Composer: Niels Viggo Bentzon
Works: Piano Concerto No. 4 (1954); Five Mobiles (1960)
Performers: Anker Blyme (piano), Aarhus Symphony Orchestra/Ole Schmidt
Recording: Kongreshuset, Aarhus, 1982
Label: DACAPO 8.224110
Niels Viggo Bentzon, a central figure in Danish music, remains a luminary often overshadowed by the more prominent narratives of his contemporaries. His Piano Concerto No. 4, composed in 1954, reveals his remarkable ability to synthesize the influences of the early 20th century with his own inventive voice. The concerto not only showcases Bentzon’s virtuosic skill as a pianist—he was a formidable performer himself—but also reflects a keen engagement with the harmonic and rhythmic innovations of composers like Berg and Stravinsky, while still echoing the emotional depth found in Vaughan Williams’s works. This recording, featuring Anker Blyme and the Aarhus Symphony Orchestra under the baton of Ole Schmidt, offers a commendable portal into Bentzon’s intricate musical universe.
The performance of the Piano Concerto No. 4 unfolds with a compelling energy that captures the work’s dynamic contrasts. Blyme’s interpretation of the first movement is particularly striking, deftly navigating the complex interplay between lyrical passages and rhythmic vigor. The movement, lasting seventeen minutes, culminates in a moment that resonates with echoes of both Beethoven’s dramatic flair and Berg’s lyrical intensity. Blyme’s articulation of the piano’s cascading runs is executed with precision, allowing the work’s textural nuances to emerge vividly. The orchestral accompaniment, under Schmidt’s direction, provides a robust framework that complements the piano’s brilliance without overshadowing it, creating a dialogue that is both engaging and cohesive.
The second movement, marked by its improvisational spirit, reveals a deeper layer of sardonic reflection, reminiscent of Shostakovich’s more contemplative moments. Here, Blyme’s touch becomes more nuanced, as he allows the thematic material to unfold organically, enhancing the movement’s rhapsodic nature. The bell-like descents, which serve as a thematic motif, are particularly evocative, underscoring the movement’s contemplative character. The finale bursts forth with rhythmic exuberance, showcasing both the technical agility of the pianist and the orchestra’s spirited engagement with Bentzon’s intricate motifs.
Turning to the Five Mobiles, the recording captures the essence of Bentzon’s fascination with Alexander Calder’s suspended sculptures. Each mobile offers a distinct musical landscape, characterized by its own emotional and tonal exploration. The Second Mobile, with its nihilistic undertones, starkly contrasts with the jewel-like clarity of the Third, which flutters with an almost ethereal fragility. Blyme’s interpretations are consistently compelling, particularly in how he balances the delicate intricacies of the orchestral textures with the piano’s assertive lines. However, the Fifth Mobile presents a slower, more meditative character that may not resonate as strongly, lacking the dynamism found in its predecessors.
The recording quality is commendable, with a clear and well-balanced sound that allows the listener to appreciate the interplay between piano and orchestra. The engineering captures the resonance of the hall while ensuring that Blyme’s nuanced playing remains in focus. This clarity enhances the experience, allowing listeners to engage with the intricate details of Bentzon’s orchestration and the piano’s role within it.
Bentzon’s immense productivity is often overlooked, yet here, his genius is evident in both the Piano Concerto No. 4 and the Five Mobiles. This recording serves not only as an introduction to his works but also as a testament to his place within the pantheon of 20th-century composers. The juxtaposition of the concerto’s dramatic narrative and the ethereal quality of the Mobiles encapsulates the breadth of Bentzon’s musical vision. Anker Blyme’s performance, coupled with Schmidt’s insightful direction, offers a vital interpretation that invites renewed appreciation for this often underappreciated composer. The recording stands as a significant contribution to the understanding of Bentzon’s oeuvre, encouraging listeners to delve deeper into his remarkable legacy.
