Hef ma n D. KOppel composer ft pianistKoppel . Stravinsky . Jolivet . Bart6kCD1HERMAN D. KOPPELPiano Concerto no. 3 op. 45Concerto for Violin, Viola and Orchestra op. 43Clarinet Concertop. 35cD2ANDRE JOLIVETConcerto for Piano and OrchestraIGOR STRAVINSKYConcerto for Pianoforte and Wind InstrumentsgELA seRrdrConcerto for Piano and Orchestra no. 1
CDlHERMAN D. KOPPEL Piano Concerto no. 3 op. 45Herman D. Koppel pionoThe Danish National Radio Symphony OrchestraErik Tuxen conductorRecorded Concertgebouw Amsterdam 04.10.19531. Allegro 11:062. Andante 9:363. Rondo. Molto allegro 7'.32HERMAN D. KOPPEL Concerto for Violin, Viola and Orchestra op. 43Else Marie Bruun violin Julius Koppel violoThe Danish National Radio Symphony 0rchestralVlogens Woldike conductorRecorded Copenhagen 10.10.19574. Andantino5. Rondo"12:117:54HERMAN D. KOPPEL Clarinet Concerto op. 35Louis Cahuza c/ormefThe Danish National Radio Symphony 0rchestraErik Tuxen conductorRecorded Copenhagen 15.11.19486. Moderato 9:437. Andante quasi fantasia 7:55B. Allegretto tranquillo 6:01
CD2ANDRE loLlVET Concerto for Piano and OrchestraHerman D. Koppel pionoThe Danish National Radio Symphony 0rchestraErik Tuxen conductorRecorded Copenhagen 29.09.19551. Allegro deciso 7:492. Andandte con moto 9:O23. Allegro frenetico 7:59IGOR STRAVINSKY Concerto for Pianoforte and Wind InstrumentsHerman D. Koppel pnnoThe Danish National Radio Symphony 0rchestraThomas Jensen conductorRecorded Copenhagen 13.06.19574. Lento - allegro 7:O75. Largo 6:306. Allegro 4:56BELA BART0K Concer[o for Piano and Oichestra no. 1Herman D. Koppel pionoThe Danish National Radio Symphony OrchestraNicolai Malko conductolRecorded Copenhagen 04.11.19547. Allegro moderato - allegro 8:248. Andante - allegro 7:059. Allegro molto 7:36
Herman D. Koppel [1908-1998] - The ConcertiKoppel wrote twelve works for solo instrumentand orchestra equally distributed allthrough his production from a violin concertoin 1929 (which he later withdrew) to the EightVariations and Epilogue for solo piano andthirteen instruments1973. In the years inbetween he wrote four piano concertos, aCapriccio for violin and orchestra, a chamberconcerto for violin and strings, and concertosfor clarinet, cello, oboe and flute. In additionto the solo concertos, Koppel also wrote theDouble Concerto for violin and viola and aConcertino for violin, viola, cello and smallorchestra from 1983.The three concertos which are issued here,were composed consecutively in the 1940s, butthey are nevertheless very different both inform and expression.Piano Concerto no 3 is the most extrovertand also the most frequently performed ofKoppel's five works for piano and orchestra.The first piano concerto from 1932 still showstraces of both Carl Nielsen and Stravinsky.Koppel withdrew Concerto no 2 after the firstperformance in 1938 as it met with a coolreception from the critics. Koppelater describedit as "a struggling work'l He did consent toplay the orchestral part in the version for twopianos in 1994, though, and when his grandchildNikolaj Koppel was appointed Artist ofthe Year 1996 by The Copenhagen County heincluded the performance of the third movementon his presentation CD.Piano Concerto no.4 and the EightVariations are of a more pensive character thanno. 3. - In 1952 Koppel's eleven year youngerfellow composer Niels Viggo Bentzon wrote anexhaustive and sympathetic article on theThird Piano Concerto in'Dansk Musiktidsskrift'['Danish Music Review').About the introduction Niels Viggo Bentzonwrites that "the accompaniment of the lefthand may be interpreted as a reminiscence ofStravinsky, but further on in the movement itbecomes a significant rhythmic element of themusical material, emphasized through thesymfonic use of the first subject in the bigorchestral tutti [3'36]. This use of the originalrhythmic tutti presentation indicates that theconcerto is rooted in the classical romanticpiano concerto literature and it is very far fromthe style of Stravinskyits musical principle1...1 lr. Koppel's music, those stylistic specialitieswhich appear in the rhythmic section [...] aremade into integral parts of a stylistic unity, bymeans of which the tradition is renewed just somuch as to be tolerablethe artistic balance.Exactly this aspect brings musical value to a
work llke the Third Piano Concerto. The outlinesof the concerto are on the grand scaleboth regarding the orchestral part and thepiano part itself, which at times seems almostBrahms-like as in the first solo of the slowmovement [2'14]. The underlying tradition isrenewed just so much that the listenerin nodoubt that the harmonies quoted here havebeen conceived in the 20th century even ifthestructure of the movement suggests a conservativeattitude. The construction of the slowmovement is built upon the antagonism betweenthe 'lamenting' character of the firstsubject and the solo quoted here. At first theyare presented successively, then simultaneously13'571 in a way whereby a symphonic tensionis created whose roots go back to Carl Nielsen[...] The compositional technique of Koppel inthe slow movement of the piano concerto isquite parallel to the technique of Nielsen in hissymphonies. Mentally and stylistically, however,there is no similarity, as the 'Slavic' soundof the first subject conveys a renewing ingredienceto tradition which together wlth thecharacteristic harmony of the piano solo arethe most important features of the style of theslow movement. In the last movement Koppelthrows himself into the same burlesque soundwhich we know from the often performed"Festive Overture" for large orchestra. Virtuosityhas taken over from the purely musicalqualities [...] the balance between the solo andthe orchestral elements everywhere in thework is so very convincing, not least in thefinale which underlines the importance of thework as a renewal of the virtuoso piano concertoof the 19th century. A work unprecedentedin Danish music and indeed in Nordicmusic as such. As for the piano part it seems tobe the least interesting element of the work,rather stereotype with reminiscences ofProkofiev [...] however, but most of the musicalmatter has the 'right' attitude towards thepast, i.e. as a 'revaluation' of the tradition, equallyremoved from both the pastiche and thestylistic experiment."As early as 1949, Koppel performed theconcerto in Paris in the French radio with ErikTuxen as conductor. The recording used for thispublication is the relay from the tour of TheNetherlands by The Danish Radio Symphony0rchestra in 1953. Koppel remembered thatthe reviews were 'rather harsh'; some describedthe concerto as "rooted in the late romanticperiod with its sultry lyricism, and technically itis close to Liszt" while others saw it as tooinfluenced by Prokofiev Everybody agreed,though, that Koppei's playing was of a highstandard; in 'De Volkskrant' his playing was describedas "masterly. [...] But it was not only as apianist but also as a composer that he gave a
emarkable performance. Perhaps the fast passagesare too dep€ndent on Prokofiev (the endof the Rondo on the other hand is a beautifulpiece of music). The most distinctly successfulpassages are found in the middle movement."The 'Haarlem Daily' called Koppel a Liszt oftoday, except for "the motoric music-making dla Poulenc [...] But the inclination towards theimpressive piano playing .... recalls the greatFranz. All the same, Koppel has turned his slowmiddle movement into an interesting relationshipbetween a mild and lyrical orchestraand an obstinate soloist who after all in theend becomes more adjusting and obliging."According to Herman D. Koppel, theConcerto for Violin, Viola and Orchestra wascomoosed in order to thank Else Marie Bruunand Julius Koppel for Lhe many occasions onwhich they had performed not only his, butalso many other modern works. Through theirmany years of collaboration he knew them as"two instrumentalists eminently attuned toone another: her effervescent playing and hissteady bowing and sense of rhythm." He describesthe introduction to the first movementas "a pastoral idyll where the two solo instrumentsgently rock through a melodic landscapein counterpoint" and the second movementas "a frisky Rondo, yet dominated by grace andelegance." The fint movement is longer and itsatmosphere more varied than the secondmovement. After a mosaic of ever increasingoutlets of energy, the initial idyll is re-established[a'36]; in a long Cadenza the two soloistsrecall the preceding sections, and after a slowepisode, they anticipate the hectic secondmovement before the orchestra once againrestores the idyll. In the second movement, thedance rhythms are only interrupted a few barsbefore the end bv a short reflection.Else Morie Bruun ft Julius KoppelThe concerto had its first performance in1948 by the Tivoli Symphony Orchestra conductedby Svend Christian Felumb. The pedormancenine years lat€r issued here, had anenthusiastic reception by audience and critics
alike. In 'Dagens Nyheder', Sigurd Berg describedthe work as "most charming" and "the beautifulinterchange between the pleasingly flowingmelodic line of the first subject and the vigorousand motoric second subject. The distinguishedense mble of the two soloists cuiminatesin the demanding Cadenza, which they playedwith true mastery." The dancing second movementis described as "being inspired by the folkmusic of South East Europe as we have cometo know it through Bartok. The piece is highlyinteresting, and the performance last nightproved a great success, allowing the marriedsoloist couple to take numerous bows."Julius Koppel, born 1910, is the brother ofHerman D. Koppel. He was the pupil ofThorvald Nielsen at The Royal Danish Academyof Music and gave his debut concert in 1932.For many years Julius and Herman D. Koppelfrequently performed together, and at thedebut concert of the composer, they gave thefirst performence of his Violin Concerto no. '1.In '1934 Julius Koppel gave the first performanceof the Capriccio by his brother at a concertwith the orchestra of Det UngeTonekunstnerselskab (Young Composers'Society), conducted by Emil Reesen. Afterhaving worked as the leader of this orchestrafor some years and after studies abroad, JuliusKoppel joined The Royal Danish 0rchestra.From 1939 to 1979 he was the leader of theorchestra. He taught for many years at TheRoyal Danish Academy of Music and has beenvery active in many parts of Danish musicallife. He was the artistic director of theChamber Music Days at the castle of Hindsgavluntil they dissolved in 1975. Julius Koppel hasperformed both as a soloist (e.9. with all theworks for solo violin by Carl Nielsen) and as achamber musician. In 1935 he was the founderof the Koppel Ouartet which until 1985 performedin Denmark and abroad, made radiobroadcasts and recorded, among other works,Danish music ranging from Carl Nielsen to PerNorgdrd.Else Marie Bruun, born 1911, sister ofVibeke, the wife of Herman D. Koppel. Shestudied at The Royal Danish Academy of Musicunder Anton Svendsen and Peder Moller andgave her debut concert in 1933. In 1932 shemarried Julius Koppel and in 1934, after studiesabroad, succeeded her husband as leader ofthe orchestra of Det Unge Tonekunstnerselskab.Else Marie Bruun was a permanent memberof The Royal Danish Orchestra 1936-79and played first violin in the Koppel OLrartet.She has received numerous awards, e.g. thePeder Moller Prize, the Launy Grondahl Prize[twice), the Tagea Brandt Prize, etc.
The Duo Else Marie Bruun and JuliusKoppel: Already as students at The Royal DanishAcademy of Music, Else Marie Bruun and.Julius Koppel performed together in works fortwo violins by Vivaldi and Bach, and in '193'lthey played the first performance of SevenTwo-Part Pieces by Herman D. Koppel. Theygave the first performance of Vagn Holmboe'sChamber Concerto no. 9 for Violin and Violawhich was written for them. ln 1958 theirrecording of Mozart's Sinfonia Concertantewith Mogens Wrildike and The Royal DanishOrchestra (HIVV KBLP 18) received The DanishGramophone Award. In 1985 they each receiveda portion of the Mogens Woldike Award. Theyhave performed numerous times together inDenmark, Sweden, Norway, The Netherlandsand England, very often wlth The DoubleConcerto by Herman D. Koppel.The Clarinet Concerto was written at therequest of Aage Oxenvad who, a few yearsafter having played the first performance ofthe Clarinet Concerto by Carl Nielsen, askedKoppel to write a piece for his instrument.Koppel recalled that he had begun writing asymphony in 1941, but soon discovered thatthe musical material was more appropriate foran orchestral work with the clarinet as a soloinstrument. Oxenvad participated in the creationof the concerto, and Koppel quoted himfor the following statement about the finalmovement: "lt is like walking happily along theroad on a summer's day." The first performancetook place at the opening of the exhibitionDansk Arbejde [Danlsh Trade] at Forum inCopenhagen in 1942, conducted by Erik Tuxen.In a review in'Danish Music Review', NielsViggo Bentzon wrote that it was greatly to thecredlt of the organizer of the exhibition that"this work has been chosen as a representativeof Danish music of today'i Comparing the concertowith some of Koppel's earlier works, hisestimation was that the composer had achieved"to reach not only the 'specialists' but alsoa wider audience" by writing in a more simplestyle.In his thorough analysis, Bentzon quotes theopening of the concerto which sets the tone ofthe first move ment, and likewise the theme ofthe clarinet [2'31] which "shows Koppel's abilityto write melodies 1...1 a thematic idea whichwe do not come across often here in Denmark,and all in all this movement is the evidence ofhow far some composers have caught up withthe new music. - The second movement is problematicin the best sense of the word. Themovemenl is formed as one huge improvisation,and the matter is much more difficultoabsorb than that of the first movement. Thismusic possesses a violently expressive quality, anew tone in Danish music [...].- The third
movement reaches the psychological solutionto the concert. lts friendly and cheerful atnrospherecontrasts tellingly with the two precedingmovements." Bentzon quotes the openingmain theme of the clarinet, its continuationthe flute with the accompaniment of pluckedstrings as an effective contrast [0'29], and theintroduction of a new idea [2'40] which "is notvery prominent in itsell but on the other hand'pervades'th entire Finale and brings newrhythmical life to the movement."Louis Cahuzac [1880-1960] was consideredone of the leading clarinet players of his time,regardless of whether he played the classicalsolo and chamber music repertoire or contemporarymusic. He recorded the ClarinetConcerto by Hindemith with the composerconducting. Cahuzac toured over most ofEurope and visited Denmark already before theSecond World War. He often returned as asoloist wlth the Danish orchestras and in orderto play chamber music with Danish musicians.He recorded Mozart's A Major Concerto withMogens Wcildike and the Radio ChamberOrchestrand made the first recording of CarlNielsen's Clarinet Concerto with John Frandsenand The Royal Danish 0rchestra. With theKoppel Ouartet, he recorded the Ouintet byMozart and made a radio broadcast of theOuintet bV Brahms.The performance by Cahuzac of the KoppelClarinet Concerto was broadcast live in 1948.The publication on this CD is made possible bythe transfer of a private recording on lacquerdisc. The preceding correspondence seems toindicate that the performance had been arrangedby Mogens Wrildike. Cahuzac wantedto make sure that there would be no audiencefor the performance as he had found the concertoquite difficult to study.Louis Cohuzoc
Herman D. Koppel - The Concert PianistAndre Jolivet [1905-74] was a composer inwhom Herman D. Koppel took a vivid interest.He studied, among other works, the long anddemanding Piano Sonata by Jolivet and paid avisit to him when in Paris. In a radio broadcastin the Danish Radio in March 1999, Koppels'sson Anders related how his father was greatlysurprised when he realized that the composerof this violent music was a small and dapperman, living in an elegant boulevard in a verybourgeois and beautiful appartment. This didnot alter his view on Jolivet as a composer ofgreat originality and lnnovation, however.Before the Danish performance of the PianoConcerto, the large percussion section wasmuch talked about; in the concert programme,Jolivet was introduced as one of the most radicalcontemporary composers with a preferencefor exotic rhythms and sounds. The concerto isdescribed in this way: "The voice of Africa canbe heard in the melodic phrasing and rhythmsof the first movement. The second movement- a theme and variations - leads us to the FarEast, while the last movement, Allegro frenetico,takes Polynesian rhythms as its startingpoint." The form is characterized as classical,the harmony as based on keys of Jolivets owninvention. Finally it is mentioned that performancesin France have "resulted in strongarguments:
Also in Denmark the concerto aroused conflictingreactions. Robert Naur in'Politiken'commented on "the unreserved delight of theaudience on hearing the work'l Jiirgen Baltzerin 'Ekstrabladet' wrote about .Jolivet that "Heplays on the sensational. He gets on our neryes,but he does not reach our hearts." OleWillumsen claimed in'Land og Folk'that thework was one of the most brutal pieces ofmusic he had ever come across. Everybodyagreed, though, on the high standard of playingboth from the pianist and the orchestra."The fabulous playing of Herman D. Koppelwas like a festive fairy-tale in black and white,faithfully followed by the fantastic percussionsection of the orchestra, playing with consummateskill." [Vagn Jensen in 'Social-Demokraten'1.The version issued here is a combination ofthe incomplete copy belonging to DanmarksRadio lthe third movement] and two privaterecordi ngs.The first composition by Stravinsky withwhich Koppel became acquainted, was theConcerto for Piano and Wind Instruments.his first year as a student, he was asked to playthe score for the preparations of Emil Telmanyi,who had consented to conduct the piece inBudapest at very short notice, with Stravinskyas the piano soloist. Later came The Soldie r'sTale which Koppelistened to on the gramophone.The Rite of Spring made the greatestimpact, though. Petrushka came next, and overthe years, the piano suite of this ballet becamehis pidce de resistance. He had several otherworks by Stravinsky on his programmes. - Tobegin with he did not like the Concerto forPiano and Wind Instruments; in an article in'Danish Music Review'in 1932, he describes itas "belonging to the archaic part ofStravinsky's harmony" unlike the earlier worksalready mentioned: "Stravinsky is Russian bybirth, but lately he has become more of a cosmopolitanboth as a musician and as a humanbeing. He has probably become a bit blase, andthis has led t0 the haughty'international'archaic attitude." Ten years later Koppel didplay the work at a concert with Thomas Jensen,an event whlch they repeated several times atlater occasions, always with great success.The recording on this CD is from the firstconcert of Thomas Jensen with The DanishRadio Symphony Orchestrafter he had lefthis position as Principal Conductor in Aarhus in1957. The concerl was in honour of the 75thbirthday of Stravinsky and began with 'FestiveOverture' by Koppel from '1939. The receptionwas enthusiastic. Jtirgen Baltzer wrote aboutKoppel's playing of the solo part: "He has probablynever played the part better than last
The Conductorsnight. The interplay between the soloist andthe wind players of the Radio Symphony0rchestra, who gave a great performanceunder the baton of Thomas Jensen, seemedtruly inspired."The first work by Bartdk with which HermanD. Koppel became acquainted, was the PianoSonata which he first heard on gramophone. In1926 he attended a recital in Copenhagenwhere Bartok played his own music, includingthe Sonata and the legendary Allegro Barbaroof which Koppel himself later gave many abrilliant performance.Other Bartok works onKoppel's repertoire were - apart from PianoConcerto no. 1 - also the Third Piano Concertowhich he had performed ten years earlier.The performance issued here receivedenthusiastic reviews: "Herman D. Koppel withhis formidable rhythmical sense and his severe,almostransparent objective musicianship wasan eminent soloist..." [Walter Zacharias in 'Landog Folk']. - "Herman D. Koppel played withmasterly aplomb and penetrating understanding"IPoul Rovsing 0lsen in'BerlingskeTidende'1. - "The concerto was played brilliantlyby Herman D. Koppel who both as a pianistand as a creative artist seems to be in intimatecontact with the essence of Bartok." [VagnJensen in'Social-Demokraten'1.Nicolai Malko [1883-1961] was born in theUkraine, but received his education in StPetersburg. He was eventually appointed conductorof the Leningrad Philharmonic Orchestra.After touring in Europe and Latin America,he visited Denmark for the first time in1930 and became principal guest conductorfor The Danish Radio Symphony Orchestra. Thelrench-Russian music ol Lhe lime was prominenton Malko's concert programmes. HermanD. Koppel performed for the first time withMalko in 1946. As the parts for Stravinsky'sPiano Concerto did not arrive on time the programmehad to be changed to Brahms' SecondPiano Concerto. Two years later, Malko conductedthe first performance of Koppel's PianoConcerto no. 3. Further collaboration r apartfrom Bartok's First Piano Concerto which isissued here - included the b-flat minor Concertoby Tchaikovsky and the Piano Concertoby Hilding Rosenberg.
Hermon D. Konoe! tt Nicoloi Molko 1946fhe Archives of the Donish Notionol Roclio Symphony Orchestra
Erik Tuxen 902-571 qualified as an architectbefore starting musical studies inDenmark and Germany. For some years Tuxenconducted theatrical performances and formedthe first Danish jazz orchestra. ln '1936 hewas employed as conductor of The DanishRadio Symphony Orchestra where he conductedthe modern repertoire, both Danish andforeign, as a supplement to the repertoire ofLauny Grondahl. Tuxen had close relations toKoppel and his music, and he gave, amongother works, the first performances of theClarinet Concerto and the Three Psalms ofDavid.Mogens Wdldike [1897-1988] had a greatinfluence on Danish choral tradition with hisformation of the Palestrina Choir and theCopenhagen Boys' Choir and as conductor ofthe Concert Choir of 'Caciliaforeningen' wherehe performed the great oratorios of theBaroquera. Woldike began his collaborationwith the Danish Radio Choir in 1937 and withThe Danish Radio Symphony Orchestra in1948, organizing The Radio ChamberOrchestra. His orchestral repertoire expandedto include classical and contemporary music.Wijldike conducted among other works byHerman D. Koppel, both the Clarinet Concertoand the Fourth Piano Concerto.Erik TuxenMogens Woldike
Thomas Jensen [1898-1963] studied thecello, but soon began to conduct amateurorchestras and theatrical performances. In 1935Thomas Jensen was a co-founder of the AarhusSymphony Orchestra, and that same year heconducted The Danish Radio SymphonyOrchestrat one of their 'Thursday Concerts' forthe flrst time. After the death of Erik Tuxen in1957, Thomas Jensen succeeded him as permanentconductor of The Danish Radio SymphonyOrchestra. He had a vivid interest in contemporarymusic and often performed the music ofHerman D. Koppel with the Aarhus Symphony,the Tivoli Symphony and The Danish RadioSymphony 0rchestra. Mogens AndersenSource materialFlemming Behrendt:fra et hjem med klaver' A biography andmemoir of Herman D. Koppel.Copenhagen 1988.'Dansk Musiktidsskrift' ['Danish Music Review']Martin Granau'Holms vision. Radiosymfoniorkestret 75 er'['The 75 first years of the Danish NationalRadio Symphony 0rchestra'lCopenhagen 2000.The Archives of the Danish National RadioSymphony 0rchestra.Mogens Andersen is a musicologist, until1999 editor and producer of contemporarymusic at Danmarks Radio.Thomos JensenPhotographs of Nicoloi Molko, Erik Tuxen, ThomosJensen ond Mogens Wsldike hove kindly been provideclby The Archives of the Donish Notionol RodioSymphony 0rchestro.
Herman D. Koppel's Tape LibraryHerman D. Koppel devoted much time tothe documentation of his works both as composerand as pianist.From the end of the 40s, he collected liverecordings of his own performances, principallythose transmitted by Danmarks Radio. Theoutcome is 240 reel-to-reel tapes with morethan 600 hours of music partly his own, partlythat of his household gods, Nielsen, Bartdk,and Stravinsky, some jazz recordings, mainlyLouis Armstrong, interspersed, naturallyenough, with recordings of performances bythe younger generations of Koppels.The very first recordings are lacquer discswith the first performance of Piano Concertono. 3 (1947) conducted by Nicolai Malko (sadlynot complete), and Louis Cahuzac's interpretationof the Clarinet Concerto from 1948.At the beginning of the 50s, the introductionof wire recorders and tape recorders forprivate use enabled Koppel to carry out hisown recordings. The first of these, recordedwith a table microphone in front of the radioloudspeaker, are not exactly hi-fi, but theyleave an interesting impression of the soundmilieu of the time. The recordings of Bartok'sFirst Piano Concerto and Stravinsky's Concertofor Piano and Wind Orchestra have intrinsicvalue inasmuch as they seem to have disap-pearedfrom the musical archive of Danmarks RadioUnfortunately, Herman D. Koppel's recordingsof major piano works seem to have sufferedthe same fate; e.g. all Prokofiev's sonatas,Schumann's Symphonic Studies, Schubert'sWanderer Fantasia, and several Beethoven andSchubert sonatas. These are not to be found inKoppel's own archive either.The editon of Herman D. Koppel, Composerand Pianist invite collectors and musiclovers who have in their possession interestingHDK-recordings from the period 1950-70 tocontact Danacord. There may be hidden jewelsamong them, which warrant publication.The tape library was very much part of thedaily Iife of the composer. He often consultedit, and despite the varying sound quality, hefound great pleasure in listening to the record-I ngs.These live recordings bear witness to thelong and rich life of a musician.For the sound restoration the latest computeraidedsound restoration systemlonizer/Hyperprism from Arboretum Systemshave been used.Bjorn Asker
Artistic Editors Mogens Andersen, Bjiirn Asker, Anders Koppelfusistent Lone KoppelSound Restoration Bjiirn AskerGraphic Design Kroyer GrafikCover Photo Jorn FreddieEnglish translation by Susanne Lange ft Hanne BriielThis CD was made possible by contributions from KODA, Dansk Komponist Forening, KongFrederik og Dronning Ingrids Fond, Mosaisk Trosamfund.Thank you to:Danmarks Radio [Danish Broadcasting Corporation], Jorn Freddie, Finn Loving, GertSorensen ffhe Archives ofthe Danish National Radio Symphony 0rchestra], Birthe Egdal.NEXT RELEASE VOL. 2DACOCD 563 - s64Solo piano works by Koppel, Schubert, Brahms tt LisztFor the biography of Herman D. Koppel which will beincluded in vol. 2 of Herman D. Koppel, Composer ftPianist, visit www.danacord.dk IDACOCD 561-562]
HERMAN D. KOPPEL Piano Concerto no.3 op. 45 [28.12]Herman D. Koppel pronoThe Danish National Radio Symphony 0rchestraErikTuxen conductorRecorded Concertgebouw Amsterdam 04.10.1953HERMAN D. KOPPEL Concerto for Violin, Viola and Orchestra op. a3 [20.06]Else Marie Bruun violin Julius Kopoel vroloThe Ddnish National Radio Symphony 0rchestraMogens Woldike conductolRecorded Copenhagen 10.10.'l 957HERMAN D. KOPPEL Clarinet Concertop. 35 [23.40]Louis Cahuzac/orinetThe Danish National Radio Symphony 0rchestraErik Tuxen conductorRecorded Copenhagen'l 5.11.1 948ANDRE JoLlvEI Concerto for Piano and orchestra [24.50]Herman D. Koppel pionoThe Danish National Radio Symphony 0rchestraErik Tuxen conductorRecorded Copenhagen 29.09.1955lGoR STRAVINSKY Concerto for Pianoforie and Wind Instruments [18.34]Herman D. Koppel pionoThe Danish National Radio Symphony 0rchestraThomas Jensen conductolRecorded Copenhagen 13.06.1957BELA BART6K Concerto for Piano and orchestra no. t [23.t2]Herman D. Koppel ponoThe Danish National Radio Symphony 0rchestraNicolai Malko conductorRecorded Copenhagen 04.11.195400sG