Composer: Ludwig Hegner, Franz Neruda, Louis Glass
Works: Legende Op.5 (Ludwig Hegner), Nocturne Op.6 (Ludwig Hegner), Trois Morceaux (Ludwig Hegner), Fantasi (Ludwig Hegner), Elegie (Ludwig Hegner), Mazurka de concert (Ludwig Hegner), Romance (Ludwig Hegner), Berceuse Slave (Franz Neruda), Nocturne Op.33 (Louis Glass)
Performers: Per Dalsgaard Knudsen (double bass), Karsten Munk (piano)
Recording: Musikhuset Sonderborg, Denmark, June/August 2001
Label: Danacord DACOCD 593
This CD presents a fascinating if somewhat uneven survey of late Romantic works for double bass and piano, featuring compositions by Ludvig Hegner, Franz Neruda, and Louis Glass. Hegner, a pivotal yet overlooked figure in Danish music, is represented here by a substantial collection of pieces that showcase the double bass in a manner that is both pedagogical and expressive. The inclusion of lesser-known works reveals the challenges and opportunities inherent in performing a repertoire that remains largely outside the mainstream canon.
The performances by Per Dalsgaard Knudsen and Karsten Munk exhibit technical prowess and a commendable sensitivity to the idiomatic qualities of the double bass. Knudsen’s command of the instrument is evident, particularly in his ability to navigate complex string figurations and dynamic nuances, all the while maintaining a warm, lyrical tone. Munk complements this with a piano part that is both supportive and assertive, creating a rich dialogue between the two instruments. However, the overall interpretative choices can lean towards the conventional, lacking the spark that might elevate these pieces from mere competence to inspiration.
Recording quality is a notable asset of this production. The engineering captures the resonance and depth of the double bass while ensuring that the piano remains distinct, allowing the listener to appreciate the interplay of textures. The acoustics of Musikhuset Sonderborg contribute to a sound that is both intimate and expansive, though at times one might wish for a greater delineation between the pieces. As the performance unfolds, a sense of sameness pervades, making it difficult to engage fully with the hour-long program without losing the listener’s focus.
Historically, these works reflect a tradition that straddles the line between salon music and serious composition. Hegner’s pieces, while structurally sound, often lack the emotional depth that one might hope for in late Romantic repertoire. For instance, the Nocturne Op.33 by Louis Glass, which has garnered some attention in recent years, offers moments of lyrical beauty but ultimately feels derivative. The central section, where one might expect a climactic revelation, instead recedes into a familiar cadence that does not challenge or surprise. Likewise, Neruda’s Berceuse Slave, originally intended for three cellos, feels somewhat out of place in this collection—its charm is undeniable, yet it does not resonate with the same weight as the surrounding works.
The most compelling elements of this recording lie in its commitment to showcasing the double bass as a solo instrument. Knudsen’s performance reveals a plethora of expressive capabilities, and his technical finesse invites admiration. Yet, the overall impression is dampened by the inherent limitations of the material. The pieces, while indicative of their time, often lack the flair and inventiveness that might capture a broader audience.
This recording serves as a niche exploration of an underrepresented repertoire, appealing primarily to specialists and enthusiasts of the double bass. A more discerning selection of works might have yielded a more engaging listening experience, as the listener is left yearning for greater variety and emotional resonance in this predominantly placid landscape of late Romanticism. The recording is a valuable addition for those interested in Danish music history and the evolution of the double bass but may not compel wider audiences seeking more dynamic and compelling musical experiences.
