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Rued Langgaard Rose Garden Songs

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Rued Langgaard Rose Garden Songs RUED LANGGAARD Rose Garden Songs Ars Nova Copenhagen, Tamás Vetö RUED LANGGAARD (1893-1952) Choral songs with secular texts 1 Lokkende toner, BVN 112, version b (1916) 5:39 2 Sæterjenten, BVN 114 (1916) 3:12 Rose Garden Songs 3 Høstfuglen, BVN 141A (c. 1918) 9:21 Ars Nova Copenhagen Rosengaardsviser, BVN 164 (1919) Tamás Vetö, conductor 4 Vel må jeg kysse dig, hjertenskær, No. 1 3:02 5 Bag muren sidde de roser små, No. 2 5:36 6 Træt, No. 3 2:03 Motets and hymn melodies 7 O, Gud ske lov; det hjemad går, BVN 65, version a (1914/36) 2:11 8 Når engang i fjerne tider, BVN 90 (1915/40) 3:09 9 Gid du ville sønderrive, BVN 310 (1945) 1:08 10 Hymne, BVN 295 (1943) 2:05 11 Den store mester kommer, BVN 175 (1922/24/42?) 2:03 12 Døden er den sidste fjende, BVN 239 (1938) 2:44 13 Tordner det fra mørkets sky, BVN 423 (1951) 0:51 14 Ophøj dig, Gud, BVN 294 (1943) 2:00 15 Tusind år stod Kristi kirke, BVN 345 (1948) 2:17 16 Den store mester kommer, BVN 240 (1938) 1:39 17 I morgenen, BVN 428 (1945/51) 1:37 18 In memoriam Ansgarius, BVN 286 (1943/44/48) 3:25 19 Op, I kristne, ruster eder, BVN 290 (1943/c. 1951) 2:30 20 Døden er den sidste fjende, BVN 240 (1938) 2:16 21 Når livets pilgrimsvandring går på hæld, BVN 323 (1947) 3:05 22 Den ypperligste vej, BVN 390 version b (1949) 2:27 Dacapo is supported by the Danish Arts Council Committee for Music Total 64:31 RUED LANGGAARD (1893-1952) Choral songs with secular texts 1 Lokkende toner, BVN 112, version b (1916) 5:39 2 Sæterjenten, BVN 114 (1916) 3:12 Rose Garden Songs 3 Høstfuglen, BVN 141A (c. 1918) 9:21 Ars Nova Copenhagen Rosengaardsviser, BVN 164 (1919) Tamás Vetö, conductor 4 Vel må jeg kysse dig, hjertenskær, No. 1 3:02 5 Bag muren sidde de roser små, No. 2 5:36 6 Træt, No. 3 2:03 Motets and hymn melodies 7 O, Gud ske lov; det hjemad går, BVN 65, version a (1914/36) 2:11 8 Når engang i fjerne tider, BVN 90 (1915/40) 3:09 9 Gid du ville sønderrive, BVN 310 (1945) 1:08 10 Hymne, BVN 295 (1943) 2:05 11 Den store mester kommer, BVN 175 (1922/24/42?) 2:03 12 Døden er den sidste fjende, BVN 239 (1938) 2:44 13 Tordner det fra mørkets sky, BVN 423 (1951) 0:51 14 Ophøj dig, Gud, BVN 294 (1943) 2:00 15 Tusind år stod Kristi kirke, BVN 345 (1948) 2:17 16 Den store mester kommer, BVN 240 (1938) 1:39 17 I morgenen, BVN 428 (1945/51) 1:37 18 In memoriam Ansgarius, BVN 286 (1943/44/48) 3:25 19 Op, I kristne, ruster eder, BVN 290 (1943/c. 1951) 2:30 20 Døden er den sidste fjende, BVN 240 (1938) 2:16 21 Når livets pilgrimsvandring går på hæld, BVN 323 (1947) 3:05 22 Den ypperligste vej, BVN 390 version b (1949) 2:27 Dacapo is supported by the Danish Arts Council Committee for Music Total 64:31 RUED LANGGAARD to theosophical speculation. The mother concerts himself in order to obtain a hear- times and the musical powers-that-be, and was likewise a pianist and Rued Langgaard ing. His significant artistic development he attacked Carl Nielsen who in his opinion Anyone listening to Rued Langgaard’s received his elementary musical education in the decade after the First Symphony enjoyed an altogether exaggerated guru music today without being fully informed from his parents. He made his debut as an remained unobserved by critics and public status. The result was that Langgaard was about the history of Danish culture in this organ improviser in Copenhagen in 1905, alike. Important experimental works such as subjected to a massive boycot: after 1930 his century would be surprised to learn that when he was only 11 years old, and his first Sinfonia interna (1915-16), Sfærernes Musik works were only very exceptionally included this composer has the status of an absolute large-scale work for choir and orchestra was (1916-18), the Sixth Symphony (1919-20), on concert programmes (though they were outsider. It is, however, a fact that Langgaard performed when he was 14. But this turned and the opera Antikrist (1921-23) were not played a good deal on the radio, especially in never achieved true recognition let alone a out to be a bad start for the young composer, performed in Denmark or, if they were, were the 1940s), and he was consistently turned position of any significance in Danish musi- for the reviews were negative and Langgaard not understood. down when he applied for jobs as a church cal life, though no one doubted his genuine in fact never succeeded in being properly Rued Langgaard was the only Danish organist. Not until 1940 did he manage to and utterly unusual talent. accepted either by the press or by the Danish composer who strove for a symbolistically obtain a position as organist at Ribe Cathe- It is only a partial explanation of Lang- musical establishment. based, visionary form of musical expression dral in Southern Jutland. By that time he was gaard’s fate that he was an eccentric and When Rued Langgaard completed his in continuation of the romantic tradition, as 47. His Ribe period marks a new phase in his quite devoid of the ability to ‘sell himself’. hour-long First Symphony in 1911, it accord- we find it elsewhere for example in the music compositional development, with frantically Just as significant was the fact that he had an ingly proved impossible to have it performed of Scriabin. The trend in Denmark was to- defiant and even absurd elements occupying uncompromising artist’s nature and refused in Denmark. But his parents had taken him ward complete rejection of the late romantic a prominent place. to accept the ‘modern’ spirit of the times, on several study visits to Berlin, and the spirit, and Langgaard had to return to Ger- After Langgaard’s death in 1952 his name that is to say the anti-romantic view of art family’s contacts with conductors like Arthur many to experience successful performances was temporarily forgotten, but the 1960s which prevailed in Denmark in the period Nikisch and Max Fiedler resulted in the sym- of his symphonies at the beginning of the brought a new interest in late romantic between the two world wars. Langgaard’s phony being premiered in 1913 by the Berlin 1920s. However, there was no widespread composers who had been ‘overlooked’, and ideals were those of the turn of the century, Philharmonic Orchestra under Fiedler. The or general interest in his music in Germany it was realized that though Langgaard was with late romanticism and symbolism as great enthusiasm with which the 19-year- either, and it gradually ceased to be played. essentially a conservative composer his mu- principal ingredients. He had an elevated old composer’s work was received on that The years around 1924-25 are an im- sic nevertheless possessed characteristics and pathetic conception of the artist and occasion did not, however, result in the work portant turning point in Langgaard’s life strangely anticipating contemporary static his role that was in many ways foreign to the being played in Denmark, and the outbreak and music. For a number of years he had music, collage, and minimalism. Many down-to-earth Danish mentality. of war in 1914 prevented Langgaard from been receptive to trends in the most recent of his 431 compositions have now been Rued Langgaard was born in 1893 as capitalizing on his German success. music, not least the progressive works of recorded, his works have been exhaustively the son of a Copenhagen piano teacher Because of the scepticism with which Carl Nielsen, but now he altered course and catalogued and a biography published in who enjoyed a good reputation at the time. his music was regarded at home, Lang- practised a romantic, pastiche-like style with 1993, the centenary of his birth, has thrown The elder Langgaard was also active as a gaard continued to have difficulty in getting Niels W. Gade and Wagner as models. He new light on the life and music of this composer, and was incidentally much given his music performed and had to promote stated publicly that he felt betrayed by the remarkable individualist. 4 5 RUED LANGGAARD to theosophical speculation. The mother concerts himself in order to obtain a hear- times and the musical powers-that-be, and was likewise a pianist and Rued Langgaard ing. His significant artistic development he attacked Carl Nielsen who in his opinion Anyone listening to Rued Langgaard’s received his elementary musical education in the decade after the First Symphony enjoyed an altogether exaggerated guru music today without being fully informed from his parents. He made his debut as an remained unobserved by critics and public status. The result was that Langgaard was about the history of Danish culture in this organ improviser in Copenhagen in 1905, alike. Important experimental works such as subjected to a massive boycot: after 1930 his century would be surprised to learn that when he was only 11 years old, and his first Sinfonia interna (1915-16), Sfærernes Musik works were only very exceptionally included this composer has the status of an absolute large-scale work for choir and orchestra was (1916-18), the Sixth Symphony (1919-20), on concert programmes (though they were outsider.
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