Aug - AmericanRadioHistory.Com

the early 189os ... openly criticized the Beethoven- Wagner
era and then expounded the spiritual purity and artistic superiority
of the music of a Palestrina, a Bach, a Mozart, was
bound thereby to isolate himself."
In looking over Carl Nielsen's total output, we find that
The Music of Nielsen
on long playing records
Note: The most impressive works here listed are, in this order,
the Symphonies 5, 4, 3, Cornmotio, and the Clarinet Concerto.
This does not mean, however, that "impressiveness" equals
"higher quality" than the rest. Thus the Chaconne is a fine
introductory work; the Wind Quintet has an outstanding first
movement; the Sixth Symphony is a work imbued with a peculiar
mixture of serenity and sarcasm; the Motets are of particular
interest to those who already know their Carl Nielsen
well; the Flute Concerto is a characteristic work although perhaps
not quite as consistent, stylistically, as the Clarinet Concerto;
the Violin Concerto and the First Symphony, finally, are
both altogether charming and vibrant pieces, but the Symphony,
of course, is not yet particularly representative of the stylistic
uniqueness of the later works.
1892- Symphony No. r, G Minor, Op. 7. Danish State
Radio Symphony Orchestra, Thomas Jensen, cond.
LONDON LI. 635. 12 -in.
1903 - Helios Overture, Op. 17. Danish State Radio Symphony
Orchestra, Erik Tuxen, cond. LONDON LS 653.
to-in.
1906- Maskarade, Overture to the Comic Opera. Danish
State Radio Symphony Orchestra, Thomas Jensen,
cond. LONDON LL 1143. 12 -in.
- Maskarade, excerpts. Danish State Radio Symphony
Orchestra, Thomas Jensen, cond. LONDON LD 9156.
I o -in.
191t- Symphony No. 3: Sinfonia espousing, Op. 27.
Danish State Radio Symphony Orchestra, Erik Tuxen,
cond. LONDON LL coo. 12 -in.
- Concerto for Violin and Orchestra, Op. 33 *. Yehudi
Menuhin; Danish State Radio Symphony Orchestra,
Mogens Wöldike, cond. RCA VICTOR LHMV 22.
I 2-in.
1916- Symphony No. 4: Det Uudslukkelige (The Inextinguishable),
Op. 29. Danish State Radio Symphony
Orchestra, Launy Grpndahl, cond. RCA VICTOR LHMV
1 006. 12 -in.
- Chaconne for Piano, Op. 32. Ellegaard, piano. LON-
DON LD 9065. 10 -in.
1922-Symphony No. 5, Op. 50 *. Danish State Radio Symphony
Orchestra, Thomas Jensen, cond. LONDON LL
1143. 12 -in.
- Quintet for Wind Instruments, Op. 54 (three recordings).
Copenhagen Chamber Wind Quintet, MER-
CURY 15046. 12 -in. Copenhagen Wind Quintet,
LONDON LL 734. 12 -in. New Art Wind Quintet,
CLASSIC ED. 2001. 12 -in.
t 925 - Symphony No. 6: Sinfonia semplice. Danish State
Radio Symphony Orchestra, Thomas Jensen, cond.
MERCURY 10137. 12 -in.
1 926 -Concerto for Flute and Orchestra. Jespersen; Danish
State Radio Symphony Orchestra, Thomas Jensen,
cond. LONDON LL 1124. I2 -in.
1928-Concerto for Clarinet and Orchestra, in F, Op. 37*
(two recordings) . Cahuzac; Copenhagen Royal Opera
Orchestra, J. Frandsen, cond. COLUMBIA ML 2219.
to -in. Erikson; Danish State Radio Symphony Orchestra,
Mogens Wöldike, cond. LONDON LL 1124. 12 -in.
1929 -Three Motets for Mixed Chorus a cappella, Op. 55.
Danish State Radio Madrigal Choir, Mogens Wöldike,
cond. LONDON LL 1030. 12 -in.
1931 - Commotio, for Organ, Op. 58. Georg Fjelrad, organ.
LONDON LL 1030. 12 -in.
'The opus numbers do not always follow the chronological
order of composition.
30
while his strong personal style is unmistakably apparent in
many of his works, some are almost devoid of it, and seem
tame and ordinary. This is partly due to the fact that Nielsen
composed a great deal of music for specific occasions.
Although he wrote always with the greatest sincerity and
integrity, there were projects such as compiling, harmonizing,
and, in part, composing the music for a new series of
song books and hymnals for school use ( which Nielsen carried
out in collaboration with the Danish musicologist
Thomas Laub), or the composition of a new national anthem
("Der er et yndigt Land"). In such projects the emphasis
was on doing a practical, serviceable, professional
job; they did not afford an opportunity for being an avantgardiste.
It is only rather recently that Nielsen's music has been
recorded in any quantity, but no sooner did the records
reach the public than his popularity began to grow steadily.
Nielsen wrote two operas and over a dozen pieces of incidental
music to various plays, six symphonies and many
other orchestral works, three concertos ( violin, flute, and
clarinet ), a great many chamber and solo works for different
instruments, and an impressive number of songs and other
vocal works, both solo and ensemble, but his complete LP
discography, is still very small, although it is growing.
THERE ARE many latter -day composers whose urge toward
stylistic originality causes them to become utterly cerebral -
their music loses all true spontaneity and elemental drive.
There are others who in their anxiety to please forsake
artistic integrity and mix into their works of approved
and "audience tested" musical devices to achieve success.
Lasting art generally lies between extremes. It is less
spectacular and obvious than the originality -at- any -price
school and not as smooth and bland as the music with built -
in audience appeal. Carl Nielsen chose the middle road: he
did not need to strain toward originality. It developed
naturally because he was a great, sensitive, sincere musician
with a sound creative imagination, and he retained a
humble and unpretentious attitude toward his art throughout
his life.
ENCORES
s .
lit 'r THE SrouY of Lriens Dlusitian, passes all,
who had given forth that by his Musick he could
drive men into what affections he listed, being
required by llwuus King of Uenmarke to put his
skill in practice. lee with his harp or l'olyeord
L!lra expressed such elfectuall melody and harmony
in t he variety of changes in severall Keyes,
and in such excellent Fugg'n and sprightly :lyres,
that his Auditors began first to ht- moved with
some strange passions; hut ending his excellent
voluntary with some choice Fancy upon this
Phrygian Moot. the Kings passions were altred
and excited to that height, that he fell upon his
most trusty friends which were scare him, and
slew some of theta with his fist for lackt- of another
wclgxm, which our Jlttsitian perceiving ended with
the sober 1)orick: the King came to himselfe and
nu ch lamented what he had done.
From John Hayford: _-i Ilreefe Introduction to the
,Skill of 3luxiek for Song and 1-ioll, London, 1654.
HIGH FIDELITY MAGAZINE