Composer: Hans Abrahamsen
Works: Ten Studies for piano (1983-98), Six Pieces for Violin, Horn and Piano (1984), Walden for oboe, two clarinets, saxophone and bassoon (1978, this version 1995)
Performers: Anne Marie Anbildskov (piano), Anne Soe Iwan (violin), Preben Iwan (horn), Joakim Sam Thomsen (oboe), Anna Klett (clarinet), Soren Elbo (clarinet), Jeanette Balland (saxophone), Signe Haughland (bassoon)
Recording: Recorded at the Radio House, Copenhagen, January 2000 and May 2000
Label: Da Capo 8.224155
Hans Abrahamsen stands as a significant figure in contemporary classical music, and the collection of works presented here reveals a composer in dialogue with his own creative evolution. The Ten Studies for piano, composed between 1983 and 1998, are remarkable not only for their intricate textures and intellectual rigor but also for the introspective journey they mark in Abrahamsen’s oeuvre. Initially prolific, Abrahamsen faced a prolonged creative silence, which is intriguingly echoed in the sparse yet potent language of these studies. The subsequent adaptations for violin, horn, and piano in the Six Pieces demonstrate a thoughtful reconsideration of his original concepts, enhancing our understanding of his compositional evolution.
The performances on this recording are commendable, showcasing the young virtuosos’ technical prowess and interpretative depth. Anne Marie Anbildskov’s playing on the piano is particularly noteworthy; her articulation is crisp yet sensitive, allowing each of the studies to resonate with a distinct character. The interplay between the piano and the accompanying instruments is masterfully navigated, especially in the transformation of the textures from the piano studies to the chamber settings. The transition from Piano Study number 4, “Ende,” to “Marcia Funèbre” in the Six Pieces is particularly striking; the horn’s sustained notes create an ethereal atmosphere that lingers after the piano’s last chord, a testament to Abrahamsen’s ability to reimagine material while maintaining its essence.
Notably, the recording quality does leave much to be desired. The sound is often recessed, with the piano’s upper register occasionally harsh and lacking the clarity one would expect from a modern recording. This detracts from the listening experience, as the subtleties of dynamics and timbre become obscured. Da Capo’s production choices appear inadequate, particularly given the high caliber of the performances. A more attentive engineering approach could have enhanced the nuanced interplay of the ensemble, especially in works like “Walden,” where the reworked instrumentation offers a lush, romantic palette that deserves clearer representation.
Abrahamsen’s music, especially in “Walden,” unfolds with a dreamlike quality that invites listeners to experience its lyrical and rhythmic complexities. The evolution from the original version for wind instruments to the current arrangement showcases his growth as a composer during a time of introspection. The addition of an Allegretto grazioso provides a charming close, highlighting his ability to weave humor into his compositions. The juxtaposition of the various studies, particularly the two versions of “Blues,” offers an informative exercise for listeners, illuminating the composer’s nuanced exploration of thematic material.
This recording of Abrahamsen’s works not only provides insight into the composer’s development but also presents a compelling performance that, despite its technical shortcomings in sound engineering, captures the essence of his musical language. The interpretations are deeply engaging, showcasing a fine balance of intellect and emotion. As we continue to explore the rich landscape of contemporary classical music, this collection stands as a significant testament to Abrahamsen’s artistry and the performers’ skill, promising further exploration of his evolving musical identity.
