NEWDACOCD 769 1+8 05/06/20 07.15 Side 1

DACOCD 881 booklet_NEWDACOCD 769 1+8 05/06/20 07.15 Side 1

DACOCD 881 DACOCD 881 booklet_NEWDACOCD 769 1+8 05/06/20 07.15 Side 2

The Danish Radio Symphony Orchestra Joseph Haydn (1732-1809) country as the composer, and so Grøndahl was rarely given the opportunity to Launy Grøndahl, conductor Sinfonia Concertante in B flat major, Op. 84, conduct German music in the orchestra’s series of public concerts, even though he Hob. I/105 21:54 was often required to prepare the orchestra for appearances by foreign guest CD 1 [ 5 ] Allegro 9:12 conductors such as Fritz Busch, who between 1932 to 1951 was a frequent and [ 6 ] Andante 6:20 welcome visitor. Carl Nielsen (1865-1931) [ 7 ] Allegro con spirito 6:22 Busch often used the resident conductor’s scores when giving concerts with the Leo Hansen, violin. Alberto Medici, cello. DRSO, but these performances pay eloquent testimony to Grøndahl’s own natural, Symphony No. 2 (The Four Temperaments), Waldemar Wolsing, oboe. Op. 16 (1901-02) 34:26 under-appreciated affinity with Austro-German Classicism. The soloists in the Carl Bloch, bassoon. Sinfonia Concertante were drawn from the ranks of the orchestra as Haydn had [ 1 ] I. Allegro collerico 10:02 Live Concert, June 7, 1956, Danish Broadcasting [ 2 ] II. Allegro comodo e flemmatico 4:49 Corporation, Studio 1 apparently intended: violinist Leo Hansen who had joined in 1931 and become [ 3 ] III. Andante malincolico 11:11 leader in 1945, first cellist Alberto Medici, oboist Waldemar Wolsing (also the [ 4 ] IV. Allegro sanguineo 8:22 Carl Nielsen influential chairman of the orchestra) and bassoonist Carl Bloch who had been in Live Concert, June 7, 1956, Danish Broadcasting the orchestra since 1926 and to whom Grøndahl had dedicated his Bassoon Corporation, Studio 1 [ 8 ] At the Bier of a Young Artist Concerto written in 1942. (Andante lamentoso) (1910) 4:36 Nielsen wrote At the Bier of a Young Artist in 1910 for the funeral of the painter Symphony No. 4 (The Inextinguishable), Recorded September 28, 1947, Danish Oluf Hartmann, son of the composer Emil Hartmann and grandson of J.P.E. Broadcasting Corporation, Studio 1. HMV Z 294 Op. 29 (1914-16) 36:06 Hartmann, a founding father of Danish classical music. Having scored the original [ 5 ] Allegro – 11:59 version for string quartet, Nielsen rearranged the piece for string orchestra, and [ 6 ] Poco allegretto – 4:32 From the opera Maskarade (1904-06) [ 7 ] Poco adagio quasi andante – 10:47 [ 9 ] Hanedans, (Cockerel’s Dance) 4:36 this was the version played at the composer’s own funeral on 9 October 1931. [ 8 ] Allegro 8:50 Recorded August 19, 1951, Danish Broadcasting Ten days later, the DRSO and Launy Grøndahl gave the Third Symphony as part of Corporation, Studio 1. HMV DB 20156 Recorded August 17-19, 1951, Danish Broadcasting a studio concert in his memory, and the present compilation concludes with the Corporation, Studio 1. HMV DB 20156-60 From Symphony No. 3 (Sinfonia espansiva), surviving excerpts, preserved on 78s, from that performance: probably the earliest extant recording of a musical partnership which came to occupy a central role in CD 2 Op. 27, (1910-11) [10] 1. Allegro espansivo, from bar 385-661 3:59 Danish musical life for over a quarter of a century. Ludwig van Beethoven (1770-1827) [11] 2. Andante pastorale, from bar 101-126 3:05 Johanne Karstens, soprano. Martin Granau Symphony No. 4 in B flat major, Op 60 Holger Bruusgaard, baritone (1806) 34:17 [12] 4. Finale. Allegro, from bar 151-301 3:54 [ 1 ] I. Adagio – Allegro vivace 10:32 Live Concert, October 19, 1931 at Stærekassen, [ 2 ] II. Adagio 10:31 Copenhagen. Carl Nielsen Memorial Concert [ 3 ] III. Allegro vivace 5:58 [ 4 ] IV. Allegro ma non troppo 7:16 2 7 DACOCD 881 booklet_NEWDACOCD 769 1+8 05/06/20 07.15 Side 3

During preparations for a performance of the Fourth, the two men discussed the Launy Grøndahl: a Danish musician to his fingertips opening, where the horns are liable to drown the theme in the violins. While admitting that the triplets hardly came through, Nielsen stuck to his guns and In many ways the career of Launy Grøndahl (1886-1960) – first as a violinist, then as didn’t change a note, apparently to Grøndahl’s surprise. conductor and composer – was typical of many Danish musicians at the turn of the The Fourth Symphony formed the climax to the concert on 24 September 1951 last century. If they landed a post in one of the larger orchestras in Copenhagen, given by the DRSO and Grøndahl at the Royal Festival Hall in London, and to a UK such as the Royal Danish Orchestra or Tivoli Symphony Orchestra, they would still tour which included BBC studio recordings of the Second and Third symphonies have to find work out of season: a holiday job with the Copenhagen Zoo orchestra, (with Grøndahl and Tuxen respectively). The performance marked a watershed in perhaps, or cinema orchestras (from about 1920), private music associations or the international reputation of the orchestra, and in British reception of Nielsen’s theatres. They might also satisfy creative urges by composing. music: a ‘knock-out’ symphony, according to the Daily Express . In more elevated This career path had sufficed for the young Carl Nielsen during the 1880s, and terms, the correspondent of the Musical Times found it ‘a reminder of Britain’s loss Grøndahl pursued it for himself hardly more than a decade later. In 1906 he became in its general unfamiliarity with this Danish composer… it is perhaps unfortunate a permanent member of the Casino Theatre Orchestra while continuing his studies that Nielsen has been typed as “the Sibelius of Denmark”: he has surely little of that with Axel Gade (violin) and Ludolf Nielsen (composition). In 1919 Grøndahl left the quasi-Olympian remoteness so characteristic of Sibelius. This symphony, indeed, Casino Theatre, having developed his conducting talents in venues across is more reminiscent of Mahler... But its eloquence and utter originality give the Copenhagen; not unlike Anthony Collins, who around the same time made the work distinction.’ transition from violist in the English seaside town of Bournemouth to member of The performance went down in the orchestra’s annals as one of Grøndahl’s finest, the LSO to conductor of the same. However, Grøndahl’s life was shortly to take a and seated among the audience, his colleague Tuxen later counted it among the career-defining turn. greatest musical experiences of his life. The following year Grøndahl received a In 1925, Danish State Radio made its first broadcast. Its founding director was the prize carrying Carl Nielsen’s name for his work with Carl Nielsen’s music in general singer-turned-administrator Emil Holm, and he was determined that the radio and the London concert in particular. Besides a sum of money, the prize included station should be equipped with its own orchestra (this was three years before the a bronze plate with the inscription ‘Music is life, and like it inextinguishable.’ BBC began exploring plans for its own symphonic ensemble). The previous year Grøndahl had embarked on a series of study trips to Paris, Rome, Milan and Vienna, Farewells and funerals funded by a scholarship from the Copenhagen Orchestra Association. His travels This particular recording of the Fourth, along with the ‘Cockerel’s Dance’ from yielded a series of pieces on the European orchestral scene in a Danish music Maskarade , was made back at the orchestra’s studio home in the month journal, and these pieces caught the eye of Holm. He appointed Grøndahl the preceding the RFH concerts. Once released on HMV, it quickly attained classic director of the new orchestra, only 11 strong at this stage, on a permanent, full-time status. The remainder of the compilation largely derives from Grøndahl’s farewell basis. concert on 7 June 1956. The ‘Four Temperaments’ Symphony was a predictable Conductor and orchestra made their first broadcast together on 28 October 1925. choice; less so the works by Haydn and Beethoven. Emil Holm believed that As the size of the orchestra grew, so did Grøndahl’s reputation, but he remained standard repertoire was most convincingly performed by conductor from the same faithful to his post. From 1925 until his retirement in 1956, he led the Danish Radio 6 3 DACOCD 881 booklet_NEWDACOCD 769 1+8 05/06/20 07.15 Side 4

Symphony Orchestra in 289 public concerts and a scarcely believable 5528 studio moments, the melancholy its violent or lighter moments, and the exuberantly broadcasts. No other conductor of the DRSO comes even close to challenging that joyous can become thoughtful, indeed quite serious; yet only for a moment. record. The torpid, the indifferent type, however, has difficulty getting out of his phlegmatic Grøndahl left a priceless legacy of interpretation, especially in the music of Carl state, which is why this movement is both short (he can’t be bothered) and Nielsen, whom he knew well; other Danish conductors such as Erik Tuxen and unvarying in its development.’ Thomas Jensen also trained the DRSO to play Nielsen’s music with a unique Grøndahl promoted Nielsen and other Danish composers right from taking up his sympathy. Nielsen flows in the blood of the orchestra, whose members knew much post at the head of the DRSO. They met and understood each other as fellow of his exacting music by heart until at least 1975, when they recorded the complete composers; in 1919 Grøndahl showed Nielsen his Violin Concerto, and in 1925 symphonies with Herbert Blomstedt for EMI (now Warner Classics). Nielsen read through Grøndahl’s symphony and encouraged him to carry on Beginning life in 1925 as a ‘Radio Trio’ of violin, cello and piano, the DRSO composing. By the time of Nielsen’s death in October 1931 Grøndahl had already developed from 11 musicians under Launy Grøndahl’s direction in 1925 to reach given almost a hundred performances of his music, including the rarely performed symphony-size in 1931 with nearly 60 permanent musicians. As well as Grøndahl, First Symphony. He never directed the Fifth, which he left to his colleague Erik Nicolai Malko and Fritz Busch worked with the orchestra every year, and gave Tuxen (1902-57), son-in-law of the symphony’s dedicatee Carl Johan Michelsen. concerts with them from 1930 onwards. In 1948 the orchestra was further extended to 92 musicians. ‘The Inextinguishable’ The best explanation for the subtitle of Nielsen’s Fourth Symphony comes in a ‘The Four Temperaments’ letter from the composer during its wartime composition: ‘Music is life, and like it At the turn of the 20th century Carl Nielsen established his place at the centre of inextinguishable.’ He made a distinction between the kind of literary programme Danish musical life with two large-scale works. In 1901 he finished his opera Saul that dictated the course of tone-poems by Liszt and Richard Strauss, and the titles and David and in November 1902 he completed his Second Symphony, a decade on he used to suggest or emphasize an idea: ‘The music cannot and will not connect from his First. On 1 December 1902, three days after conducting the opera’s first to any concrete thoughts. It wants to be free…’ ( Levende Musik , 1909). We might performance at the Royal Theatre in Copenhagen, Nielsen gave the Second understand the subtitle of the Fourth Symphony as more of a motto than a Symphony’s premiere as part of the Dansk Koncertforening concert series. manifesto or narrative plan. Nielsen conducted its first performance on 1 February The symphony’s subtitle refers to the four bodily fluids of ancient medical theory: 1916 within the Dansk Koncertforening season. the violent ( Allegro collerico) , the indolent ( Allegro flemmatico ), the melancholy There are four movements, designed to be played without a break, opening with (Andante malincolico ) and the joyously optimistic ( Allegro sanguineo ). According to an eventful Allegro of Beethovenian weight and purpose. A lilting country dance the composer, he had once visited a tavern in the rural province of Zealand and and an anguished slow movement build up to the finale’s titanic conflict, which is found them represented by a comical wall-painting; no deeper programme for the epitomised by the duel between two antiphonally placed sets of timpani soon after symphony was to be understood. its opening and finally resolved in the most exhilarating fashion imaginable with Furthermore, as Nielsen remarked in a 1926 programme-note, each movement also the triumphant return of the first movement’s motto theme. contains its contrasting passages: ‘But the violent character can have its gentler Grøndahl frequently observed Nielsen conducting and rehearsing his own music. 4 5 DACOCD 881 booklet_NEWDACOCD 769 1+8 05/06/20 07.15 Side 4

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