Emil HARTMANN (1836-1898)
Nordic and German Songs
CD 1
From ‘Five Songs’, Op.13 [5:13]
Nine Love Songs [20:18]
At the Cemetery [1:53]
Three Songs, Op.15A [7:33]
The Dying Child [5:00]
Four Songs, Op.1 [6:09]
No Hope [3:05]
Cradle Song [3:08]
Songs, Op.21 [7:47]
CD 2
Tens songs >From ‘Norwegian Lyric Poetry’ [26:06]
Two Poems by Bernhard Malmstrøm [5:55]
Songs, Op.35A [17:47]
Songs, Op.35B [14:56]
Iben Vestergård (soprano) Cathrine Penderup (piano)
rec. 26-29 March, 4-5 June 2010, Søllerød, Sognegård, Denmark. DDD
DANACORD DACOCD 712-713 [60:06 + 64:44] 
Nordic songs – or romanser, as they often are classified – have, with a few
exceptions, never been much in vogue in the rest of the world. Grieg and Sibelius
are the most obvious names, and Nielsen in Denmark was also a prolific songwriter.
His songs were congenially performed and recorded by Aksel Schiøtz in the
1940s and are available, together with everything he recorded up till 1945
(Danacord, 11 CDs). He also sang songs by the somewhat older Heise and Lange-Müller,
both regarded as the best vocal composers of that period. Emil Hartmann belongs
to that same generation and when Danacord now issue fifty of his songs, most
of them never recorded before, it is an important addition to the catalogue
of Danish music. There are songs in Danish, Norwegian and German and two songs
in Swedish. On CD 1we are treated to 26 songs in Danish and on CD 2 the Norwegian,
Swedish and German songs.
Listening through the whole set in one sitting, which I did, is not a good
idea. The songs are no doubt well crafted and are agreeable but in large doses
they turn out to be rather monotonous. They are far better suited to savour
a few at a time. There is a lack of individuality, both structurally and in
expression. Schumann, Mendelssohn maybe Brahms seem to have been the inspiration,
and who better for inspiration? But to be really interesting there has to
be something else as well: personality. In that respect Heise and Lange-Müller
are superior. But let me hasten to add that the songs are not bad and if I
go back to this set in the future I would rather dip into them instead of
immersing myself in all fifty.
If I go back! And I doubt I will, since there is a further factor
to take into consideration: the singing. Iben Vestergård has no doubt worked
hard to study these songs and her singing is committed. However, technically
there are too many limitations. Her tone is far too often shrill and unattractive.
There is too little variation in vocal colours and she is quite ill-tuned
at times. In the upper reaches she is sorely strained. In other words, the
musical enjoyment is seriously compromised, which is a pity when the songs
now are available for the first time and there is little hope of another company
coming up with the same repertoire. The booklet has the sung texts but no
translations, just a brief summary in English of the poems.
The recorded sound is good and the accompaniment cannot be faulted. I wish
I could be more positive but with singing that too often is unsatisfying this
issue can’t be recommended.
Göran Forsling
This issue can’t be recommended.