Composer: Peter Erasmus LANGE-MÜLLER
Works: Symphony No. 1 Autumn (1879), Symphony No. 2 (1889 rev 1915)
Performers: Chamber Philharmonic of Bohemia (Pardubice), Douglas Bostock (conductor)
Recording: House of Music, Pardubice, Czech Republic, 12-13 Jan 2001
Label: CLASSICO CLASSCD 370
Peter Erasmus Lange-Müller, a Danish composer of the late Romantic era, remains a somewhat obscure figure despite his engaging output, particularly in the realm of symphonic music. His first two symphonies, composed during a transformative period in European music, reflect influences from Mendelssohn to Dvořák and offer an intriguing blend of lyrical themes and folkloric elements. The Chamber Philharmonic of Bohemia’s recent recording of these works presents a valuable opportunity to reassess Lange-Müller’s contributions within the broader tapestry of 19th-century symphonic literature.
The Symphony No. 1, composed in 1879, opens with a distinctive solo violin that sets an introspective yet vibrant tone, reminiscent of Mendelssohn’s ability to evoke nature and emotion. The first movement’s brisk pace and nimble motifs engage the listener immediately, while the vivace section, with its Rossinian tarantella influences, showcases Lange-Müller’s folk-inspired sensibilities. This is further complemented by a Brahmsian andante, which, though slightly overextended, offers a rich harmonic landscape that invites reflection. Notably, the finale—marked allegro con fuoco—delivers a rousing conclusion, although one might argue it occasionally strays into excessive exuberance.
In contrast, the Symphony No. 2, revised in 1915 but originally composed in 1889, presents a more mature compositional voice. The alacritous allegro festivo of the finale stands out, echoing Schumann’s Rhenish Symphony in its celebratory spirit. Here, Bostock and his orchestra manage to capture the buoyancy of the movement while also allowing for moments of introspection in the andante, where Grieg’s influence is palpable. The third movement, with its polacca-like rhythms, further illustrates Lange-Müller’s connection to the folk traditions of his native Denmark. The lighter orchestration, somewhat under-staffed in strings, adheres to the historical practices of Lange-Müller’s time, allowing for a transparency in texture that reveals the intricate woodwind passages.
The recording itself, engineered at the House of Music in Pardubice, benefits from a clear and balanced sound that highlights the nuanced orchestration. The players exhibit a commendable blend of precision and expressiveness, although at times, the performance can feel overly cautious, as if the ensemble is holding back from fully embracing the exuberance of the score. Nevertheless, this restraint allows for a focus on the subtleties of Lange-Müller’s orchestration, which, while occasionally criticized for lacking the dramatic weight of his contemporaries, reveals a deft hand in crafting intricate wind passages and thematic development.
While comparisons to contemporaries such as Fibich and Novak are drawn, Lange-Müller’s music possesses a distinct character that sets it apart. His avoidance of overtly high-strung emotionalism fosters a more pastoral quality akin to Nielsen’s orchestral suites rather than the profound dramas of Tchaikovsky or even the tumultuous expressions found in Fibich’s work. The presence of delightful melodic turns and harmonic surprises throughout these symphonies offers a refreshing alternative to the more familiar repertoires.
This recording serves as a significant entry point into Lange-Müller’s symphonic world, revealing an engaging composer who has too often been relegated to the margins of musical history. The Chamber Philharmonic of Bohemia, under Bostock’s direction, brings an admirable sensitivity to these works, and while the performances might occasionally tread the line between cautiousness and care, they ultimately celebrate the freshness and charm inherent in Lange-Müller’s symphonic language. The experience is a delightful rediscovery, promising to entice those willing to venture beyond the more trodden paths of the late Romantic symphonic repertoire.
