Playground
Herman D. KOPPEL (1908-1998)
Piano Concerto No. 3, Op. 45 (1948) [32:36]
Pastorale (1942) [3:22]
Ten Piano Pieces, Op. 20 (1933)
Benjamin KOPPEL (b. 1974)
Nine Dialogical Responses for alto saxophone and piano (2019) [27:31]
Rikke Sandberg (piano)
Benjamin Koppel (saxophone)
South Jutland Symphony Orchestra/Bo Holten
rec. 2019, Alsion Concert Hall, Sřnderborg, Denmark
DANACORD DACOCD856 [64:12]
This is a CD in two parts. The main event is the imaginative Piano Concerto No. 3, Op. 45 by the Danish composer Hermann D. Koppel. It is balanced by a rather eccentric presentation of his Ten Piano Pieces, Op. 20, complete with a musical commentary devised by the composer’s grandson, Benjamin.
A few words about Herman D. Koppel may be of interest. He was born in Copenhagen on 1 October 1908 to Jewish parents who had arrived from Poland. His musical formation included piano lessons at the Royal Danish Conservatory, private studies with Anders Rachlew, and several study trips to France, Germany and England. A champion of modern music, he played works by Béla Bartók, Hans Werner Henze, Arnold Schoenberg and Darius Milhaud. He also promoted the piano music of fellow countryman, Carl Nielsen. In 1943, Koppel and his family escaped from the German persecution of Jews in Denmark. On his return to Copenhagen after the end of the Second World War, hel established himself as ‘one of the most important figures in Danish musical life’. This included performance, composition and teaching.
Koppel composed a great deal of music in many genres. The backbone of his catalogue are the seven symphonies and several concertos. But there were sonatas, songs, piano pieces and chamber music. The liner notes explain that he wrote more than 300 works. At press, there are some 20 CDs featuring Koppel’s music listed on the Arkiv website. This includes three of the seven symphonies and several concertos. There is a series of his orchestral music issued by the Dacapo record label. Several CDs have been reviewed on MusicWeb International.
Koppel died in Copenhagen on 14 July 1998.
Kopple wrote the Piano Concerto No. 3 in 1948, after he had returned to Denmark. This three-movement work is eclectic in style, and is none the worse for that. A reviewer has described it as “Gershwin’s Rhapsody in Blue meets Zoltán Kodály’s Peacock Variations”. It is a good description, although the concerto is not totally beholden to either man. Other influences include Prokofiev and Shostakovich.
The concerto begins with an allegro which seems to be dominated by a remarkable little jazzy tune: there is nothing difficult here. On the other hand, there is profound depth in the slow movement. This andante is characterised by intense drama and introspection. The finale, a rondo-presto, is a splendid conclusion. This once again is jazzy music seen through the prism of Hindemith. It is filled with ‘devilish mirth’, as captivating as it is exciting. A big tune heard at the end of the movement conjures images of Gershwin’s New York. This is a masterly concerto, exciting, moving and enjoyable, but never challenging. Technically difficult, it is played here with aplomb by Danish pianist Rikke Sandberg.
The short Pastorale was composed in 1942. According to the liner notes, it has never been recorded until this CD. In fact, the piece remains in manuscript. Written for piano solo, this is a magical work that seems to echo birdsong and running water without ever becoming trite. A good choice.
I am not quite sure about the remainder of the album. Basically, this presents Koppel’s early Ten Piano Pieces, Op. 20, written in 1933. To this has been added a musical ‘explanation’ devised by his grandson Benjamin Koppel. The explanations feature piano and alto saxophone. The original piano pieces are extremely short, with one lasting a mere 16 seconds. There is nothing philosophically wrong with this concept, save I guess that I would rather have had heard the original work in order, as it was written. I felt that the ‘jazz’ saxophone pieces would have been better played as a separate set of pieces. They are great music, splendidly played, providing a laid-back coolness which compliments the more Hindemithian ethos of the elder composer.
The liner notes are presented as a voyage of discovery by the two soloists. Each presents the story from their perspective. There are no formal, analytical or descriptive notes. The sound quality is ideal, as expected from the prestigious Danacord label.
This great new release features one of the most significant piano concertos in Danish musical history. The combination of composer and his grandson in the jazz exploration of the Ten Piano Piece is a valid experiment; it works well, despite my reservations noted above.
John France
Previous review: Jonathan Woolf
