Composer: Louis Glass
Works: Symphony No. 1 (1894), Symphony No. 5 Sinfonia Svastica (1919-20)
Performers: Plovdiv Philharmonic Orchestra, Nayden Todorov (conductor)
Recording: Concert Hall of the Plovdiv Philharmonic, February 2001 (No. 1), May 2001 (No. 5)
Label: Danacord DACOCD 544
Louis Glass, a figure often overshadowed in the pantheon of late Romantic composers, emerges in this recording as a fascinating character whose symphonic contributions deserve renewed attention. His Symphony No. 1, composed in 1894, reflects the influences of his contemporaries while retaining a distinct voice that hints at the burgeoning national identity of Danish music. The Symphony No. 5, written two decades later, showcases Glass’s evolution as a composer, revealing his embrace of broader thematic material and a more mature orchestral palette. This recording, the culmination of a project to capture all of Glass’s symphonic works, offers a unique opportunity to explore these two pivotal compositions under the baton of Nayden Todorov and the Plovdiv Philharmonic Orchestra.
The interpretation of Symphony No. 5, subtitled Sinfonia Svastica, is particularly notable. Todorov’s approach to the “Rest” and “Shadows” movements is a study in luxuriant tempo, creating an ethereal space that does not succumb to tedium but rather invites the listener into a contemplative realm. The decision to take these movements at a leisurely pace allows for the nuanced orchestral textures to resonate deeply. However, it does border on the extreme, demanding that the musicians maintain vitality without losing the structural integrity of the work. The soft focus of the recording, while effective for capturing the lush harmonies, occasionally obscures the more dynamic passages, most notably in the first movement, where the horns, pivotal to the thematic development, lack the assertiveness one might desire. This deficiency is particularly felt at the climactic moment around 9:33, where the horns should soar with exuberance akin to Nielsen’s Fifth Symphony.
Conversely, in the slow movement, Todorov shines with an exquisite control of phrasing and dynamics that evokes the expansive lyricism reminiscent of Rachmaninov or even Bernstein’s interpretations of Elgar. The “Dawn Finale” is executed with a similar flourish, showcasing the orchestra’s capacity for dramatic contrast. The melodic ideas in the Fifth Symphony, which echo Tchaikovsky and Elgar, are presented with grace, yet the performance could benefit from more assertive articulation in sections that demand it.
Turning to the First Symphony, the orchestra’s handling of this youthful work reveals Glass’s early stylistic leanings. The opening, reminiscent of an operatic prelude, is marked by a lushness that suggests an affinity for Tchaikovsky and Bruckner, particularly in the woodwinds’ dialogues. The andante sostenuto offers a grave charm, evoking Anitra’s dance from Grieg’s Peer Gynt before yielding to a lively scherzo that channels Bruckner’s rhythmic vitality. While the orchestra navigates these transitions with a certain ease, moments of gingerly handling can detract from the overall impact. The recording space, while rich in reverb, at times softens the necessary tension inherent in the climactic moments, leaving the listener yearning for a sharper delineation of the orchestral lines.
Danacord’s engineering captures the essential warmth of the Plovdiv Philharmonic’s sound, yet the spatial acoustics can occasionally blur the clarity needed for a more vigorous interpretation. This release stands as a testament to the value of exploring lesser-known symphonic repertoire, particularly for those enamored with the Scandinavian late Romantic tradition. The coupling of these two symphonies presents a unique listening experience that is both enriching and enlightening, making a strong case for a more prominent place for Louis Glass in the concert repertoire. The performances, while not without their challenges, demonstrate a commendable commitment to these works and merit consideration for any serious collector of symphonic literature.
