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7 of 7 people found the following review helpful:
5.0 out of 5 stars
A Lush and Lovely Symphony - Langgaard Finally Begins to Get His Due, 26 Jun 2008
Rued Langgaard (1893-1952) was a Romantic in a time when Romanticism had been declared dead by the musical powers that be. The premiere of this symphony, his First, written when he was only eighteen, was turned down in his native Denmark and thus, through the intercession of friends and teachers, was given its first performance by the Berlin Philharmonic under Max Fiedler in 1913 in Berlin. It was a huge success. But, sadly, this was the high point of Langgaard's career, for World War I intervened, musical tastes changed (to neoclassicism, expressionism and beyond), and Carl Nielsen became the Danish composer of the era. Langgaard never stopped composing, eventually finishing sixteen symphonies before his death. And his music remained Romantic to the end, although his personal eccentricities were more and more evident in the later music. This symphony, though, is not particularly unusual. It is modeled on the music of Wagner and Tchaikovsky and its craft is amazingly assured for one so young.
The symphony is akin to Strauss's Alpine Symphony in that it depicts the ascent of a mountain. However, rather than a huge Alpine peak, Langgard's hike is up a 500-foot mountain, Kullen, near the Danish shore and his program is rather more a philosophical than a geographical one. In five movements, the first and last are huge pieces, each lasting twenty minutes or so. The first, 'Surf and Glimpses of Sun', is described by Langgaard as '...the human soul strains beyond the surf to see the dawn and the promised land.' (This and other quotations are taken from the extensive and very helpful booklet notes by Bendt Viinholt Nielsen.) The second, 'Mountain Flowers', is a pastorale depicting 'flowers of the mountain trembling faintly' in the gentle ocean breeze. The third movement, 'Legend', was originally written as an independent orchestral tone poem. In it the far off roar of the sea creates a 'saga mood' in which one hears 'voices from long-vanished times.' The penultimate movement, 'Mountain Ascent', depicts 'the view of the far-off horizon, the high-vaulted sky and the faraway blue-sparkling sea with the white crests' which fill 'the heart with new courage to face life.' (It is of note that the young Langgaard's parents were fervent Theosophists, as well as professional musicians, and this sort of spiritual yearning was surely learnt by the home hearth.) The finale is titled 'Courage' and is the hugest of the five, calling for a large contingent of brass instruments, including eight horns and four Wagner tubas. It is Mahlerian in scope, but without any irony or faux-peasantry.
The overall impact of the symphony is one of adventure, quest, struggle and courageous triumph over life's obstacles. After a total of only three performances before the 1990s, the Symphony No. 1 has now been available on CD twice before in recordings conducted by Ilya Stupel and by Leif Segerstam, but I have not heard these. I must say that I am completely satisfied by both the sound and the performance on this hybrid SACD. I am increasingly admiring of the work of conductor Thomas Dausgaard and his orchestra, the Danish National Symphony. And I don't hesitate to recommend this issue for all who revel in the late Romantic sound-world.
Scott Morrison
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