Composer: Carl Nielsen (1865-1931)
Works: The Complete Symphonies (1892-1925)
Performers: London Symphony Orchestra, Ole Schmidt
Soloists: Brian Rayner Cook (baritone), Jill Gomez (soprano)
Recorded: 1974, St Giles, London
Label: Regis RRC 3002
Duration: 70.51 + 73.28 + 69.45
Available separately: Symphonies 4 and 5 (REGIS RRC 1036), Symphonies 1-3 and 6 (REGIS RRC 2046)
Price: Crotchet £17.99, AmazonUK £12.99, AmazonUS £12.99
The release of Carl Nielsen’s complete symphonies under the baton of Ole Schmidt is a significant event for both the discerning listener and the dedicated Nielsen aficionado. This collection, originating from a 1974 recording, offers a rare opportunity to explore the evolution of one of the central figures in early 20th-century orchestral music. The six symphonies, composed between 1892 and 1925, encapsulate a transformative period in Nielsen’s artistic journey, reflecting the ambivalence of a composer caught between the remnants of Romanticism and the burgeoning modernist tendencies of his time.
Schmidt’s interpretations are characterized by a visceral energy that captures the essence of Nielsen’s complex emotional landscape. The First Symphony, composed in 1892, emerges not merely as a youthful endeavor but as a precursor to the composer’s distinctive voice. The rawness of the orchestral texture is palpable; Schmidt deftly navigates the tumultuous first movement, allowing the music’s inherent awkwardness to resonate—a hallmark of Nielsen’s early style. The symphony’s closing moments, marked by an explosive fervor, emphasize the composer’s struggle for identity, a theme that prevails throughout his oeuvre.
The Second Symphony, subtitled “Four Temperaments,” is particularly compelling in Schmidt’s hands. Here, the movement marked “Malincolio” envelops the listener in a dense, brooding atmosphere, where the LSO’s strings articulate the sorrowful motifs with a delicate touch that contrasts strikingly with the aggressive brass. This dynamic interplay exemplifies Schmidt’s keen insight into Nielsen’s psychological depth. The “Sanguineo” movement, propelled by a frenetic energy, is invigorated by the brass’s confident proclamations, underscoring the symphony’s emotional breadth.
Turning to the Sinfonia Espansiva, composed in 1911, the listener is met with a work that radiates optimism and expansion—a musical celebration of life’s exuberance. The opening measures of the Allegretto (III) are a masterclass in orchestral color, where Schmidt’s interpretation reveals the intricate layering of Nielsen’s orchestration. The LSO’s brass and percussion sections deliver an electrifying performance, particularly in the climactic moments that flirt with chaos yet maintain a taut control. Schmidt’s ability to elicit such visceral responses from the orchestra is a testament to his interpretative acuity.
The Fourth Symphony, “Inextinguishable,” is perhaps the most ambitious of Nielsen’s symphonic explorations, and Schmidt’s approach articulates the work’s inherent tension between the elemental forces of nature and human existence. The horns’ “howl” at the start of the finale is a visceral cry, evoking the primal energy that Nielsen sought to convey. The woodwinds’ coarseness and the rawness of the orchestra reflect the “grinding magma tectonics” that characterize this symphony, as noted in previous critiques. Here, the recording does justice to the work’s robust orchestration, though one might note a certain density that could obscure the nuances of Nielsen’s intricate textures.
In the Fifth Symphony, Schmidt navigates the complex interplay of humanity and nature with a deft hand. The first movement’s layered dynamics are terraced brilliantly, allowing the listener to appreciate the subtleties of Nielsen’s orchestration. The adagio, where the horns toll “in unfeigned glory,” showcases a lyrical beauty that contrasts sharply with the preceding turbulence. Schmidt’s interpretation reveals a depth of character that is often overlooked in other recordings.
The Sixth Symphony, “Sinfonia Semplice,” presents a unique challenge. Its enigmatic nature and avoidance of conventional structures place it in a category akin to Sibelius’s Fourth. Schmidt’s handling of the symphony is nuanced, capturing both its warmth and its sense of disquiet. The interludes of lightness and humor, reminiscent of Nielsen’s concertos, emerge with clarity, highlighting the composer’s multifaceted personality.
The engineering quality of this recording is commendable, with Bob Auger’s meticulous attention to detail ensuring that each instrument’s voice is distinctly articulated. The warmth of the sound captures the ensemble’s rich textures, allowing the listener to appreciate the full spectrum of Nielsen’s orchestral palette.
In conclusion, this release of Nielsen’s complete symphonies under Ole Schmidt’s direction is not merely a nostalgic revival; it is a vibrant re-engagement with a repertoire that continues to resonate today. Schmidt’s interpretations, while firmly rooted in the past, breathe new life into these orchestral works, illuminating their historical significance and emotional depth. For both collectors and newcomers alike, this set is an essential acquisition, reviving the spirit of Nielsen’s music and reaffirming its place in the canon of classical repertoire.
