Composer: Christian Sinding
Works: Symphony No. 1 in D minor, Op. 21; Symphony No. 2 in D, Op. 83
Performers: Radio-Philharmonie Hannover des NDR; Conductor: Thomas Dausgaard
Recording: Recorded in the Grosser Sendesaal des Landesfunkhauses Hannover des NDR, 24th-28th Feb. 1997, 13th-17th Sep. 1999
Label: CPO
Christian Sinding, a figure often overshadowed in the annals of late Romanticism, crafted a body of work that, despite its occasional stylistic charm, often eludes the grasp of lasting relevance. His two symphonies, composed in a period ripe with Wagnerian influence yet distinctly reflective of Scandinavian ethos, provide fertile ground for examination, particularly through the lens of Thomas Dausgaard’s conducting and the Radio-Philharmonie Hannover des NDR’s interpretation. This recording offers a window into Sinding’s musical landscape, which, while initially promising, ultimately raises questions about the composer’s artistic trajectory.
The First Symphony unfolds with a vigorous opening that suggests a Nordic-heroic tone, characterized by its striking thematic material. Dausgaard’s interpretation is marked by a commendable sense of pacing, allowing the insistent rhythms to propel the movement forward. However, as the symphony progresses, it becomes apparent that Sinding’s thematic ideas, while infused with potential, struggle to maintain momentum. The second movement, with its brassy climaxes and imaginative interplay between horns and solo violins, showcases Sinding’s ability to evoke a sense of drama, yet the work begins to feel stretched, as if it is grappling for a cohesive narrative thread. The scherzo, though lively, lacks the depth necessary to leave a lasting impression, and the finale drags, ultimately diminishing the symphonic arc that Sinding sought to create.
The Second Symphony emerges as a more polished endeavor, reflecting Sinding’s evolution as a composer. Premiered in 1907, it displays a clearer structure and greater orchestral mastery. Dausgaard’s handling of the post-Wagnerian orchestration is commendable, with nuanced dynamics that enhance the overall listening experience. The pacing is indeed more varied, yet one cannot help but feel that this work, while technically “better,” still falls short of inspiring profound emotional engagement. The music, though well-crafted, often adheres too closely to a formulaic approach that raises the question of individuality—what, if anything, distinguishes Sinding’s voice from his contemporaries? The notes accompanying the recording even reference a contemporary critique that deemed the Second Symphony a disappointment, an assessment that resonates with the listener’s experience of the pieces.
Recording quality merits a note of praise, as the sound engineering allows for an intimate connection with the orchestra’s timbres, enhancing the clarity of Sinding’s orchestration. The spacious acoustic of the Grosser Sendesaal serves to both highlight the orchestral colors and ensure that individual lines can be discerned without muddiness. This technical achievement complements Dausgaard’s interpretative choices, which, while solid, sometimes lack the transformative spark that elevates mere competence into artistry.
Sinding’s symphonies inhabit a curious space within the classical canon—neither completely irrelevant nor fully embraced, they stand as exemplars of an era that sought to balance innovation with tradition. While Dausgaard and the Hannover orchestra present these works with a commendable level of professionalism, the overarching sentiment remains one of missed opportunities. The symphonies, though indicative of Sinding’s skillful craftsmanship, do not quite transcend their context, leaving the listener with a sense of ambivalence. This recording serves as a competent testament to Sinding’s output but does little to reshape his legacy beyond the realm of the forgotten.
