Composer: Asger Hamerik
Works: Requiem Op. 34, Quintetto Op. 6, Concert Romance for Cello and Piano Op. 27, Symphonie Spirituelle Op. 38
Performers: Minna Nyhus – mezzo-soprano, The Danish National Symphony Choir, The Danish National Radio Symphony Orchestra, Ole Schmidt – conductor, Troels Svane Hermansen – cello, Morten Mogensen – piano, Astrid Christensen – viola, Søren Elbaek – violin
Recording: Published 1991
Label: Kontrapunkt
Asger Hamerik remains a largely unrecognized figure in the pantheon of late-Romantic composers, yet his contributions merit attention, particularly in this compelling collection from Kontrapunkt. The four works presented span Hamerik’s prolific career, offering a glimpse into his evolution as a composer and the rich tapestry of 19th-century Danish music. The Requiem, often cited as his magnum opus, serves as the emotional centerpiece of the collection, framed by earlier compositions that reveal his youthful exuberance and later contemplative maturity.
The Requiem Op. 34 is particularly noteworthy for its ambitious structure, which combines monumental themes with lyrical beauty. Hamerik’s adept orchestration is on full display, as he effectively balances the choral and orchestral forces. The first section, which seamlessly integrates the Requiem and Kyrie, captures the listener’s attention with its dramatic contrasts and thematic development. The Dies Irae, stretching nearly seventeen minutes, is a tour de force that showcases Hamerik’s command of symphonic writing, marked by a sweeping orchestral narrative that evokes the turmoil of the text. The alto solo in the Offertorium, beautifully rendered by Minna Nyhus, stands out for its operatic intensity and lyrical finesse, reminiscent of Elgar’s Sea Pictures in its emotional depth.
The Quintetto Op. 6, composed when Hamerik was only 19, serves as a fascinating entry point into the composer’s early style. Its five movements demonstrate a youthful exploration of form and harmony, with the opening Adagio exhibiting a surprising sophistication. The contrasts between the Presto and the slower sections are executed with an admirable fluidity, revealing a composer in the throes of discovery. This recording marks the work’s debut, and it deserves to be more widely performed, as its charm and inventiveness could easily captivate chamber ensembles today.
Hamerik’s Concert Romance for Cello and Piano Op. 27 is another gem within this collection, exuding a lyrical grace that is hard to resist. The interplay between Troels Svane Hermansen’s expressive cello lines and Morten Mogensen’s sensitive piano accompaniment creates a palpable sense of intimacy. The piece captures an essence of nostalgia, evoking imagery of a forgotten waltz, and its heartfelt melodies are indicative of Hamerik’s knack for lyricism. While comparisons to other cello-piano duos might invoke works by more canonical composers, Hamerik’s voice here is distinct and deserving of a place in the modern repertoire.
The Symphonie Spirituelle, written for strings alone, reflects Hamerik’s adaptability and compositional prowess, created in response to a strike that limited instrumental resources. This work, while perhaps less innovative than his earlier compositions, is a testament to Hamerik’s ability to craft beautiful music within constraints. The slow movement exhibits a Beethovenian influence, while the entire piece resonates with a pastoral quality that is both soothing and reflective.
The recording quality, while generally clear, occasionally suffers from a hard edge, particularly in the lower registers of the cello in the Quintetto. There are moments where the piano sounds slightly muddied, detracting from the overall clarity of the ensemble. The decision to package the movements without individual track separations may frustrate listeners seeking to revisit specific passages. Nonetheless, the performances themselves are commendable, each musician engaged deeply with the material, reflecting a sincere commitment to bringing Hamerik’s voice to a broader audience.
Hamerik’s music, often overshadowed by his contemporaries, emerges with striking individuality through this compilation. Each work, executed with dedication and artistry, beckons for further exploration and performance. The Requiem, in particular, stands as a profound statement that could easily compete with more established settings of the mass. This collection not only revives interest in a neglected composer but also enriches the listener’s experience with its diverse offerings, making a compelling case for Hamerik’s place in the concert repertoire.
