Siegfried and Rued Langgaard: Harmonious Families Volume 4
Label: DANACORD DACOCD535
Performers: Oleg Marshev (Piano), The Danish Philharmonic Orchestra, South Jutland, Matthias Aeschbacher (Conductor)
Works:
Duration: 71:45
Recorded: Musikhuset, Sonderborg, November 1999
The fourth installment of Danacord’s Harmonious Families series presents the intriguing yet underappreciated works of the Langgaard family, a lineage marked by contrasting stylistic trajectories and historical contexts. At the forefront is Siegfried Langgaard’s Piano Concerto No. 1, a riveting piece that showcases a rare talent, while Rued Langgaard’s “From Arild” offers a more complex, albeit less cohesive, musical narrative.
Siegfried Langgaard’s Piano Concerto No. 1 emerges as a revelation—a work that, despite its historical obscurity, demands recognition alongside the great romantic concertos of its time. Its vibrant orchestration and technical demands on the soloist, Oleg Marshev, embody the rich traditions of the late Romantic era. The concerto opens with a bold orchestral statement, its thematic material establishing a dramatic dialogue with the piano that is both virtuosic and lyrical. Marshev’s interpretation is marked by a deft balance of aggression and introspective tenderness, effectively navigating the work’s contrasting moods.
The orchestration, infused with the pedagogical influences of figures like Niels W. Gade and J.P.E. Hartmann, reveals a composer adept at blending orchestral textures reminiscent of Tchaikovsky while also hinting at a more expansive harmonic language akin to early Rachmaninov. For instance, the second movement features lush, sweeping melodies that evoke a sense of longing, further enhanced by Marshev’s nuanced phrasing and delicate touch. The interplay between the piano and orchestra is particularly noteworthy in the finale, where a rhythmic exuberance drives the work towards a jubilant conclusion, reminiscent of the celebratory spirit found in Grieg’s output.
In contrast, Rued Langgaard’s “From Arild” presents a more fragmented and esoteric approach to the concerto form. Here, the thematic material often feels derived rather than original, with the composer reflecting on his father’s musical language rather than forging a distinct identity. The titles of the movements—“Cliffs,” “Surf,” “Starry Skies,” and “Harvest Time”—suggest a programmatic intent that ultimately complicates the listening experience, as the music often resists straightforward narrative interpretation.
While Rued’s orchestration is ambitious, it can come off as cumbersome, conflating various styles without a clear unifying vision. The movement structures may appear episodic, leading to a sense of ‘bittiness’ that detracts from the overall impact. However, there are moments of exquisite beauty, particularly in the slow movements, where Rued’s lyrical sensibility shines through. The performance, under Aeschbacher’s direction, captures these fleeting moments effectively, yet the orchestral weight can sometimes eclipse the piano, undermining the soloist’s voice.
Comparatively, the recording quality is commendable, with a clear balance between piano and orchestra that allows for the intricate interplay of voices to emerge. Danacord’s engineering captures the warmth of the orchestral sound while maintaining the definition and clarity of the piano, a feat that serves both works well, especially in the more delicate passages of Siegfried’s concerto.
Historically, Siegfried Langgaard remains a shadowy figure in the annals of Danish music, and this recording serves not only to illuminate his talent but also to juxtapose it with that of his son, whose stylistic explorations reflect the complexities of early 20th-century modernism. The juxtaposition of these two concertos provides insight into the evolution of Danish music, highlighting the struggle between tradition and innovation that characterizes the broader European landscape during this period.
In conclusion, this volume of Harmonious Families is a significant contribution to the recorded repertoire of Danish music. Siegfried Langgaard’s Piano Concerto No. 1 is a masterpiece that deserves a place in the concert hall, while Rued’s work, though less cohesive, offers a fascinating glimpse into the interplay of personal and artistic inheritance. The performances by Oleg Marshev and the Danish Philharmonic Orchestra are commendable, providing a compelling interpretation of these complex works. This recording not only enriches our understanding of the Langgaard family but also invites further exploration of their musical legacy.
