After Buxtehude in the 17th century and prior to Nielsen in the late 19th and early 20th centuries, Niels Gade (1817-1890) was the most famous Danish composer. His extraordinary 1st Symphony of 1843 was premiered in Leipzig at the Gewandhaus conducted by Mendelssohn, who promptly offered Gade a post at his new conservatory. Gade later conducted the premiers of Mendelssohn's Violin Concerto and Schumann's Piano Concerto. His music (he composed 8 symphonies, the 5th having an important piano part, a violin concerto and a Spring Fantasy for piano, orchestra and voices and a quantity of chamber and orchestra works) is superbly crafted, romantic but with a classical poise and form. The influence of his friends Mendelssohn and Schumann can be detetected, but there is a very definate Scandinavian feel to his music. Schumann wrote that he could detect 'the lovely beechwoods of Denmark' in Gade's music.

The 2 Novelletten are among his most successful works. Beautifully crafted, elegant and warm they are rewarding discoveries, and a good introduction to this neglected but important figure in 19th century Scandinavian music.

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Very pleasant additions to the romantic string-serenade repertoire.

Niels W. Gade’s Novelettes are charming, fresh additions to the romantic string-serenade repertoire. There are two sets, the first in F and the second in E, both dating from fairly late in Gade’s career. For those listeners who enjoy Grieg’s Holberg Suite, or the serenades of Suk, Dvorák, Tchaikovsky, and Robert Fuchs, this style will need no introduction: elegant dances, lyrical melodies which rise and fall with a cool outdoor loveliness, the minor keys used merely for spice.

A standout moment might be the beginning of the second set, with its ambiguous slow introduction opening up to brighter things; the second set also features a gorgeous andante with a fine role for the cellos. The first also opens with a lovely slow introduction, and it closes with a finale that brings to mind Mendelssohn’s Octet with its light-hearted fugato opening and perpetual-motion effects.

This isn’t exactly at the top of the string-serenade ladder, not next to Tchaikovsky, Suk, and Dvorák. It’s not even on the second rung, where Fuchs and Dag Wirén reside. The first two Fuchs serenades were just released on a gorgeous Naxos CD which I’d recommend over this one if you only buy one pretty string music disc per year. It doesn’t help that the recorded sound, analog from 1981, is slightly glassy, or that the Aarhus Chamber Orchestra’s work as an ensemble isn’t as polished as that of the best chamber orchestras we have today. Another cause for slight hesitation is the booklet note, which profiles Gade so strongly that we only get 18 words about the actual Novelettes. The CD lasts just 43 minutes.

But please notice I only said slight hesitation! This is still lovely music, fresh and totally enjoyable, and an unquestionably fine way to pass 43 minutes’ time. It’s at Brilliant’s usual bargain price. That said, the same price gets you ten minutes’ more music (and more colorful music too) on the Naxos Fuchs album; though I usually wouldn’t recommend one composer over another in a review, I do listen to my romantic string music to satisfy a particular craving, or mood, and other composers fulfil that mood better than does Niels W. Gade. Still, this is very nice, and there is nothing wrong with very nice!

– Brian Reinhart, MusicWeb International

GADE Piano Trio, op. 42. Piano Trio (1839): first movement. Novelettes, op. 29. Piano Quartet: Scherzo • Trio Parnassus; Thomas Selditz (va) • MDG 303 1665-2 (64: 06)


Gade’s works for piano trio are pragmatic, thorough, technically accomplished, and compact. Their reluctance to sprawl is an advantage as it allows one to concentrate on their salient features, which include romantic ardor, lyric profusion, and a confident sense of projection. The op. 42 Trio in F Major was written between February 1862 and December 1863, and the vibrant playing of Trio Parnassus and the excellent recording allow a full exploration of its Schumannesque elements. Pianist Chia Chou anchors the performance with considerable strength and finesse, while violinist Yamei Yu essays some effective slides. Michael Gross is the excellent cellist. They bring a fine corporate sense of buoyancy and lyricism to the second movement, an Allegro molto vivace. (However, I was able to go back to the first-ever recording of this movement, in a 1917 performance by Albert Sammons, W.H. Squire, and William Murdoch, and there you will find a far greater sense of characterization and intensity.) The Andantino is a rather lovely Lied, rich in legato, and the finale rings with an almost Mendelssohnian panache.


The 1854 Novelettes are possibly as well known as the trio. There are five miniatures in all, and one explicitly quotes Schumann. They’re played with genuine poise, with fine unisons, excellent soliloquies, and a judicious balance. The plangent elements of the Larghetto are as well explored as the more bucolic, folkloric elements of the central Moderato. The discarded finale to the Novelettes in the original 1853 version—Gade revised the work in 1854—is also included, and it’s a fiery and confident affair. The projected four-movement Piano Trio of 1839 never materialized and all that remains is the opening movement, a solid 12-and-a-half-minute affair opening with an Adagio section and moving on to the Allegro con fuoco . Sketches do exist of the inner movements, but nothing remains of the finale. It’s a very strongly programmatic movement, and fortunately Gade’s narrative has survived, a typically romantic one, reprinted in the liner note. But it’s not at all necessary to know this narrative to appreciate the slow, intense introduction and the extroverted Allegro replete with passionate declamation. The Scherzo for a piano quartet (1836) is a youthful, big-boned work strongly reflecting Gade’s absorption of Mendelssohn once again.


I referred earlier to the recording quality, which certainly enhances this traversal of the complete piano trio works materially and so too, obviously, the playing. There is a fine performance of the op. 42 and the Novelettes by the Abegg Trio on Tacet 112, but that is coupled with the Chopin Trio. So if your priority is wholly Gade, then this MDG fits the bill perfectly.


FANFARE: Jonathan Woolf

"This is a splendid fellow and musician" - with this quote Robert Schumann characterized the then 26-year-old Danish composer-colleague Niels Wilhelm Gade in a letter of January 5, 1844 to his Dutch friend Johannes Verhulst. The works on this release are testimonies of three different creative periods of Gade: an early work is the first Sonata in A major, op. 6 (dedicated to Clara Schumann) - the second Sonata in D minor, op. 21, (dedicated to Robert Schumann) was composed in 1850 - the third Sonata in B flat major, op. 59, (dedicated to Wilma Normann-Neruda) belongs to the circle of his late compositions. Among Gade's last works is the collection Volkstänze im nordischen Charakter, op. 62, written in 1886 for the great violinist Joseph Joachim.

REVIEW:

Niels Gade was a musical conservative, very much of the Mendelssohn school, but he had a distinctive personality and...he knew how to make his music move. These symphonies have good tunes, almost no dead spots, and the Fifth, which has an important concertante part for solo piano, really is an entertaining and original piece by any standard.

At five discs for the price of two, this set is a steal. Neeme Järvi's versions of the eight symphonies are as fine as any available, certainly as good as Hogwood's excellent Chandos set which now costs several times as much. Niels Gade was a musical conservative, very much of the Mendelssohn school, but he had a distinctive personality and, more to the point, he knew how to make his music move. These symphonies have good tunes, almost no dead spots, and the Fifth, which has an important concertante part for solo piano, really is an entertaining and original piece by any standard. Järvi secures crisp, lively playing from the Stockholm Sinfonietta; there isn't a weak performance in the lot.

The Violin Concerto is also a fine, unaccountably neglected piece, very well played by Anton Kontra (of the eponymous quartet fame). Its central Andantino espressive really is a gem, but then the entire piece has a formal compactness and confidence typical of Gade. The Crusaders (featuring the Aarhus Symphony under Frans Rasmussen) is an hour-long cantata for soloists, chorus, and orchestra, and it makes a considerable bonus. Of course in today's world it's kind of hard to sympathize with the crusades, or with any piece in which Peter the Hermit is the good guy, but give Gade credit: he gets through the entire Armida/Rinaldo love story in 23 minutes, and it's the best part of the work. Enough talk: just get this box, and your Gade collection will be pretty much complete.

--David Hurwitz, ClassicsToday.com