Hartmann: Nordic Folk Dances, Etc / Bo Holten, Copenhagen Po
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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...
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.
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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
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
Product Description:
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Release Date: November 21, 2006
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UPC: 636943604120
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Catalog Number: 8226041
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Label: Dacapo Classical
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Number of Discs: 1
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Period: Dacapo Classical
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Composer: Emil Hartmann
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Conductor: Bo Holten
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Orchestra/Ensemble: Copenhagen Philharmonic
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Performer: Copenhagen Philharmonic