Holmboe’s Brass Concertos: Hardenberger, Lindberg, and Bjørn-Larsen’s Dynamic Collaboration with Aalborg Symphony Orchestra

Composer: Vagn Holmboe
Works: Concerto No. 11 for trumpet and orchestra (1948), Concerto No. 12 for trombone and orchestra (1950), Tuba Concerto (1976), Intermezzo Concertante for tuba and orchestra (1987)
Performers: Håkan Hardenberger (trumpet), Christian Lindberg (trombone), Jens Bjørn-Larsen (tuba), Aalborg Symphony Orchestra/Owain Arwel Hughes
Recording: June 1996, Aalborg DDD
Label: BIS

Vagn Holmboe, a pivotal figure in the Danish musical landscape, often melded classical forms with a modern sensibility, creating works that resonate with both introspection and vigor. The four concertos presented in this BIS recording encapsulate his evolution as a composer, tracing a trajectory from the vibrant, post-war brass concertos of the late 1940s to the more contemplative works of the late 20th century. Each piece is a testament to the distinct character of the brass instruments, while simultaneously celebrating their ability to convey a spectrum of emotions.

The Concerto No. 11 for trumpet, written in 1948, showcases Holmboe’s penchant for combining clarity with intricate orchestral textures. Håkan Hardenberger’s interpretation is both commanding and nuanced, deftly navigating the work’s contrasting sections. The flitting, almost playful, Allegro con brio stands out, channeling a sense of defiance through its lively motifs. One is reminded of the vivid brass writing characteristic of Vaughan Williams, yet Holmboe’s language remains distinctly his own. The poco lento section, with its introspective quality, serves as a poignant counterbalance to the brash exuberance of the outer movements, revealing a composer’s ability to reflect on the human condition amidst the turmoil of his time.

The Trombone Concerto, composed two years later, similarly reflects Holmboe’s imaginative orchestration and melodic inventiveness. Christian Lindberg’s performance illuminates the work’s duality—its robust virtuosity and lyrical expressiveness. The Allegro molto, with its sharp, scathing gestures, conjures the spirit of Nielsen, offering a fresh, invigorating take on the concerto form. Holmboe’s writing here cultivates a conversation between the soloist and the orchestra, creating a dynamic interplay that feels both organic and meticulously crafted. The seamless integration of string and brass textures in the orchestration deepens the listener’s engagement, with each phrase crafted to enhance the trombone’s eloquent voice.

In stark contrast, Holmboe’s Tuba Concerto, composed in 1976, reflects a more mature and contemplative style. Jens Bjørn-Larsen’s playing brings a depth to the work that belies the tuba’s reputation as a bulky instrument. Here, the music often ventures into darker, more abstract realms, with moments of buoyancy reminiscent of Ralph Vaughan Williams. The orchestration, while less immediate than in the earlier concertos, rewards patient listening, revealing layers of complexity and subtlety that speak to Holmboe’s growth as a composer. The Intermezzo Concertante, although less vibrant than the concertos, offers a serene, atmospheric respite that highlights the tuba’s lyrical potential, making it a fitting complement to the more robust works.

The recording quality of this BIS release is exemplary, capturing the rich tonal colors of the brass instruments against the backdrop of the Aalborg Symphony Orchestra’s responsive playing. The clarity of each section, combined with the warmth of the orchestral sound, allows for a detailed appreciation of Holmboe’s intricate textures. The engineering ensures that the listener is enveloped in the full spectrum of sound, from the bold proclamations of the trumpet to the nuanced whispers of the tuba.

Holmboe’s concertos not only provide a platform for virtuosic display but also invite introspection and emotional engagement. This recording serves as an essential exploration of his contributions to the brass repertoire, showcasing the unique capabilities of each instrument while celebrating Holmboe’s distinctive voice. The performances are not merely technical showcases; they reflect a deep understanding of the music’s emotional landscape, making this a compelling addition to the catalog of 20th-century concertos.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.