Jensen, N.P.: Flute Sonatas / Fantasias

MUSIC INSPIRED BY HANS CHRISTIAN ANDERSEN'S FAIRY-TALES

PALSCHAU Harpsichord Concertos: No. 1 in C; No. 2 in D. SCHULZ 6 Diverses pièces pour le clavecin ou le pianoforte • Lars Ulrik Mortensen (hpd), cond; Concerto Copenhagen (period instruments) • dacapo 8.226040 (67:08)


The New Grove Dictionary of Music and Musicians contains but a brief paragraph on Johann Gottfried Wilhelm Palschau (1741–1815). In it we learn that he was a member of the orchestra at Copenhagen’s Royal Opera. Among other things, Palschau toured extensively, visiting London a decade before Mozart (the notes tell us that Palschau lodged in the same house as Wolferl), and Hamburg in1761. In 1771 Palschau turns up in Riga, where he studied for a time with Johann Gottfried Müthel. Palschau settled in St. Petersburg (Russia) in 1771 and became highly successful as a performer. The annotations for the CD indicate that Palschau’s last documented concert was in 1800, when a German singer—H. C. Wunder—advertised in the Gazette de Saint-Pétersbourg that he had managed to acquire the services of the famous piano virtuoso, Herr Palschau.


As for Johann Abraham Peter Schulz (1747–1800), there is much more information. He was a German who studied in Berlin with C. P. E. Bach and Johann Philipp Kirnberger. Schulz was a staunch advocate of “new” music and staged operas by Gluck, Niccolò Piccinni, and others, but this got Schulz in the doghouse at Rheinsburg. Feeling it was time to move on, Schulz applied for and was appointed to a position in Copenhagen (1787–1795). There he reorganized the Royal Chapel, founded a benefit fund for musicians’ widows, wrote extensively on music education, and continued to compose. Schulz was highly influential in Denmark, and has been called a pioneer in that nation’s musical development.


This CD contains all of Palschau’s harpsichord concertos, his only other surviving compositions being several sets of variations on Russian folk songs. While not as highly developed as the concertos of his slightly older contemporary, Haydn. Palschau’s concertos are pleasant and uncomplicated works, showing more the influence of his Berlin studies with C. P. E. Bach and less of Müthel. The keyboard-writing is impressive and demanding, yet rewarding.


The title of the six pieces by Schulz indicates the changing musical times when the harpsichord was gradually being pushed aside for the more expressive fortepiano . The editor of the collection, Michael Struck, points out that the scope of the pieces is best illustrated by the difference between the Baroque character of opening prelude and the cantabile style of the melody found in the Andante.


Concerto Copenhagen, or CoCo as it is affectionately known, was founded in 1991; since 1999, Lars Ulrik Mortensen has been its artistic director. CoCo has released a number of important recordings that combine the more esoteric Scandinavian repertoire with the staples of the Baroque and Classic eras. The performances are benchmark from first note to last, compelling admiration via their seamless delivery and unforced stylistic grace. The bottom line is the music and musicians fulfill their mission: to open another chapter in music history and to spell pleasure from beginning to end.


While none of the material here will rival Haydn or Mozart, it is decidedly delightful and relaxing fare that is ideal for an occasional journey into the musical undergrowth. Bon voyage!


FANFARE: Michael Carter

Tarp: Piano Works

Hymn to the Sun

NORGARD: Works for Harp and Ensemble

A Carnival Feast (1882), is arguably the best number on the program. Much of it still sounds like patriotic flag waving (the opening March and subsequent Mazurka in particular), but the Introduction and Waltz and the Intermezzo are quite fetching. Each movement that makes up this miniature ballet seems to be derived from the same basic melodic material, giving the impression that we are hearing essentially the same music in different dance costumes. Best of all is the concluding Tarantella, an obvious knockoff of the concluding Saltarello from Mendelssohn’s “Italian” Symphony with its whirling triplets.



E. HARTMANN Nordic Folk Dances. Hakon Jarl. A Carnival Feast • Bo Holten, cond; Copenhagen P • dacapo 8.226041 (74: 21)


Music’s Hartmanns are many, some related, some not. So, let’s shake out the family tree. Johann Ernst Hartmann of the Danish clan (1726–1793) begat August Wilhelm, (1775–1850) who begat Johan Peter Emilius—aka J. P. E.—(1805–1900) who begat Emil, (1836–1898) the Hartmann whose music is featured on the current CD. A member of the extended family, Niels Gade, was Emil’s brother-in-law. The well-known 20th-century German composer Karl Amadeus Hartmann, is, so far as I’ve been able to determine, not related.


Emil’s output is neither large nor of an originality or inspiration that has generated much interest among musicians and record companies. This is definitely not a case of the son surpassing the father, for J. P. E.’s works are both more numerous and more musically satisfying. Emil’s three concertos, one each for violin, cello, and piano, have enjoyed some currency, as has a lovely wind serenade. During his lifetime, his opera, Elverpigen (“The Elf-Girl”), brought him a degree of recognition.


The Nordic Folk Dances is here receiving its world premiere recording. I can’t imagine there will be a second any time soon. This is light fare in a nationalist vein with not a single memorable tune among the five numbers that make up this medley. The second, titled “Old Memories,” sets off with a melodic-rhythmic motif reminiscent of the Menuet from Bach’s B-Minor Overture (the “flute” Suite), BWV 1067; while the “Wedding Music” section of the fourth dance sounds more like patriotic music for a national anthem. It should be mentioned that these dances do not comprise an integral suite. They were written over a period of time, with each being given its own opus number. It wasn’t until 1876 that they were collected and published with an overall title.


Hakon Jarl (1887) is a large tone poem depicting a fierce battle between the followers of Jarl, ruler of the heathens in Norway, and the Christian army of King Olaf Trygvason. It’s a pretty nasty affair, depicting bodies run through with swords and swimming in blood—not unlike the gore-fest tone poems of Dvo?ák from around this same time, and of Smetana, who happens to have written a tone poem on the same subject. Why the Czech Smetana was intrigued by Norwegian legend it is hard to say; but then Wagner mined this same mother lode for his material as well. For the Danish Hartmann it is understandable, given that the medieval histories and Norse legends of Norway and Denmark were closely intertwined. The outcome of the battle is never in doubt—I’m sure I don’t have to tell you who won—but there’s lots of action and drama before we get to the end of this 21-minute mêlée, all of it promptly forgettable.


Also a world premiere recording, Hartmann’s ballet divertissement, A Carnival Feast (1882), is arguably the best number on the program. Much of it still sounds like patriotic flag waving (the opening March and subsequent Mazurka in particular), but the Introduction and Waltz and the Intermezzo are quite fetching. Each movement that makes up this miniature ballet seems to be derived from the same basic melodic material, giving the impression that we are hearing essentially the same music in different dance costumes. Best of all is the concluding Tarantella, an obvious knockoff of the concluding Saltarello from Mendelssohn’s “Italian” Symphony with its whirling triplets.


Not having heard any of these pieces before, I can only say that the Copenhagen Philharmonic under Bo Holten play like they own this music. Wait! They do. The recorded sounded is excellent. For those wanting to take a detour down a path of the Romantic period less traveled by, this CD can definitely be recommended.


FANFARE: Jerry Dubins

Elverskud (The Elf-King's Daughter) is a dramatic cantata from 1854, based on Danish medieval ballads. It became one of Niels W. Gade's greatest successes, not only in his native Denmark but throughout Europe, where Elverskud was performed several hundred times, often conducted by Gade himself. Gade was especially admired in Germany, and on this album, Elverskud is not only played on period instruments for the first time but is also sung for the first time with the German text that brought the work international fame. Here the cantata is put together with Gade's breakthrough as an a capella composer, Funf Gesange from 1846, also in German. Perhaps this danish national composer isn't so danish after all. These works are beautifully performed by soloists Sophie Junker, Ivonne Fuchs, and Johannes Weisser, alongside the Danish National Vocal Ensemble.

KOPPEL, A.: Saxophone Concertos

6 Works for Saxophone & Percussion

Ruders, P.: 4 Dances

Ruders, P.: Concerto in Pieces / Violin Concerto No. 1 / Mon

HEGAARD: Chamber Music

JENSEN, N.P.: Duos for Two Flutes

KOPPEL: Symphony No. 5 / Piano Concerto No. 3