Koppel - Orchestral Works, Volume 1

It is a pity that the music of Herman Koppel (1908-98) is not better known. Stylistically, most of his music sounds a little bit like a mixture of Carl Nielsen and Prokofiev, though more modern than either, and it is consistently attractive and inventive - in fact, Koppel's music is the kind of music where you can only marvel at the flow of invention, the wonderful shifting textures, strong thematic material and welter of good ideas, more of them in a single movement than most composers are able to generate for a whole symphony. Da Capo's series of his symphonies is pretty much invaluable, but that said, anyone unfamiliar with his music is recommended to start with the issue containing his third and fourth symphonies or the one coupling his fifth symphony with his third piano concerto, mostly because the music there is slightly more approachable even if not ultimately more rewarding.

The sixth symphony, however, "Sinfonia breve" is a splendid example of his earlier style (though the format is more compact than in his earlier works in the genre). Cast in five movements it may even be the most Nielsenesque of his symphonies, being in particular (it seems) inspired by the older composer's sixth symphony, and especially in terms of the textural and coloristic effects. It is a marvelous, colorful and attractive work, each one of the variegated movements being a minor near-masterpiece in itself, utterly memorable, attractive and compelling. The seventh is a tougher nut to crack. Written in 1961 it incorporates serialism although it never really lets go of tonality. The extent to which Koppel is able to write serialist music without relinquishing his characteristic style is rather striking, however, and his seventh symphony is in no way the most forbidding serialist work you will come across. It remains a highly original and inventive take on the technique, and it is full of strong, imaginative and colorful ideas (though they are darker and grittier than in its relatively sunny and light-hearted predecessor).

The concerto for orchestra may still be the highlight of the disc. Written in 1978, it may be more uncompromisingly modernist even than the seventh symphony, and the Nielsen influences that are still (if barely) audible in the seventh symphony can only be discerned on a certain level of abstraction in this one. In the concerto the orchestra is divided into five instrumental groups. Each group is assigned a thematic signature idea that it returns to throughout and develop in various manners. The groups are then pitted against each other in a multitude of inventive ways, creating some astonishingly effective moments and effects. The performances by the Aalborg Symphony Orchestra under Moshe Atzmon are marvelous throughout, regardless of the varieties in styles and idioms; technically impeccable, full-bodied and spirited. The sound is superb as well, and the result is certainly something of a must for anyone interested in twentieth century music - although I would recommend starting with some of the earlier works if you are not already familiar with Koppel's style(s).

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