Not that long ago I reviewed
another Dacapo disc (8.226036 – Works for saxophone and orchestra)
devoted to works by the Danish composer Anders Koppel. In that
review I went into a certain length describing the composer’s
family and artistic background, and I think it best to refer the
reader to that review in view of not repeating myself unduly.
Suffice it to say that Anders Koppel has composed a great number
of concertos so far including the afore-mentioned saxophone concertos
and this pair of double concertos for some rather unusual instrumental
duos.
The earliest of
them, the Concerto for Violin, Accordion and Orchestra
was composed in 2001 and revised in 2007. I suppose that some
– considering the soloists’ line-up – will think of, say, Astor
Piazzolla; and I must say that the music often reminds one of
the Argentine composer (mostly in the first movement), and none
the worse for that because I for one regard Piazzolla as one
of the most personal and original voices of his generation in
South America. Moreover, Anders Koppel is admittedly a tango
fan. His music, however, is consistently well-crafted, colourful
and full of lively rhythms, even if it may sound a bit too eclectic
to some tastes. The second movement for example is based on
a 17th century hymn-tune. One could not find anything
more at odd with the joyfully Latin-American exuberance of the
first movement. The movement, however, is cast as a theme and
variations of sorts, which allows for a lot of contrasting sections
(one might momentarily be reminded of Prokofiev here). The third
movement is a short virtuosic, slightly ironic toccata-like
Scherzo ending abruptly, whereas the final movement is again
on a fairly large scale, though not quite so as the ample first
movement; but the overall mood of the concluding movement is
considerably tenser and more serious with some more unsettling
dissonance than in the preceding movements. A somewhat eerie
and ghostlike cadenza leads into the bright and consolatory
coda. As a whole, however, the work leaves a somewhat uneasy
impression with his blend of playful fantasy and utter seriousness.
The Concerto
for Saxophone, Piano and Orchestra is one of Koppel’s more
recent concertos. It was composed for the pianist Rikke Sandberg
and the saxophonist Benjamin Koppel, the composer’s son. Unlike
the Violin and Accordion Concerto, the Saxophone and Piano Concerto
is laid-out in two movements. The first movement opens in a
dreamlike mood soon to be shattered by the ensuing music. “The
dream almost becomes a nightmare” (Jens Cornelius in his excellent
insert notes). A wild dance-like section emerges from the climax.
Thereafter the music makes progressively its way back to the
calm opening mood. From the outset, however, one feels that
the music will be denser and rather more serious. (Curiously
enough I had the same impression when comparing Koppel’s saxophone
concertos, the second of which I found – and still do – musically
much more integrated and thus more satisfying, no matter how
enjoyable the First Saxophone Concerto was and actually is.)
Unlike its predecessor, the second movement opens and closes
with fast sections framing a central slower one. It opens with
propulsive and often capricious rhythms encompassing some mambo
rhythms that remind one of the composer’s musical background,
e.g. in ‘popular’ music such as jazz and rock. The central section
culminates in a big climax before the onslaught of the final
section bringing at long last some sort of resolution. It must
also be noted that given Benjamin Koppel’s background in jazz
and improvised music, the score of the Saxophone and Piano Concerto
includes improvised sections in the saxophone’s part although
“the audience must not notice when the improvisation begins
and ends” (the composer’s words).
Anders Koppel’s
music is superbly crafted, colourful, often beautiful and at
times rather gripping in spite – or because of – its eclecticism,
although the latter is never overdone and anyway eschews any
vulgarity. The music is accessible and often strongly expressive
although it must be rather taxing on the performers’ part. This
is obviously not a problem for these musicians who play the
music for all it is worth with accomplished technical expertise
and profound understanding. The recording and production are
again up to Dacapo’s best standards.
Hubert Culot
Christina
Åstrand (violin); Bjarke Mogensen (accordion); Benjamin Koppel (saxophone);
Rikke Sandberg (piano); Danish National Symphony Orchestra-DR/John
Storgårds 
