Composer: Carl Nielsen
Works: Symphony No.1 in G minor Op.7; Violin Concerto Op.33
Performers: Henrik Hannisdal (violin); Norwegian Radio Orchestra; Ari Rasilainen (conductor, Symphony); Terje Mikkelsen (conductor, Violin Concerto)
Recording: Recorded at NRK Broadcasting Hall, Oslo in June and October 1996
Label: TELDEC APEX 0927 40622 2
Carl Nielsen’s oeuvre, particularly his symphonic and concertante works, occupies a distinctive place in the canon of early 20th-century music. His Symphony No. 1, completed in 1894 at the age of 27, reflects a composer still under the tutelage of Romantic traditions, notably the influence of Brahms, whose approval Nielsen sought during his studies in Vienna. The symphony’s premiere, conducted by Johan Svendsen, marked a significant milestone in Nielsen’s development, showcasing a blend of youthful exuberance and nascent originality. This recording juxtaposes the Symphony No. 1 with the later Violin Concerto, composed in 1911, illustrating Nielsen’s evolution as a composer.
Ari Rasilainen leads the Norwegian Radio Orchestra with an interpretative acumen that captures the symphony’s multifaceted character. The opening movement, marked Allegro orgoglioso, unfolds with a proud vigor that Rasilainen deftly conveys through sharp orchestral dynamics and an engaging sense of forward momentum. The tempo marking, often misunderstood, aligns more with nobility than bombastic exuberance, a nuance that the conductor emphasizes with clarity and precision. The Andante, with its poignant horn solo, emerges as a highlight, revealing the depth of Nielsen’s melodic sensibility. Rasilainen’s approach here is marked by a careful balance between the orchestral textures, allowing the horn’s lyrical line to soar above the accompaniment, a moment of true beauty that underscores Nielsen’s Romantic lineage.
The third movement, in contrast to the expected scherzo, takes on a gentler disposition. Rasilainen’s interpretation eschews the typical frenetic energy in favor of a more reflective and pastoral quality, showcasing Nielsen’s ability to craft gentler moods within a symphonic framework. The finale bursts forth with dramatic intensity, where Rasilainen’s command over the orchestra facilitates a thrilling culmination, rife with tension and resolution. This symphonic narrative is executed with a clarity of orchestral color that enhances the listener’s understanding of Nielsen’s architectural design.
In the Violin Concerto, the passage of time since the first symphony is palpable in Nielsen’s harmonic language, which has matured into a more complex idiom. Terje Mikkelsen conducts with a keen sensitivity to the work’s pastoral elements, allowing Henrik Hannisdal to shine in his interpretation. Hannisdal’s sweet-toned playing, particularly in the high registers, evokes a Bruch-like warmth, while his articulation in the virtuosic sections brings forth unexpected Mediterranean colors. The opening Prelude, rich with evocative harmonies, serves as a stark contrast to the earlier symphonic work, demonstrating Nielsen’s growth as a composer. Although Hannisdal occasionally struggles with intonation during the more demanding passages, his musicality shines brightly in the charming finale, where the interplay with the orchestra is particularly engaging.
The recording quality of this release deserves commendation. The engineering captures the full orchestral spectrum with clarity and depth, allowing for the intricate layers of Nielsen’s orchestration to be fully appreciated. The balance between soloist and orchestra is well-maintained, ensuring that Hannisdal’s contributions are never overshadowed by the larger ensemble. This recording thus stands as a valuable addition to the existing discography of Nielsen, complementing other notable interpretations while offering fresh insights into these early works.
The juxtaposition of Nielsen’s youthful vigor in the Symphony No. 1 with the more sophisticated language of the Violin Concerto exemplifies a composer in transition, navigating the waters between Romanticism and modernism. Rasilainen’s and Mikkelsen’s distinctive interpretations, alongside Hannisdal’s lyrical playing, collectively illuminate Nielsen’s unique voice within the orchestral and concertante traditions. This recording not only enriches our understanding of Nielsen’s early and middle phases but also affirms his significance in the broader landscape of classical music.
