Composer: Niels Viggo Bentzon
Works: Symphony No. 5 Op. 61 Ellipser (1950), Symphony No. 7 Op. 83 Tre Versioner (1952)
Performers: Aarhus Symphony Orchestra, Ole Schmidt (conductor)
Recording: Kongreshuset Aarhus, 5 Apr 1980 (Symphony No. 7), 4 Mar 1982 (Symphony No. 5)
Label: DACAPO 8.224111
Niels Viggo Bentzon, a Danish composer whose work spans a tumultuous century of musical evolution, offers a compelling exploration of the symphonic form through his Fifth and Seventh symphonies. Composed in the early 1950s, these works embed themselves in a historical context marked by post-war experimentation and the search for new musical languages. The Fifth Symphony, subtitled “Metamorphoses,” showcases Bentzon’s ability to channel psychological tension and release, while the Seventh Symphony presents a single-movement structure that reflects the influence of contemporaries like Bartók and Shostakovich. Together, they illuminate Bentzon’s distinctive voice within the mid-20th-century symphonic landscape.
The performances by the Aarhus Symphony Orchestra under Ole Schmidt capture the essence of Bentzon’s intricate textures and emotional depth. The Fifth Symphony unfolds over five movements, with the opening Moderato establishing a fast under-pulse that transforms into an intense vortex of sound. The ensemble’s strings evoke a Hovhaness-like chant, weaving through a tapestry reminiscent of Tippett’s lyrical warmth. Schmidt’s direction is particularly noteworthy in the urgency of the Allegro, where the orchestra’s precision and dynamic contrasts vividly illustrate Bentzon’s visual metaphors—such as the depiction of “crystal caverns.” The brass’s jagged descents, echoing Panufnik’s Tragic Overture, further amplify the work’s dramatic arc.
In terms of technical execution, the orchestra displays commendable clarity and cohesion, particularly in the Adagio, a movement characterized by its great string edifice, which is both stark and intermittently suffused with warmth. This duality is emblematic of Bentzon’s compositional style, merging coldness with moments of emotional fervor. The second Allegro features rapid kaleidoscopic shifts, masterfully navigated by the orchestra, culminating in a dreamy Sostenuto that suggests an ethereal quality. Here, the high strings’ warble transports the listener into a realm of supernatural fantasy, concluding with a serene resolution that is both satisfying and contemplative.
The Seventh Symphony, a succinct but potent work, operates as a single movement that fuses elements from Bartók’s Concerto for Orchestra with the rhythmic vitality of Shostakovich. The performance reveals a tapestry of savage, warlike skirls that wrestle with terse rhythmic motifs, presenting a compelling narrative that speaks of primal urges and existential struggles. Notably, the occasional nod to Nielsen provides a rich interpretive layer, particularly in the moments of tension that are ultimately resolved into a troubled peace. Schmidt’s interpretation here captures the emotional turmoil of post-war Europe while maintaining a sense of forward momentum, demonstrating Bentzon’s mastery of orchestral color and rhythm.
The sound quality of this recording is striking, with the engineering effectively capturing the vibrant textures and dynamic contrasts inherent in Bentzon’s orchestration. The clarity of the strings and the punch of the brass render the performance both engaging and immersive. Compared to other recordings of Bentzon’s work, this edition stands out for its robust interpretation and the orchestra’s commitment to bringing the music to life.
Bentzon’s Fifth and Seventh symphonies, as presented by the Aarhus Symphony Orchestra, encapsulate a pivotal moment in the evolution of the symphonic form, reflecting both personal and collective struggles of the era. The performances, under Schmidt’s insightful direction, articulate Bentzon’s metamorphic style with conviction and clarity, inviting listeners to engage deeply with the emotional and intellectual currents of his music. This recording is not merely an academic endeavor; it is a vibrant testament to a composer who deserves greater recognition for his contribution to the symphonic repertoire.
