements played with such verve that their tendency towards formal stiffness simply vanishes. The highly developmental third movement that does duty for the scherzo, also sports an unusually wide range of mood, with Oramo’s attention to accent and phrasing paying big dividends. If you have ever had doubts about this symphony, this performance may well erase them.

The “Espansiva” also packs quite a wallop. Its high octane opening gestures enlivens the entire movement, nowhere more so than in the grand waltz at the heart of the development section. The pastoral second movement is magnificent: the string playing has tremendous intensity, and there’s also an unusually bold contribution from the brass when they finally have the opening tune. Soloists Anu Komsi and Karl-Magnus Fredriksson aren’t highlighted unduly. Their wordless vocalize merges with, and emerges from, the surrounding texture with a naturalness that’s memorably poetic. In the last two movements, once again Oramo’s punchy accents and rhythmic drive create powerfully satisfying and idiomatic results.

BIS’ engineers have, as expected, achieved tactile, glowing sonics, placing the orchestra in a warm and open acoustic space and capturing every textural detail with just balances and palpable presence. It’s a good time to be a Nielsen fan.

-- David Hurwitz, ClassicsToday.com

"With his invigorating, revelatory Sibelius cycle behind him, Osmo Vänskä turns now to that other great Nordic composer, Carl Nielsen, and tackles his series of six symphonies for BIS, this time with the BBC Scottish Symphony Orchestra. He loses no time getting into his stride with a muscular yet lyrical first movement to No. 1, aptly characterising its unusual marking Allegro orgoglioso' (the latter word means 'proudly'). The second movement, too, begins with ravishing intimacy but builds to a powerful climax." -- Barry Millington, BBC Music Magazine [reviewing Symphonies 1 & 6, also available as Bis 1079]

"...There is exhilaration, warmth and a kind of optimism through gritted teeth in the closing pages of the Fifth Symphony, but they only just counterbalance the violence, desperation and general unease. The ‘Melancholic’ slow movement of No. 2 is as dark as I can remember, and there are even premonitory hints of it in the preceding ‘Phlegmatic’ movement – to say nothing of the unsettling reminder just before the end of the ‘Sanguine’ finale. But it’s the Fifth that makes the more powerful impression – as it should. Listening to Vänskä’s performance one is continually reminded that it was written in the aftermath of the First World War. It’s as though Nielsen were asking how one could continue to be positive in the face of such revelations of ‘senseless hate’. The result is a performance that grips as a musical structure, an emotional journey and a philosophical statement... [T]here is simply no other version of No. 5 on disc that’s as convincing and compelling as a whole statement. ...And No. 2 can hold its own even against the excellent Blomstedt recording on Decca – superbly recorded, and with more sensuous charm, but perhaps a little too cosy in comparison. There’s nothing comfortable about this Nielsen." -- Stephen Johnson, BBC Music Magazine [reviewing Symphonies 2 & 5, Bis 1289]

"How do you know that a new recording really has what it takes? For a critic the best answer is probably when he finds himself sneaking time out of his reviewing schedule to listen to it again – and again. Which is what has been happening for me with Osmo Vänskä’s Nielsen Fourth. It isn’t just that it’s powerfully conceived and compelling from first to last (and excellently recorded); the further the performance progresses, the more urgent and moving becomes that sense of what Nielsen called ‘yearning for life, for life’s essence’... [T]he sense of heroic, furious determination grows towards the finale, and is vindicated at the close as the great first movement melody re-emerges through fusillades of hostile timpani (in tune, for a change)... Vänskä’s account of the Third Symphony is almost as convincing. The first movement has terrific energy, and the finale benefits from Vänskä’s rugged determination. But impressive as the slow movement is, I miss the sense of awe, spaciousness and ultimate rapture in Herbert Blomstedt’s version – still my top recommendation. It’s a close-run thing, though, and Vänskä does have a particularly convincing view of the symphony as a whole statement. It’s the Fourth, though, that makes this disc a must-have." -- Stephen Johnson, BBC Music Magazine [reviewing Symphonies 3 & 4, Bis 1209]

Carl Nielsen has sometimes been described as the most underrated composer of the 20th century, but most critics would certainly agree that his Six Symphonies, composed between 1891 and 1925, belong to the great classics of their period. Osmo Vänskä's cycle of the works with the BBC Scottish SO was recorded after his landmark series of the symphonies of Sibelius and before his highly acclaimed cycle of those by Beethoven. Originally released on three separate discs, these accounts of the Danish master's works were received with great interest by the reviewers, with the performance of the Fourth being described as 'of great character and fire' in International Record Review, the recording of Symphony No.5 called 'a first choice, full of intensity' in BBC Music Magazine, and the Sixth accorded reference status in Répertoire. For this boxed set edition, three shorter orchestral works have been included, namely the concert overtures Helios and Saga-Dream, and the 'pastoral scene' Pan and Syrinx. In these previously unreleased recordings, Vänskä conducts the Lahti Symphony Orchestra, which he led for twenty years and with which he has enjoyed such notable successes in music by Sibelius, Kalevi Aho and Rautavaara.

The recently released second volume of the Carl Nielsen symphony cycle from the Royal Stockholm Philharmonic Orchestra and Sakari Oramo has already met with acclaim similar to that for the first disc: ‘an ideal blend of fieriness and loving care’ was how the performances of the First and Third Symphonies were characterized by a reviewer on Norddeutscher Rundfunk, and on BBC Radio 3 CD Review the disc was described as ‘an impressive second volume from what's turning into a must-hear Nielsen cycle.’ The last instalment of the cycle opens with the composer’s Symphony No.2, ‘The Four Temperaments’, dating from 1901–02. Its origins were in an allegorical picture Nielsen came across in a country inn, illustrating the four temperaments of man as defined in Greco-Roman medicine: anger, apathy, melancholy and carefree abandon. But Nielsen was incapable of drawing anything other than a rounded character-portrait, and consequently the fiery first movement also allows for lyrical episodes, there are moments of stoic nobility in the melancholy, and the march that conclude the sanguine finale is imbued with a certain dignity. 23 years later the composer completed his sixth and final symphony, giving it the subtitle Sinfonia semplice (Simple Symphony). In the meantime, the Fourth and Fifth symphonies had brought Nielsen the greatest measure of professional recognition he ever enjoyed in his lifetime. In spite of its subtitle, Symphony No.6 baffled reviewers as well as audiences, however. When beginning to work on it Nielsen had envisaged a work that would be ‘quite idyllic in character’ – something that is borne out by the opening bars. But by the time he arrived at the last movement, Theme and variations, the work had taken a different course, and as Nielsen later told a friend, the ninth and last variation, scored for tuba and percussion, represents ‘death knocking at the door’.

NIELSEN: Chamber Music, Vol. 1

The most important Danish composer of the first part of the twentieth century, Carl Nielsen was prolific in almost all genres. Dissociating himself strongly from Late Romanticism.

“It is strange that when I write these simple melodies, it is as if I am not the composer – it is people from my childhood or the Danish people who want something through me.” Thus said Carl Nielsen (1865-1931), who was devoted to renewing the Danish song tradition and whose melodies are still at the heart of Danish community song today. On this recording, Ars Nova Copenhagen presents a selection of Nielsen’s most popular songs under conductor Michael Bojesen.

Classical Music

This landmark triple CD release presents for the first time the complete solo piano works of Denmark's national composer, Carl Nielsen, performed by one of the country's most distinguished and visionary pianists, Rikke Sandberg. She has worked with Nielsen's music since she began playing the piano as a child, and her teachers form an unbroken lineage back to the pianists for whom Nielsen originally wrote his piano works. On this release you will find Nielsen's original piano music as well as his own arrangements of his compositions. All of Nielsen's solo piano music is included. The Danish press has repeatedly celebrated her artistic integrity. Politiken writes: "She gathers torrents of notes into long, breathing arcs with sharply etched detail and colourful nuance... First and foremost she is an artist; display does not interest her." The same paper concludes: "Few Danish pianists make as great a difference in our musical life as she does." Jyllands-Posten praises her "richly nuanced and superbly controlled playing," while international critics highlight interpretations where "nothing sounds overheated or overplayed... full of fire and sparkling esprit... with such restrained dynamics that one's breath is taken away." At the heart of Sandberg's artistry stands the great Romantic tradition, notably her acclaimed interpretations of Johannes Brahms, alongside a profound commitment to twentieth-century and contemporary Danish music. Now, that lifelong dialogue between heritage and renewal culminates in Nielsen's piano oeuvre: music of rhythmic vitality, bold architecture, folk-like simplicity and daring modernity. Spanning nearly forty years, from intimate miniatures to monumental works, this edition reveals Nielsen in his full creative breadth. More than a recording, this is a definitive artistic statement, and the ultimate document of Carl Nielsen's piano world.

Nielsen, C.: Maskarade (Masquerade)

The most important Danish composer of the first third of the twentieth century, Carl Nielsen was prolific in almost all genres. The six Symphonies are essentially tonal, emotionally direct works, which alternate long lines of melody with passages of blazing energy. The idea of writing a symphony based on the Four Temperaments – The Choleric, The Sanguine, The Melancholic, and The Phlegmatic, came to Nielsen when he saw a primitive peasant painting in a village inn. The title of the Third Symphony, Sinfonie espansiva, an afterthought, has been explained as an expansion of the scope of the mind and of the life that comes with it.

This album, performed by the Danish National Choirs, under the direction of Michael Schonwandt, Phillip Faber and Susanne Wendt, features 25 choral arrangements of the most popular pieces by Carl Nielsen (1865-1931). Featured among the 25 tracks are popular works such as "Den danske sang er en ung, blond pige" and "Solen er sa rod, mor", alongside lesser-known pieces such as his proposal for a new Danish national anthem. The Danish National Vocal Ensemble is made up of 18 full-time professional vocalists. Since their 2007 debut, the ensemble has tackled all styles of music, from Baroque, to Romantic, to modern. The ensemble was recently awarded the Diapason d’Or for a recent release.

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REVIEW:

Performances throughout are excellent. The variety offered by the different types of choir is part of the pleasure of the music, but even within choirs of similar type, there is considerable variety.

– MusicWeb International

Classical Music

Classical Music

The 150th birthday of the Danish iconoclastic composer Carl Nielsen is celebrated with the second volume of his works for violin featuring one of Sweden's brightest new violinists, Cecilia Zilliacus joined by the Helsingborg Symphony Orchestra conducted by Daniel Blendulf.

MASKERADE (OPERN (GA),DEUTSCH)

The music of Carl Nielsen holds a very special place for Danes, defining the nation's musical voice for over a century and reflecting the soul of Denmark. Nielsen was a violinist from childhood, his early Sonata in G major having 'a scent of Mozartian youth,' while the newly published Romance in G major was dedicated to his first teacher. Mature works include the Second Violin Sonata, 'a work unparalleled in the sonata literature,' and the Prelude, Theme and Variations inspired by Bach's Chaconne for solo violin. This collection represents the first ever recording of Nielsen's complete music for violin solo or with piano.

REVIEW:

Nielsen was a high energy composer, perfectly suited to a “muscle” orchestra like the New York Philharmonic. Listening to these two performance we are reminded how the world of classical recordings has been taken over by orchestras of the second rank–professionally adequate, ambitious, able to fund their own recording programs and often to get released on major labels, but singularly lacking in the sort of corporate virtuosity and ensemble balances at all dynamic levels so tellingly in evidence here. If you like your Nielsen big, bold, and gutsy, then this is the cycle you need to own.

This doesn’t mean that Gilbert and his players are in any way crude. The opening of the Fifth Symphony emerges with gossamer delicacy, and the solo wind playing is as sensitive as one could wish. But the hostile snare drum entrance carries real menace, while the movement’s adagio second half, beautifully spun out by the strings, features the best percussion cadenza since Horenstein, leading to an absolutely apocalyptic climax. Similarly, Gilbert brings thrilling energy to the start of the second movement. The ensuing quick fugue isn’t as swift as some, but the orchestra’s weight of tone, its attention to detail, makes the music unusually vicious, while the race to the closing bars has seldom sounded more exhilarating.

The Sixth Symphony can come off as sort of a bitter, denatured coda to the previous five. Again, without minimizing the work’s etherial moments and often stark instrumental textures, Gilbert and the orchestral put the meat back on the music’s bony skeleton. The climax of the first movement is really terrifying, the Humoresque vividly grotesque. In the Adagio “Proposta seria,” the strings dig into their parts with painful intensity, leaving a finale in which Gilbert ensures that each variation has its own vivid character. The wacky waltz, even in it’s ghostly early stages, seethes with a latent energy that makes sense of the violent eruptions from the brass and bass drum that rip it apart shortly afterwards.

One textural note: these performances seem not to be using the latest Critical Edition of the symphonies–you can tell from the fact that the loud timpani triplets are still present towards the end of the finale’s opening section, to cite one example. This is not a wrong decision; the Critical Edition took an excessively dogmatic view in its efforts to present Nielsen’s first thoughts, eliminating revisions based on the practical realities of performance, even if these were accepted–whether tacitly or explicitly–by the composer. Nielsen was never faced with a situation like Bruckner’s, in which a crew of well-meaning but misguided supporters altered and manifestly falsified the basic text. Additions and modification to his scores were limited mostly to small but sometimes telling details, such as the additional timpani part just mentioned.

The excellent live sonics add to the tactile immediacy of the performances. If the foregoing sounds as though this team saved their best for last, well, I would say that they did. One quibble though: the booklet notes, by Jens Cornelius, are surprisingly poor. He seems to think that the snare drummer in the Fifth Symphony is a timpanist, and his language is both pretentious and stilted. Normally I wouldn’t care or mention it, save for the fact that it seems so odd and uncharacteristic. Never mind, it’s the music that matters, and about that there can be no question whatsoever. This is fantastic.

– David Hurwitz, ClassicsToday.com

"I’m sure that Nielsen’s time is coming, and I’m looking forward to sharing this wonderful music with the audience." - Alan Gilbert 2011 = "Mr. Gilbert drew colorful, glittering and full-bodied playing from the musicians." - The New York Times, concert review of Nielsen's Symphony No. 3, June 2012 = “Music is life, and like it inextinguishable,” said the Danish composer Carl Nielsen (1865-1931). With indomitable courage and infinite curiosity Nielsen developed into one of the 20th century’s greatest symphonists, after being raised in the Danish countryside as the son of a poor folk musician. With this new series of recordings, Nielsen crosses the Atlantic as the New York Philharmonic and their Music Director Alan Gilbert shed new light on the composer's uniquely Nordic symphonic sound. = ABOUT THE NIELSEN PROJECT = This is the first volume of the new recording series of Denmark's national composer Carl Nielsen's complete symphonies and concertos by The New York Philharmonic and their chief conductor Alan Gilbert. All works are recorded live during the New York Philharmonic's concert series in Avery Fisher Hall which has already impressed critics and audiences alike.

REVIEW:

As already suggested, Gilbert’s interpretations take no prisoners, and frankly that is just what Nielsen needs. The Allegro collerico opening of “The Four Temperaments” is really ferocious, the finale almost giddy. And yet, Gilbert’s tempos in the Andante pastorale of the “Espansiva”, or the Andante malincolico of the “Temperaments”, are also perfectly judged, sensitive, and expressive. The former, especially, reveals a combination of tranquility and flow unique in the work’s discography. The string playing is particularly beautiful here, and the Philharmonic’s woodwinds, solo oboe especially, do themselves proud in music that often relies on their artistry and character. Gilbert also very convincingly paces the tricky finale of the same work, with its hymn-like main theme that still has to sound “allegro”.

Dacapo, of course, already has an excellent Nielsen cycle—indeed, the reference edition—in its catalog, featuring Michael Schønwandt and the Danish National Radio Symphony Orchestra (also available on Naxos). So the question must be whether or not this newcomer is distinctive enough to warrant the duplication, and the answer is a definite “yes”. Gilbert reveals a genuine affinity for the music, and Nielsen’s athleticism suits the orchestra very well indeed. If this series keeps up as it has begun, it’s going to be stupendous.

-- ClassicsToday.com

A real bargain and the best way to have these symphonies at very affordable cost.

This release is in many ways even more attractive than volume 1, containing the Symphonies Nos. 1 and 6 and reviewed here earlier. For those who do not know Nielsen’s music, this would be the perfect place to start.

Both of these symphonies represent the composer at the height of his maturity and both contain many memorable tunes. They are also very well orchestrated and contain both power and poetry. There is not a dull moment in either symphony. Highlights include the Allegro comodo e flemmatico second movement of the Second Symphony and the Andante pastorale second movement of the Third Symphony with its ethereal vocalise by tenor and soprano. But then there is also the Third’s first movement with its great waltz and the symphony’s noble finale. Likewise, the Second has one of the most joyous finales I know of.

Schønwandt and his Danish forces have the measure of both symphonies and for my money beat out the competition in both. The main rival for these works, as with the symphonies in volume 1, is Herbert Blomstedt and the San Francisco Symphony on Decca. I did an A/B comparison and feel that the balance is just tipped in Schønwandt’s favor. There is a certain rightness, a natural pace, that’s hard to explain, but is definitely there in these accounts. Furthermore, the warmth of the Danish Radio Concert Hall is a real advantage in these particular works — not as crucial in the Sixth Symphony, though. At the same time, there is a clarity and lightness that allows all the detail to register. Blomstedt’s accounts tend to be more brilliant, as is Decca’s sound, and at times can seem a little relentless. For example, his faster tempo for the Second Symphony’s finale pushes the music a little harder than Schønwandt’s slightly slower, but clearer version. Also, the sound as recorded in San Francisco’s Davies Hall can get muddy in the bass and make the textures clotted. Schønwandt sets an ideal tempo in this movement and there is a real feeling of joy in this Allegro sanguineo. I still like the Blomstedt performances of these works for their power and the brilliance of the orchestra. For example, those horns in the waltz climax of the Third Symphony’s first movement are pretty spectacular, even if Schønwandt’s more backwardly balanced ones (at 6:09) allow the rest of the orchestra to come through better. Schønwandt also achieves a perfect placement with his vocal soloists in this symphony. They are treated as instruments and blend well with the rest of the orchestra, creating a feeling of distance. Nonetheless, I would not want to be without either recording of these works. Then there is Myung-Whun Chung’s highly regarded BIS recording of the Second Symphony (see review) coupled with the Aladdin Suite to be considered. I haven’t heard that one for a number of years, but it was also high in my affections.

A couple of extra-musical details should be mentioned. First, the order of the works as listed above is the order on the disc. Why they placed the Symphony No. 3 ahead of No. 2 is a mystery. However, it also followed this order on the original Dacapo CD. It really does not matter as the player can be programmed to play in either order, if one were wanting to hear the works in the sequence in which they were composed. Second, as in the earlier Naxos disc mentioned above, the notes in the booklet are briefer and less detailed than on the original release — but very good all the same. Finally, since I have a copy of the Dacapo disc, I was able to do a sound comparison. I heard no difference between the original and the new budget release.

This, then, is a real bargain and the best way to have these symphonies at a very affordable cost. Indeed, I would recommend them at any price!

-- Leslie Wright, MusicWeb International

Incomparable composer and pianist John McCabe, who passed away in February 2015, had recorded Nielsen's Piano Music on LP for Decca's Ace of Diamonds back in 1975. More recently, the SOMM label was approached by John's wife, Monica McCabe, to ask if they would consider issuing it on CD. From an early age, John loved to explore little-known works and considered Nielsen's Suite, Op. 45 a true masterpiece. The piano music of Nielsen, whose 150th anniversary is celebrated this year, is overshadowed by his six symphonies but his piano music has always had a special place in the hearts of music lovers worldwide. These recordings have been unavailable for many years; now newly re-mastered, they are given a new lease on life and serve as a timely reminder of McCabe's unique interpretations.

REVIEW:

These are strong, exciting performances of symphonies that demand the sort of bold muscularity in their execution that these artists offer. In Alan Gilbert’s hands the First Symphony sounds extremely confident and wholly mature. It starts with a bang and the tension in the first movement never lets up. The playing of the New York Philharmonic throughout is fresh and unaffected, full of spirit and drive. Even the Andante flows purposefully forward, and contrasts nicely with the Allegro comodo that does duty for a scherzo–with its harmonic kinks so personal to Nielsen. The finale has the same “pedal to the metal” drive as the opening, bringing the performance to a rousing conclusion.

The performance of the “Inextinguishable” Fourth Symphony also features some really impressive energy and power. In the first movement the brass play with a precision and clarity that few other versions can match, and in the finale the dueling timpani compete with real bravura. The slow movement here reminds me of Shostakovich in its bleak intensity, and my only quibble with Gilbert’s interpretation concerns the symphony’s coda where, like most of his colleagues, Gilbert broadens the pace in the closing bars when Nielsen clearly wants to drive the music home in tempo. Gilbert does pull it off: with an orchestra that has the weight and strength of the New York Philharmonic the effect is convincing, but Gibson (on Chandos) remains unmatched here.

Dacapo’s engineering, as with the previous release in this series, is natural and very present. The woodwinds feel just slightly recessed in more fully scored sections, but I can attest that the music really does sound like this in actual performance with a large orchestra, and certainly nothing gets lost. More importantly, the engineers have captured the impression of a live performance, caught on the wing, and the audience is mercifully quiet. This is a very impressive release.

– David Hurwitz, ClassicsToday.com

This delightful and lighthearted album features virtuoso clarinetist David Shifrin performing Carl Nielsen’s Clarinet Concerto in a newly arranged accompaniment for chamber orchestra. The dramatic work unfolds unpredictably in short, contrasting episodes that allow the soloist to explore a range of moods and colors. We are then treated to Nielsen’s charming Six Humorous Bagatelles, written for his children. From the simply put “Hello, Hello” to the final “Musical Clock,” these endearing pieces radiate good humor and adventure. Nielsen’s early Fantasy Pieces with their varying moods and harmonic twists reveal Nielsen’s romantic side, and his Serenata in Vano for wind quintet shows off Nielsen’s affinity for wind instruments and his quirky, playful sensibility. “If there is a bel canto school of clarinet playing, Shifrin is surely its finest exponent.” (The Los Angeles Times)

From the outset of his career, Jean Sibelius was recognized as an outstanding representative of a musical language perceived as typically Finnish. In Finland, the dawn of the 20th century saw a veritable outbreak of nationally inspired artistic activities., It was a time of cultural and national self-discovery for Sibelius, too. He allowed himself be stimulated by the whole of Finland’s folklore tradition, without resorting to specific examples of folksong.

For many years, Carl Nielsen was viewed outside his native Denmark as the poor cousin of his more famous Scandinavian counterparts, Grieg and Sibelius. Yet his achievements as Denmark’s greatest symphonist of the 20th century were, if anything, even more remarkable than the successes of his geographical neighbors. Nielsen’s symphonic output is some of the most remarkable of its time.

The Norwegian conductor and composer Johann Svendsen was born in 1840 in Christiania (now Oslo). in 1867, he finished his Symphony No. 1, a work that Grieg later described as showing scintillating genius, superb national feeling and really brilliant handling of an orchestra. In 1872 Svendsen returned to Christiania beginning a fruitful period that saw the creation of his Symphony No. 2 in B flat major Op. 15.

Hugo Alfven's First Symphony (1897) has a melancholy Sturm und Drang mood that recurs at intervals in his later compositions, but there is also a life affirming side that flourished in his Second Symphony, two years later. Of his Third Symphony, he stated "it depicts neither concrete nor abstract. It is an expression of the joy of living, an expression of the sun-lit happiness that filled my whole being.”

Wilhelm Stenhammar's Symphony Op. 34  saw the light of day in 1907, dedicating it to “my dear friends, the members of the Goteborg Symphony Orchestra.” He was to remain its chief conductor until 1922. That symphony, which had its first performance under the composer’s direction in 1915, was in fact Stenhammar’s second and is today called Symphony No. 2, even if the composer himself never gave it that number.

Edvard Grieg’s Symphony in C minor, which the composer withdrew, saw scholar after scholar writing about it disparagingly, with much discussion of the its style, all too often based on the question: what are its unoriginal or unsuccessful features? But it was Grieg himself who began the tradition with his admonition that it “must never be performed”. Now, however, very few feel, on moral grounds, that the work should not be performed.