MusicWeb International One of the most grown-up review sites around 2023
Approaching 60,000 reviews
and more.. and still writing ...

Search MusicWeb Here Acte Prealable Polish CDs
 

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             


CD REVIEW

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

TROUBADISC
Troubadisc Weinberg- TROCD01450

All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Songs to Harp from
the Old and New World


all Nimbus reviews



all tudor reviews


Follow us on Twitter


Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

alternatively
Crotchet   AmazonUK   AmazonUS

 

Carl NIELSEN (1865-1931)
CD1
Symphony No. 1 (1889-1894) FS16 [35.53]
Symphony No. 2 The Four Temperaments (1901-1902) FS29 [33.48]
Bøhmisk-dansk folketone FS130 [7:29]
CD2
Symphony No. 3 Sinfonia Espansiva (1910-1911) FS60 [35.57]
Symphony No. 4 The Inextinguishable (1914-1916) FS76 [34.08]
Andante Lamentoso - At the bier of a young artist [4:49]
CD3
Symphony No. 5 (1920-1922) FS97 [35.49]
Symphony No. 6 Sinfonia Semplice (1924-1925) FS116 [35.31]
Kirsten Schulz (sop); Peter Rasmussen (ten) (3)
Danish Radio Symphony Orchestra/Herbert Blomstedt
rec. Danish Radio Concert Hall, Copenhagen, Sept 1973 – Oct 1976. stereo. ADD
recorded in cooperation with Danmarks Radio
EMI CLASSICS TRIPLE 5008292 [3 CDs: 77.10 + 74.54 + 71.20]
Experience Classicsonline


This is a re-issue of the legendary Blomstedt recordings made in the 1970s. Nielsen has a unique voice among composers; there is something instantly recognizable about his music, something which, to me at least, seems indelibly Danish. The sound from the excellent Danish Radio Symphony Orchestra is warm and fresh, with the strings sounding silky at times, alongside some stunning wind playing.
 
The symphonies themselves have now become a mainstream part of the repertoire, but it is only relatively recently that Nielsen has become known outside of Denmark. The Danish are enormously proud of their national treasure - and rightly so - and my experience is that they have their own way of performing his works.
 
From the outset, it is clear that this is an excellent recording. Beginning with the first symphony, the listener is transported into Nielsen’s world of orchestral charm.  The opening bars are weighty and arresting, demanding to be taken seriously. This gives way almost immediately to some beautifully expressive wind playing and silky strings. There is a wonderful sense of clarity in this performance, the scoring allowing for the full orchestral strength juxtaposed with moments of chamber-music-like intimacy. The music is well paced, and flows almost instinctively. The climaxes are exciting, and the quiet moments are sensitive and delicate. The first movement ends almost as abruptly as it begins, full of energy and driving power. By contrast, the second movement is gentle and rounded, with Blomstedt coaxing a shimmering sound from the string section. The movement features beautifully performed solos from the oboe, flute and horn accompanied ably by the violins. The simple textures of this movement are filled with melancholy, and the climactic moments cannot help but engage the listener on every level. The chromaticism of the harmonies is deeply effective, changing the mood and atmosphere of the melody lines as they evolve. The gently undulating third movement brings to mind nature and seascapes, and once again, simplicity of line is paramount, over complex and colourful harmonic language. This movement demonstrates some excellent brass playing, and Nielsen’s wonderful orchestration. The finale returns to the strength of the opening, with rhythmic drive and vigour. A striking element of Nielsen’s music which is particularly apparent here, is the bass line, which is used to excellent effect and gives a strong grounding to the melody. The balance is such here that these bass lines share almost equal importance to the melodic lines, giving a welcome symmetry and breadth to the sound.
 
The opening of the second symphony, The Four Temperaments, is exciting and energetic, a bold and bright statement of intent which demands attention. This has always been one of my favourite Nielsen moments, and this recording was no disappointment. The expansive second theme is broad and rich, providing a glimpse of yet another aspect of Nielsen’s emotional range. This music is all about contrasts, and as soon as we become comfortable in a particular mood, the music transforms itself into something new. Although in essence this is Romantic music, this recording does not over-indulge and never wallows. There is once again some excellent playing here, most notably from the principal woodwind players and the strings. The two central movements retain Nielsen’s sense of natural innocence, the orchestra presenting the music in a straight-forward but convincing manner, full of uncomplicated emotion and subtle contrasts of colour. In this symphony, each of the movements characterizes one of the four Ancient Greek temperaments, choleric, phlegmatic, melancholic and sanguine. The contrast between them is marked, particularly between the lethargy of the melancholic third movement and the joyous energy of the final sanguine movement. The finale is content, busy and unselfconscious, and one can almost imagine a cheerful person going about their business. The emotional impact here is less involved and perhaps more observational.  By contrast, the slower central section provides a brief moment of introspection and thoughtfulness before the triumphant return of the opening material.
 
Concluding the first disk is the Bohmisk-dansk folketone (Bohemian-Danish Folk tunes), a work for string orchestra commissioned by the Danish Radio Symphony Orchestra in 1928 to commemorate the tenth anniversary of the foundation of the Republic of Czechoslovakia. The work includes both Czech (The water flows, it flows) and Danish (Queen Dagmar lies ill in Ribe) folk tunes.  It is almost impossible not to draw parallels here with Vaughan Williams, due to the idiomatic and rich string writing and the early twentieth century harmonic treatment.
 
The second disc contains the third and fourth symphonies. The opening of the Sinfonia Espansiva (No. 3) is more edgy in tone than those on the first disc, perhaps betraying the age of the recording. However, this is only a small consideration, and the warmth of Nielsen’s orchestration combines with the energy of the players to give an exhilarating performance. The substantial first movement maintains momentum throughout, building towards the climaxes with a sense of purpose. The angular waltz section provides a welcome caricature, the music distorted into an almost grotesque and humorous form.  There is some magnificent brass writing, giving those instruments the opportunity to shine. The second movement, andante pastorale, is for me, at least, one of the most beautiful moments of all of Nielsen’s output. In this recording, the strings provide a wonderful introduction with rich, blended sounds, preparing the way for well-performed and well-crafted woodwind solos. The alternation between wind and strings paints an image of rural Denmark which is full of tranquil beauty. The bass-driven climax suggests an ominous presence, tempered by the sublime entry of the two solo vocal lines. This is a moment of genius, with Nielsen using the voices to add colour to the orchestral sound. The vocal performances here by Kirsten Schultz and Peter Rasmussen are well executed. The Allegretto is full of quirky charm, with angular melodic lines in the wind section giving the music its character. There are many features of this movement which betray Nielsen’s interest in the neo-classical, but none more so than the fugal sections, which demonstrate the composer’s technical prowess.  The symphony ends with the grandiose Finale, hymn-like in its opening theme. The music gives way once again to charming melodic lines, heard in imitation throughout the different sections of the orchestra. The playing is once again always convincing, with each section balancing the others well and creating a satisfying overall sound. The triumphant climaxes and sweeping lines are all-consuming, and the music cannot help but grab your attention.
 
The fourth symphony, subtitled The Inextingushable is yet another musical tour de force, demonstrating Nielsen’s abilities as a progressive symphonist. His work has the full strength of Mahler, but without the complication; it has a strong emotional impact, but in a happier, less tumultuous way. This was the first of his symphonies that I ever heard, as a teenager, at a time when I was absorbed by Shostakovich and Stravinsky. Nielsen’s voice was as strong as those, but with a fresh perspective that I found instantly appealing. As a modernist, Nielsen’s symphonies are imaginative and unique; his development of progressive tonality helped to change the course of symphonic writing for generations of future composers. This recording of the Fourth Symphony is full of power, and makes a great impact. Once again he alternates between solo wind lines, monophonic chorales and full orchestral forces, making use of the full array of sounds available to him. His percussion writing is sparse, but used to excellent effect. There are resonances here with Shostakovich, particularly in the violin outburst at the opening of the third movement and the ensuing imitative writing through the string section. This is an exciting work, with all four movements heard without a pause. There is a strong driving force throughout as the music unfolds, and the performance is once again consistently solid. One of the most notable features of this work, and often the most talked about, is the timpani duel in the last movement. This was no less exciting here, with good stereo separation making my living room come alive.
 
The second disc also contains one other string orchestra work, the Andante Lamentoso – At the Bier of a Young Artist, composed in 1910 for the funeral of the young Danish artist Oluf Hartmann. This is a short (just under five minutes duration) work, full of heartfelt emotions, sincerely performed.
 
The 5th symphony, heard on the third CD of this set, is thought by many to be Nielsen’s great symphonic masterwork. The opening is much gentler than in his other symphonies, building to a distinctly militaristic feel, with its distinctive side drum writing (performed here by Ib Jarikov). This work has a much more modernistic feel than the earlier works, and is more akin to Shostakovich than Romantic composers. Formed of three movements in six sections, this is a symphony that is full of contrasts, vigour and impetus. The fourth section conjures up images of witches and magic, and seems to have a life of its own. By contrast, the slow and peaceful Andante un poco tranquillo has its own introspective power. This is a formidable work, darker than his earlier works and with an underlying sense of conflict. The music is presented here in a determined and dramatic performance.
 
Nielsen’s final symphony, the sinfonia semplice, is a mature work with references to childlike innocence (such as the opening repeated glockenspiel notes, which were borrowed by Shostakovich in his own final symphony, the 15th). The opening melody is simple and memorable, perhaps even a little nostalgic. Where the 5th symphony provides conflict, the sixth provides resolution, as though the dark forces were kept at bay. Completed in 1925, six years before the composers’ death, the modernist feel has been retained, even developed further, and Nielsen is very clearly looking to the future.  He makes departures from the symphonic form in its usual sense; structurally, his writing has evolved far beyond traditional first movement sonata form, and the second movement only uses nine instruments from the full orchestral forces – piccolo, 2 clarinets, 2 bassoons, trombone and percussion. There is a notable bassoon solo in the finale [0:24], with an ensuing set of variations which break down further boundaries in the approach to symphonic writing. This movement seems almost like a concerto for orchestra in its own right, showcasing different instruments as the work unfolds.
 
It is fascinating to listen to all the works of a progressive composer such as this in close succession, as one can trace his development of the symphonic form. The performances here are consistently good and the players are clearly committed to communicating the composers’ intentions. There are some well-performed solos, and some excellent performances from all sections of the orchestra. Blomstedt takes the lead with a clear musical vision and provides a dramatic account of the works. Most enjoyable.
 
Carla Rees

see also review by Rob Barnett 


 


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews



all Bridge reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Subscribe to our free weekly review listing

 

 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Past and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.