King Frederik IX Conducts Royal Danish Orchestra & Danish National Symphony Orchestra CD I King Frederik IX Conducts Royal Danish Orchestra

Friedrich Kuhlau 1 Overture to Elves’ Hill, Op. 100 (1828) 12:06

H.C. Lumbye 2 Dream Pictures. Fantasy (1846) 9:27 3 Salute to August Bournonville. Galop (1869) 3:17

Franz Schubert Symphony No. 8 in B minor, D759 24:01 Unfinished Symphony (1822) 4 I. Allegro moderato 11:31 5 II. Andante con moto 12:30

Dacapo Records is supported by the Recorded in December 1948 Total 48:53 CD II CD III King Frederik IX Conducts King Frederik IX Conducts Danish National Symphony Orchestra Danish National Symphony Orchestra

Richard Wagner Niels W. Gade 1 Overture to Tannhäuser, WWV 70 (1845) 15:35 1 Echoes of Ossian, Op. 1 (1840) 14:22 Recorded on 23 February 1949 Recorded on 12 December 1949 2 Overture to Rienzi, WWV 49 (1840) 12:58 Recorded on 15 September 1953 Hakon Børresen 2 Prelude to The Royal Guest (1919) 8:30 Ludwig van Beethoven Recorded on 15 September 1953 Symphony No. 7 in A major, Op. 92 (1812) 39:46 3 I. Poco sostenuto – Vivace 13:43 Ludwig van Beethoven 4 II. Allegretto 9:25 Symphony No. 3 in E flat major, Op. 55, Eroica (1804) 49:09 5 III. Presto – Assai meno presto 8:27 3 I. Allegro con brio 15:56 6 IV. Allegro con brio 8:11 4 II. Marcia funebre: Adagio assai 14:16 Recorded on 21 February 1954 5 III. Scherzo: Allegro vivace 5:45 6 IV. Finale: Allegro molto 13:12 Edvard Grieg Recorded on 27 April 1950 From Two Elegiac Melodies, Op. 34 (1880) 7 II. The Last Spring 6:07 Recorded on 12 December 1949

Total 74:28 Total 72:02 CD IV King Frederik IX in reality, be kept within the private King Frederik IX Conducts sphere and as such could avoid the Danish National Symphony Orchestra as Conductor public criticism that is normally the lot of an artist, for better or for worse. Ludwig van Beethoven The Danish King Frederik IX’s Symphony No. 1 in C major, Op. 21 (1800) 23:27 by Claus Røllum-Larsen preoccupation with music must be 1 I. Adagio molto – Allegro con brio 7:52 described as atypical, in fact, unique 2 II. Andante cantabile con moto 6:43 For centuries artistic and musical for a member of a royal house, since 3 III. Menuetto: Allegro molto e vivace 3:47 activities were part of everyday life in it is hardly possible to cite other 4 IV. Adagio – Allegro molto e vivace 5:05 the great princely houses of Europe. examples of ruling monarchs whose Recorded in 1969 Usually, such artistic expression favourite pastime was orchestral con- belonged to private life, and only ducting. That the work of conducting, Richard Wagner became public to a limited extent; but even if it is sporadic, requires a large 5 From Götterdämmerung: Siegfried’s Funeral March (Act III), 8:05 in some cases, the contributions to number of other participants goes WWV 86D (1874) cultural history were so striking that without saying, and King Frederik IX’s 6 Overture to The Flying Dutchman, WWV 63 (1841) 10:52 the princely artist made a name for cultivation of music was indeed a rare Recorded in 1969 himself and stepped out of the private combination of something extremely sphere with his works. Two such strik- private and something to some Carl Maria von Weber ing cases were the Swedish Prince extent public since only a few chosen 7 Overture to Euryanthe, Op. 81 (1823) 9:11 Eugene, whose painting was already spectators were able to watch the Recorded in 1942 highly regarded by his contemporar- King work with the orchestras, while 8 Overture to Der Freischütz, Op. 77 (1821) 10:06 ies, and in music King Frederick the a considerable number of the Danish Recorded in 1946 Great of Prussia, who won fame in professional orchestral musicians of musical history both as a patron of the day were able to make music with the arts and as a composer. For these the King. This paradox, and the fact and innumerable other prominent that as a conductor King Frederik Total 61:43 royal artists, their artistic work could, IX, although self-taught, favoured

6 7 technically difficult challenges in had a central place in the home, III gained merit for having ensured piano-playing – the writer Else Moltke the great symphonic repertoire, since Princess Alexandrine played that the major music festivals in wrote as follows in 1937: ‘To sight- in particular music from Wagner’s the piano and in general, had a lively Mecklenburg-Schwerin, which had read, to shape the material with ­operas, gave the King’s unusual interest in musical life both inside been established at the beginning of musical talent, great astuteness and musical activities a certain aura. At and outside Denmark’s borders. She the 19th century, could be revived in a sure sense of taste – the princess the same time, the musicians always often went to concerts and gave 1860 and continued to thrive. Like his had been born with this ability and had the most profound respect for musical life her support, including wife, he was an admirer of Richard she developed it with perseverance the ­humility the King showed at being a patroness of various concert Wagner, and in 1882, the year before and industry.’ ­rehearsals and private concerts. This organisations, in particular the Musi- ­Wagner’s death, the couple paid a Although it was undoubtedly the is the clear impression that is con- cal Association, Aarhus Philharmonic visit to Wagner and his wife, Cosima. influence of his mother that encour- firmed by the musicians who worked Society and the Danish Richard It is thus apparent that Queen Alex- aged the musical interests and with the King, and it is a description Wagner Association. Also, she was andrine grew up in a musical family activities of Frederik IX, it should that accords well with the general a frequent guest at the Bayreuth as well as in the residential capital of be mentioned that on his father’s view of his personality. Festival, as she was a great admirer the Duchy, Schwerin, where musi- side too a strong musical tradition of Richard Wagner. cal culture flourished at both music can be demonstrated. For exam- A Lively Interest in Musical Life The princess did not get her festivals and the opera and where ple, his paternal grandmother, the Frederik IX was born at Sorgenfri musicality from strangers either. Wagner’s works were presented Swedish-born Queen Louise, and his ­Palace on 11 March 1899 as the Her mother, Anastasia, later Grand early on. great-grandmother, King Christian ­eldest son of Prince Christian and Duchess of Mecklenburg-Schwerin, When young, Queen Alexandrine IX’s queen Louise, who came from Princess Alexandrine. It was not was born Grand Duchess Anastasija had received instruction in piano- Hessen, were both very interested from his father, King Christian X, Michailovna of Russia. Her family, playing, and to such an extent that in music. that Prince Frederik had inherited his the House of Romanov, included she had a piano teacher both at The young Prince Frederik was by musicality. As barrister Eugen Olsen various musical personages, and the home in Schwerin and in Cannes on no means pressed to play a musi- is once said to have remarked that grand duchess herself was greatly the French Riviera, where the fam- cal instrument, but in 1911 Crown the King was unable to sing: interested in music, especially opera, ily had its summer residence, ‘Villa Princess Alexandrine considered ‘No one, at any rate, has ever and the theatre. Queen Alexandrine’s Wenden’. We are fortunate enough the time was ripe to engage a piano heard him do so.’ Despite this, music father, Grand Duke Friedrich-Franz to have a description of the Queen’s teacher for him. The choice fell on

8 9 Lizzy Hohlenberg, who for the next Orchestra’s kapellmeister Georg Crown Prince Frederik rehearsed and and honourable affair to play under six years introduced the Prince, who Høeberg, and after a Royal Danish conducted several works ranging the Crown Prince’s baton. For one of on the accession of his father, Chri- Orchestra concert two years later, from opera overtures to Beethoven’s them, one of Christian X’s Aides-de- stian X, in 1912, had become Crown the Queen and Crown Prince Frederik 1st Symphony. At one of the first Camp, C.A. Kraft, there was another Prince, to the literature of the piano. contacted Høeberg to ask him if he concerts, Joseph Haydn’s Children’s important reason for taking part in At an early stage, a warm friendship would have a talk with the young Symphony was on the programme. the work of the orchestra. For Kraft, arose between the teacher and her music-lover: ‘He is so interested in One of the members of the orches- as the historian Tage Kaarsted men- pupil, and even after the actual piano music’, as the Queen said. Høeberg tra, Aage Hannover, has given an tions in his doctoral thesis, apart teaching had stopped, the Crown agreed, and in the years ahead he amusing description of the concert from serving under the King, was Prince and Lizzy Hohlenberg met to and the Crown Prince met frequently in his diary, at which the conduc- linked to the intelligence service play piano duets. to talk about music, including inter- tor’s father, Christian X, was present: of supreme high command, and pretations of the great masterpieces. ‘The King, who sat in the front row, during the Easter Crisis, a political Peer Gynt At no point, however, did these was in excellent humour and cried crisis in 1920, Kraft functioned as A quite crucial event occurred on 16th meetings develop into lessons in out encore and da capo, and when an intermediary between the circle March 1913. In the evening Queen conducting. At a very early stage, the the Crown Prince was about to start around Lieutenant-Colonel With and Alexandrine had taken her eldest son Crown Prince had in fact set his heart on a new section of the symphony, he the King. By this time, Kraft was no to the Royal Danish Theatre for a on conducting but putting this into called out: Let us have a few pauses, longer an ADC, but via his partici- performance of Henrik Ibsen’s Peer practice was not so straightforward. and when that did not help: Oh, oh, pation in the Crown Prince’s small Gynt with Edvard Grieg’s music. The An opportunity was to arise, however. that didn’t help either. In the Marche orchestra he had access to the King Queen had brought along the score At the palace of Amalienborg, funèbre, when those playing comb- and in that way was able to pass on for the stage music, and the experi- Queen Alexandrine liked to play and-paper rose to their feet during news from the With circle. ence of this and the instruments piano duets, and in 1915, with this as their solo, the King also got up, which of the orchestra, and perhaps the a basis, she gathered a small group meant that everyone else also had to Not Only Skilled Amateurs combination of the sounds with the of musical family members, friends – it looked extremely amusing.’ Right up until 1921, the Crown printed music, made a great impres- or close members of the court, who There can be no doubt that Prince worked together with this sion on the Prince. The conductor came to function as a whole small for the individual members of the small orchestra, but to expand both for the evening was the Royal Danish orchestra. It was with this ensemble orchestra it was a both enjoyable his repertoire and his prowess as a

10 11 conductor, the Crown Prince began also met his maternal aunt, Crown Crown Prince accepted the offer and the turn of Weber’s Euryanthe Over- to conduct gramophone recordings. Princess Cecilie of Prussia, and his thus for the first time conducted the ture. The collaboration continued in He thus came to carry out concerts maternal uncle, Grand Duke Fried- Royal Danish Orchestra on 9th March June 1943, when the Crown Prince lasting up to a couple of hours, solely rich Franz IV. In the Crown Prince’s 1938. The programme consisted of had chosen to rehearse Sibelius’ based on gramophone records. For copy of Das Handbuch für Festspiel­ the last movement of Tchaikovsky’s Second Symphony – one of the few practical reasons, he marked in his besucher for the year 1927, one Sixth Symphony, the Pathétique, and works from the 20th century which score where the records would have can find crosses against all the cast the Prelude to Wagner’s opera The was included in his predominantly to be turned or exchanged. This was lists, which possibly indicates that Master-Singers of Nuremberg. And classical and German Romantic no small project at a time when shel- the Crown Prince was present all of thus, a tradition had been founded, repertoire. lac records imposed strict limits on the season’s six productions: Der since the Orchestra continued, playing time! Ring des Nibelungen, Tristan and until the death of the King, to hold It Must Be Cavalleria! It was not only skilled amateurs Isolde and Parsifal. During his visit to an annual private concert with him In the late summer of 1943, the the Crown Prince was able to work Bayreuth, Crown Prince Frederik in- wielding the baton. The event had political situation under the Occupa- with. At an early juncture, he contact- cidentally also met Richard Wagner’s the character of a birthday present tion developed in such a way that ed the Band of the Royal Lifeguards, daughter-in-law, Winifred Wagner. and was thus placed as close to 11th collaboration with the orchestras had and it soon became a regular tradition In 1938, the Royal Danish March as possible. to cease, and it was not until summer for him to conduct the ensemble in ­Orchestra, the trustees of its Pen- The first collaboration between 1945 that the Crown Prince was able a concert on his birthday. The young sions Fund and the Royal Danish the Crown Prince and the Danish­ once more to take up with coopera- conductor performed with the Band Orchestra Society decided at a National Symphony Orchestra tion with the orchestras. of the Navy too, but many years were meeting to ask Crown Prince Frederik took place on 3 May 1941. On the After World War II, the collabora- to pass before the Crown Prince had whether he would take over the programme was one of the prince’s tion with the Danish National Sym- the chance to play the role of con- patronage of the so-called Widows’ favourite works, Tchaikovsky’s phony Orchestra became a perma- ductor with a symphony orchestra. Pensions Fund Concerts, and on Pathétique Symphony. Contact with nent and important part of the King’s Crown Prince Frederik first visited the same occasion they offered the orchestra was renewed twice as activities as a conductor. As was the the Bayreuth Festival in 1927. He him the chance to conduct one of early as the following year. In June, case with the Royal Danish Orches- was accompanied on his journey by the rehearsals for the upcoming Beethoven’s 5th Symphony was tra, the King was invited to conduct his mother, and during his stay, he Royal Danish Orchestra concert. The performed, and in October it was one or more private concerts each

12 13 year. This allowed him to nurture the Prince’s immediate reply was: ‘In that United Nations on the labels indicates who the repertoire that was closest to his case, it must be Cavalleria!’. As early It has been mentioned earlier that ­conductor is. heart: Beethoven’s symphonic works as 1909, he had attended a perform- Frederik IX throughout his time as In 1952 King Frederik participat- and orchestral pieces from Wagner’s ance of Pietro Mascagni’s one-act Crown Prince had wished to keep ed in the festivities for the seventieth operas. This enabled him to perform opera Cavalleria Rusticana at the his musical activities within the birthday of his father-in-law King no less than seven of Beethoven’s Royal Danish Theatre, since when sphere of his private life. Only on Gustav VI Adolf of Sweden. At a symphonies with the Royal Danish it had occupied ‘a large place in his one occasion was this principle not concert at the Swedish Royal Theatre Orchestra and the Danish National heart as a musician’. strictly adhered to. In 1948, the in Stockholm the King, as a birth- Symphony Orchestra. In this connec- The opera was part of the reper- United Nations was at the head of a day present for the Swedish King, tion, it can be noted that the Pastoral toire of the theatre, and Egisto Tango large collection campaign in aid of conducted a programme consisting Symphony was on the programme carried out the musical rehearsals, refugees after the end of the Second exclusively of Wagner compositions, no less than four times, and in 1959 but it is impressive that after a few pi- World War, and in this connection, with the soloists Brita Hertzberg the Ninth Symphony was performed ano rehearsals and a dress rehearsal, King Frederik and the Royal Danish and Joel Berglund. Although the – though with the omission of the the Crown Prince managed to leave Orchestra placed themselves at the banquet and thus the concert thus choral finale. his imprint on the performance to disposal of the organisation, since had a certain private character, it Shortly after the Occupation, such a degree than the interpretation a set of gramophone records, often was attended by several Swedish Crown Prince Frederik was to have differed considerably from Tango’s. known as the TONO records – now music critics, who in their reviews of his most demanding assignment In the daily newspaper Politiken, one available in this CD box – was to be the concert emphasized the Danish to date as a conductor – one that could read the following about the recorded and raffled off as lottery king’s evident love of the music and perhaps was the most demanding he performance, which took place on 14 prizes in support of the refugee his familiarity with the score. In the ever attempted and that marked a March 1946: ‘The performance went collection. It should, how­ever, be newspaper Morgontidningen, one climax of his conducting career. The off excellently. The Crown Prince emphasised that even though the could read for example: ‘His leader- Crown Prince had received an invita- proved to be an extremely knowl- King thus appeared in public as a ship of the orchestra was assured, tion from the theatre director Cai edgeable opera conductor, with an conductor, it was nevertheless in the and his understanding of what he Hegermann-Lindencrone to conduct interesting and personal interpreta- form of an incognito, since the King’s played was personal. On the conduc- an afternoon performance at the tion of Mascagni’s work.’ name does not figure on the records; tor’s stand, too, he was an extraordi- Royal Danish Theatre, and the Crown only the crowned royal monogram narily charming revelation.’

14 15 The Crown Prince conducted The King’s Repertoire (Elves’ Hill) was on the programme of in 1901-1902, Giacomo Puccini's several concerts with the Tivoli King Frederik’s repertoire very clearly a concert with the Tivoli Orchestra in opera Gianni ­Schicchi from 1918, Concert Hall Orchestra during the reflects his musical taste. In 62 1945, and of two concerts with the and ­Hakon Børresen’s prelude to the 1940s, and in 1955 the King was for registered concerts, 107 programme Danish National Symphony Orches- opera The Royal Guest from 1919. a single concert at the head of the items were performed, amounting to tra in 1945 and 1952. Lumbye’s Aarhus City Orchestra. But the great 51 different works by 18 composers. Drømme­billeder (Dream Pictures) Brought a Magnetic Tape Along majority of the concerts took place Of the total number of performances, was conducted by the Crown Prince In conclusion, a brief mention should in collaboration with either the Royal works of Beethoven and Wagner with the Orchestra of the Tivoli be made of the procedure that under- Danish Orchestra or the Danish Na- alone account for almost half – the Concert Hall in 1945 and with the lay the King’s orchestral rehearsals tional Symphony Orchestra. The King two composers are represented by Danish National Symphony Orchestra and concerts. The rehearsals for the continued to work with these two or- 36 and 17 performances respectively. in 1948. By all indications, the King Danish National Symphony Orchestra chestras as late as until March 1971 – Then comes Tchaikovsky with nine only ­conducted ­Lumbye’s Salute to were usually held on Saturday morn- only nine months before he died. The performances and Schubert and ­August Bournonville in December ings between 10 am and 1 pm, with succession of soloists who played Weber with six each. Of Beethoven, 1948 in connection with the record- a coffee break of 20 minutes, during under the King’s baton includes Dan- the King performed all the sym- ing of the TONO charity records. The which the King sat with the manage- ish artists like Johanne Stockmarr, phonies except No. 4 and the last other works in the set were recorded ment of the orchestra, the concert- Elvi Henriksen and Charles Sende­ movement of the Ninth. The Wagner in the same month. masters and the head of music. The rovitz as well as the international works were orchestral pieces from The King’s repertoire concen- concert was normally held that same soloists Edwin Fischer and Wolfgang the dramatic works, with the Prelude trated mainly on musical works afternoon. A memorandum concern- Schneiderhan. It was a quite special and Isolde’s Liebestod from Tristan composed in the 19th century – in ing the King’s concerts with the event, too, on 8th March 1970, when und Isolde as an absolute favourite. fact, the repertoire only includes two Royal Danish Orchestra reveals that the King conducted the Royal Danish Schubert’s ­Unfinished Symphony works from the 18th century: Selec- here too the rehearsals were usually Orchestra in the middle movement was conducted by Crown Prince tions from W.A. Mozart’s Le nozze held on Saturday mornings between of Beethoven’s Third Piano Concerto Frederik with the Orchestra of the di Figaro and his Symphony No. 40 9.30 am and 12 noon, followed by a with his son-in-law Prince Henrik as Tivoli Concert Hall in 1943 and in G minor. Only three works date concert at 2 pm. Sometimes the King soloist. with the Royal Danish Orchestra in from the 20th century: Jean Sibe­ also brought a magnetic tape along 1947. Kuhlau’s Overture to Elverhøj lius’ Second Symphony, composed with him: ‘[Apart from his baton] the

16 17 Royal conductor has with him the score and the tape that is taken up to the technicians’ room for the wire-recorder. During the morning of the real concert, the entire concert is recorded, and the King can take the recorded tape home with him. He has reproduction equipment at the palac- es of Amalienborg and Fredensborg, and at Gråsten Castle.’ This could be read in Aftenbladet, 17 May 1952. The few listeners invited to be the audience at King Frederik IX’s private concerts with both orchestras have related that there was a very distinctive atmosphere, characterised by a joy of music-making. It was here that the King could test his interpre- tations in a professional milieu, and where he was also able to experience the dedication of the musicians and enjoy their sympathetic understand- ing. This box set hands on a selection of recordings from a number of these A look in the control room – from left violinist Erling Bloch, King Frederik IX and concerts. concertmaster Peder Lynged.

18 19 From Gramophone newly released gramophone records consisted of matrices from the record Der Freischütz Overture is some- were pressed using material that labels His Master’s Voice and Colum- what poorer than what one might ­Record to Compact Disc was mixed with old, melted-down bia, all unreleased. However, after the have expected. The reason for this is records which partly consisted of transfer of all of these, a small pile of that the recording level is extremely less fine-grained shellac and partly TONO press matrices appeared. They low, so there is a tendency for the by Claus Byrith were polluted by dirt and dust and, turned out to be the complete set noise to be ‘mixed up’ in the quieter not infrequently, bits of labels. This for the pressing of King Frederik IX’s passages. It is clearly audible that Today it is widely assumed that the led to surfaces with a lot of noise and TONO recordings from 1948. When these passages are muzzy, whereas hard-pressed situation in which the often blisters, formed by impurities these were played, one had a result the louder ones sound reasonably record companies found themselves that swelled up during the press- that far surpassed the previously good. However, it is natural for these during the final years of World War II ing ­process. King Frederik IX’s released reissues – practically all the recordings to be included here, de- returned fairly quickly to normal. This TONO gramophone records with the noise was gone and the clarity of the spite their deficiencies, because they is only partially true. The number of Royal Danish Orchestra (CD I) are sound was far more satisfying, even are the earliest recordings with King releases increased swiftly, but the no ­exception. though the matrices also showed Frederik IX and the Danish National quality of the individually pressed However, the pressing matrices signs of having been stored under Symphony Orchestra to which we records varied considerably be- found in the Royal Danish Library's less than favourable conditions. have access. They thus represent an cause of the raw materials situation, collection are made of metal and A few words about the two important step in King Frederik IX’s which for several years was typified can be regarded as dies which are ­Weber overtures from 1942 and development as a conductor. by shortages. Supplies of pressing pressed down into the warm shellac, 1946 (CD IV) also seem necessary The recordings with the Danish material from abroad were subject to thereby forming the grooves. In other in this context. While the Euryanthe National Symphony Orchestra (CD rigorous restrictions from the Ministry words, the grooves on the matrix are Overture from 1942 is of a quality II-III) were all made in the Concert of Supply, which kept an eye on the not depressions but ‘mountain ridges’. that very well corresponds to the Hall of Danmarks Radio in Copen- country’s currency reserves, which To be able to play such a matrix, one best possible at the time of record- hagen (now the Concert Hall of were rather low and under pressure. therefore has to use a needle that ing, perhaps except for the middle the Academy). They are all of high It was not until after 1950 that does not go down into a groove but, section, where the background noise quality, considering when they were conditions can be referred to as on the contrary, can ride on such is louder than in the outer parts of recorded. However, they were not all normal. This situation meant that a ‘mountain crest’. The collection the piece, the sound quality of the made in the same way: Before 1950,

20 21 tape-recording technology was not gramophones were running, one The story of the Royal Danish has performed public symphonic common, so Wagner’s Tannhäuser could thus go from No. 1 to No. 2 to Orchestra, often called the oldest concerts since the 1880s. The Royal Overture, Gade’s Echoes of Ossian get the music reproduced without orchestra in the world, is inextricably Danish Orchestra has also enjoyed and Grieg’s The Last Spring were not breaks or overlapping. However, bound up with the history of Denmark great success as a touring orches- recorded first on tape but cut directly it is not so straightforward a mat- as a cultural nation. Originally found- tra, and has performed of late in on gramophone records which turned ter to carry out this manoeuvre ed as a trumpeter corps for King celebrated venues such as the Berlin at 78 rpm and had a maximum play- with complete accuracy, and on Christian I of Denmark (1448-1481), Philharmonie, Moscow’s Tchaikovsky ing time of 4.5 minutes. This meant the tape recordings of the original the orchestra came to serve the suc- Concert Hall and the new Hamburg of course that the works filled several records that formed the basis for ceeding monarchs of Denmark, lend- Elbphilharmonie. In 2015 an inter- record sides. the production of the present CDs, ing musical pomp and circumstance nationally acclaimed tour took them The procedure was that the the side changes are in many cases to the sovereign at public events to the Berlin Music Festival and Bir- microphone signal was conducted audible. On the CDs, this has been of political significance. During the mingham Concert Hall. The orchestra at the same time to two cutting corrected everywhere possible, and centuries, the orchestra managed to regularly attracts renowned conduc- machines. Machine No. 2 was then they can now only be heard faintly in evolve from a trumpeter corps into tors and composers. In recent years started in good time before Machine a couple of cases. After the transi- a nuanced renaissance orchestra the orchestra has collaborated with No. 1 ran out. It was normal to have tion to magnetic tape technology and finally into a modern symphony Sir Simon Rattle, Mariss Jansons, an overlap of a half to three-quarter this problem disappeared, since the orchestra in its own right. The or- Marek Janowski, Hartmut Haenchen, of a minute. When the recordings playing time now became around half chestra endured after the absolute Michail Jurowski and Bertrand de were to be played for broadcasting an hour per reel. The recordings on monarchy was abolished in Denmark Billy, as well as Alexander Vedernikov, purposes, two gramophones were this CD thus reflect the technological in 1849: Maintaining its royal name, the Royal Danish Orchestra’s present used in the same way, and Gramo- ­revolution ushered in by magnetic the orchestra was handed over to the chief conductor. phone No. 2 was started at the point tape around 1950. state. The orchestra remains highly www.kglteater.dk where Cutting Machine No. 2 had regarded as a cultural institution. been started. This can be read off Apart from their invaluable con- The Danish National Symphony on the records, which were given a tribution at opera, ballet, and theatre ­Orchestra was founded in 1925 as synchronization mark between the performances at the Royal Danish part of the Danish Broadcasting Cor- grooves at this point. When both Theatre, the Royal Danish Orchestra poration. Today, it is one of the lead-

22 23 The Danish National Symphony Orchestra playing at the Danish Radio Concert Hall, conducted by King Frederik IX.

24 25 ing symphony orchestras in Europe, Hall, Royal Albert Hall, Berlin Philhar- Kong Frederik IX som talrige andre, også mindre fremstå- performing with the world’s leading monic, Concertgebouw Amsterdam, ende fyrstelige kunstnere – gjaldt, conductors and soloists. Since 2016, and the ­Musikverein. The Danish dirigent at deres kunstneriske virksomhed i the Chief Conductor of the Danish National Symphony Orchestra per- realiteten kunne holdes inden for den National Symphony Orchestra has forms everything from classical works private sfære og som sådan undgå been Fabio Luisi, who succeeded the by Beethoven and Brahms through af Claus Røllum-Larsen den offent­lige kritik, som i alminde- late Spanish maestro Rafael Frühbeck Roman­tic tone-poems and modern lighed er en kunstners vilkår, på godt de Burgos. Former Principal Conduc- masterpieces to new creations by up- Dyrkelse af malerkunst og musik har og ondt. tors and Principal Guest Conductors coming composers. At the same time, gennem århundreder præget dagligli- Kong Frederik IX’s beskæfti- include Herbert Blomstedt (conductor the orchestra has a special feeling for vet i de europæiske fyrstehuse. Som gelse med musik må betegnes som laureate), Thomas Dausgaard, Gerd Danish music – from classics like Carl oftest har en sådan kunstudøvelse atypisk og enestående for medlem- Albrecht, Leif ­Segerstam, Dmitri Kita- Nielsen and Niels W. Gade to the very været en del af det privatliv, som kun mer af fyrstehusene, for så vidt der jenko and Yuri Temirkanov. young composing talents. Each year i begrænset omfang kom til offentlig­ næppe kan nævnes andre eksempler The Danish National Symphony more than 100,000 music-lovers ex- hedens kendskab, men i en række på regerende monarker, der som Orchestra has performed with a.o. perience the magic of live symphonic tilfælde har der været tale om så mar- foretrukken fritidsinteresse havde Anne-Sophie Mutter, ­Leonidas ­music with the Danish National kante bidrag til kulturhistorien, at den orkesterdirektion. At arbejdet som Kavakos, Renée Fleming, Yo-Yo Symphony Orchestra – both in the fyrstelige kunstner har vundet sig et dirigent – så sporadisk det end måtte Ma, Leif Ove Andsnes, Lang Lang, spectacular hall of DR Koncert­huset navn og sammen med sine værker være – forudsætter en lang række Anna ­Netrebko, Daniel Barenboim, (designed by Jean Nouvel) and on er trådt ud af privatlivet. Sådanne øvrige medvirkende, siger sig selv. ­Elisabeth Leonskaja, Vladimir the orchestra’s annual tour abroad. eklatante tilfælde er den svenske Kong Frederik IX’s musikdyrkelse Ashkenazy, ­Yehudi Menuhin and In addition to the concert audiences, Prins Eugen, hvis malerkunst allerede udgjorde på den måde en sjælden Itzhak ­Perlman. The orchestra has the orchestra’s popular Thursday i hans samtid var højt anskreven, og kombination af noget yderst privat og toured extensively in the USA, in Concerts are enjoyed by half a million inden for tonekunsten Kong Frede- noget i en vis forstand offentligt, idet South America, in Japan, China and Danes on radio and TV, and millions rik den Store af Preussen, der som kun få udvalgte fik mulighed for at in most countries in Europe, and world-over tune in when the concerts kunst­mæcen, men også som kompo­ overvære Kongens arbejde med or- performed at some of the most pres- are broadcast internationally. nist, opnåede berømmelse og en kestrene, medens en betragtelig del tigious venues ­including Carnegie www.drsymfoniorkestret.dk plads i musikhistorien. For dem – og af samtidige danske professionelle 26 27 orkestermusikere gennem årene kom havde arvet sin musikalitet; som personer blandt sine medlemmer, i Schwerin og en i Cannes ved den til at musicere med Kongen. Dette landsretssagfører Eugen Olsen en- og Storhertuginden selv var stærkt franske Riviera, hvor familien havde paradoks samt den omstændighed gang skal have udtalt: synge kunne optaget af både musik, herunder især sin sommerresidens, Villa Wenden. Vi at Kong Frederik IX skønt autodidakt Kongen ikke, “der er i hvert fald opera, og teater. Dronning Alexandri- er så heldige at have en beskrivelse som dirigent dyrkede teknisk van- aldrig nogen, der har hørt det.” Men nes far, Storhertug Friedrich-Franz af Dronningens klaverspil; det er skelige opgaver inden for det store i hjemmet havde musik en central III indlagde sig fortjenester ved bl.a. forfatteren Else Moltke, som i 1937 symfoniske og dramatiske repertoire placering, idet Prinsesse Alexandrine at sørge for, at de store musikfester gav denne karakteristisk: “At læse og her ikke mindst Wagners operaer, spillede klaver og i det hele taget i Mecklenburg-Schwerin, som var fra Bladet, at forme Stoffet med har forlenet Kongens usædvanlige fulgte levende med i musiklivet inden blevet etableret i begyndelsen af musikalsk Evne, klar Dømmekraft og musikalske virke med en særlig aura. for og uden for landets grænser. Hun 1800-tallet, kunne genoptages og sikker Smag, den Evne fik Prinsessen Samtidig har der stedse hersket en var en flittig koncertgænger og gav videreføres fra 1860. Han var ligesom i Vuggegave og udviklede den med dyb respekt for den ydmyghed, hvor- musiklivet sin støtte blandt andet sin hustru en beundrer af Richard Udholdenhed og Flid.” med Kongen optrådte under prøver ved at påtage sig protektion af flere Wagner, og i 1882, året inden Wag- Selv om det uden tvivl er påvirk­ og private koncerter. Det er det klare koncertforetagender, først og frem- ners død, aflagde storhertugparret ningen fra hans mor, der har befordret indtryk, man kan få bekræftet af de mest Musikforeningen, Aarhus Phil- besøg hos Wagner og hans hustru musikinteressen og -­beskæf­tigelsen musikere, der arbejdede sammen harmoniske Selskab og Den Danske Cosima. Man vil forstå, at Dronning hos Frederik IX, så bør det nævnes, med Kongen, og det er i det hele Richard Wagner Forening. Derudover Alexandrine voksede op i en musi- at der også i Kongens fædrene fami- taget en karakteristik, som stemmer var hun en hyppig gæst ved Festspil- kalsk familie samt i hertugdømmets lie kan påvises en stærk musikalsk overens med den almindelige opfat- lene i Bayreuth, da hun var en stor residensby Schwerin, hvor musik- tradi­tion. Således var både hans telse af hans person. ynder af Richard Wagner. kulturen blomstrede såvel ved store farmor, den svenskfødte Dronning Prinsessen havde dog heller ikke musikfester som ved operaen, hvor Louise, og ikke mindst hans oldemor, Fulgte med i musiklivet musikaliteten fra fremmede. Hendes i øvrigt Wagners værker tidligt blev Christian IX’s dronning, Louise, der Frederik IX var født på Sorgenfri mor, Anastasia, senere Storhertugin- præsenteret. stammede fra Hessen, stærkt musik- Slot den 11. marts 1899 som ældste de af Mecklenburg-Schwerin, var født Dronning Alexandrine havde som interesserede. barn af Prins Christian og Prinsesse Storfyrstinde Anastasija Michailovna ung fået klaverundervisning, og dette Den unge Prins Frederik blev Alexandrine. Det var ikke fra sin far, af Rusland. Hendes slægt, Huset åbenbart i et sådant omfang at hun ikke presset til at spille et musik­ Kong Christian X, at Prins Frederik Romanov, talte adskillige musikalske både havde en klaverlærer hjemme instrument, men i 1911 fandt Kron-

28 29 prinsesse Alexandrine dog tiden indtryk på Kronprinsen. Aftenens kom til at udgøre et helt lille orke- ærefuld sag at spille under Kronprin- moden til, at der blev engageret en dirigent var den senere kongelige ster. Det var med dette, at Kronprins sens taktstok. For en enkelt af dem, klaverlærer til ham. Valget faldt på kapelmester Georg Høeberg, og efter Frederik indstuderede og opførte en adjudant hos Christian X, C.A. Kraft, Lizzy Hohlenberg, som i de følgende en kapelkoncert to år senere tog række værker, der spændte fra ope- var der en anden væsentlig grund til seks år førte Prinsen, der ved sin Dronningen og Kronprins Frederik raouverturer til Beethovens 1. sym- at deltage i orkestrets arbejde. Kraft fars, Christian X’s, tronbestigelse kontakt med Høeberg for at spørge foni. Ved en af de første koncerter var nemlig, som historikeren Tage i 1912 var blevet Kronprins, ind i ham, om han ville tale lidt med den stod Joseph Haydns Børnesymfoni Kaarsted fortæller i sin disputats, klaverlitteraturen. Allerede­ tidligt unge musikelsker: “Han er så inte- på programmet. Et af orkestermed- foruden at være tjenstgørende hos opstod der et hjerteligt venskab resseret i musik”, som Dronningen lemmerne, Aage Hannover, har i sin Kongen tilknyttet overkommando- mellem lærer og elev, og selv efter sagde. Høeberg tog imod opfordrin- dagbog givet en morsom beskri- ens efterretningsvæsen, og under at den egentlige klaverundervisning­ gen, og i de kommende år mødtes velse af koncerten, hvor den unge Påskekrisen i 1920 fungerede Kraft var ophørt, mødtes Kronprinsen Kronprinsen og han jævnligt for at dirigents far, Kong Christian X, var som mellemmand imellem kredsen og Lizzy Hohlenberg for at spille drøfte musik, bl.a. fortolkninger af til stede: “Kongen, der sad paa for- omkring oberstløjtnant Erik With og ­firhændigt klaver. de store mesterværker. På intet tids- reste Række, var i glimrende Humør, Kongen. På dette tidspunkt var Kraft punkt udviklede disse møder sig dog og raabte bis og da capo, og naar fratrådt som adjudant, men gennem Peer Gynt til direktionsundervisning. Kronprinsen vilde begynde paa en sin deltagelse i Kronprinsens lille En helt afgørende begivenhed indtraf Kronprinsens hu stod allerede ny Del af Symfonien, raabte han: Lad orkester har han haft adgang til Kon- den 16. marts 1913. Om aftenen tidligt til orkesterdirektion, men at os dog faa lidt Pauser, og da det ikke gen og på den måde kunnet bringe havde Dronning Alexandrine taget sin komme til at udøve denne kunst var hjalp: Øh, Øh, der heller ikke hjalp. I nyt fra ­With-kredsen. ældste søn med i Det Kongelige Tea- ikke så ligetil. Der skulle dog vise sig Marche funèbre, hvor Redekammene ter til en opførelse af Henrik Ibsens­ en mulighed. rejste sig op under deres Solo, rejste Ikke kun dygtige amatører skuespil Peer Gynt med ­Edvard På Amalienborg dyrkede Dron- Kongen sig ogsaa op, og da han Helt frem til 1921 arbejdede Kronprin- Griegs musik. Dronningen havde ning Alexandrine firhændigt klaver­ gjorde det, maatte de andre ogsaa; sen sammen med det lille orkester, medbragt partituret til scenemusik- spil, og med dette som grundlag det saa meget morsomt ud.” men for at udvide sit repertoire og ken, og oplevelsen af orkestrets samlede hun i 1915 en lille skare af Der er ingen tvivl om, at det få lidt mere luft under vingerne rent instrumenter sammenholdt med det musicerende familiemedlemmer, ven- for de enkelte orkestermedlemmer orkestralt, begyndte Kronprinsen trykte nodebillede gjorde et stort ner eller nærtstående hoffolk, som har været en såvel fornøjelig som at dirigere til grammofonplader.

30 31 Således gennemførte han koncer- Friedrich Franz IV. I Kronprinsens Meistersinger von Nürnberg. Hermed Så skal det være Cavalleria! ter af op til et par timers varighed eksemplar af Das Handbuch für Fest- var en tradition blevet grundlagt, idet I eftersommeren 1943 udviklede den alene med benyttelse af plader. Af spielbesucher for året 1927 finder Kapellet helt frem til Kongens død år- politiske situation under besættelsen praktiske grunde markerede han i man krydser ud for alle rollelisterne, ligt lod afholde en privat koncert med sig på en sådan måde, at samarbej- sine partiturer, hvor pladerne skulle hvilket kan tyde på, at Kronprinsen ham på podiet. Arrangementet havde det med orkestrene måtte indstilles, vendes eller skiftes. Et ikke helt lille har overværet alle sæsonens seks karakter af en fødselsdagsgave og og først i sommeren 1945 kunne projekt på et tidspunkt, hvor shellak- opsætninger: Der Ring des Nibelun- blev følgelig lagt så tæt på den 11. Kronprinsen genoptage forbindelsen pladerne satte snævre grænser for gen, Tristan und Isolde og Parsifal. marts, som det var muligt. med orkestrene. ­spillelængden! Ved besøget i Bayreuth mødte Kron- Det første samarbejde mellem Efter Anden Verdenskrig blev Det var ikke kun dygtige amatø- prins Frederik i øvrigt Richard Wag- Kronprinsen og DR Symfoniorkestret samarbejdet med DR Symfoniorke- rer, Kronprinsen fik mulighed for at ners svigerdatter Winifred Wagner. fandt sted den 3. maj 1941. På pro- stret en helt fast og vigtig del af Kon- arbejde med. På et tidligt tidspunkt I 1938 var det på et møde mellem grammet stod her et af Prinsens fa- gens dirigentvirksomhed. Ligesom fik han kontakt med Den Kongelige Det Kongelige Kapel og bestyrelsen voritværker, Tjajkovskijs Pathétique- det var tilfældet med Det Kongelige Livgardes Musikkorps, og det blev for Pensionskassen og Kapelforenin- symfoni. Kontakten med orkestret Kapel, blev Kongen hvert år indbudt snart en fast tradition, at han ledede gen blevet besluttet at forespørge blev allerede året efter genoptaget to til at dirigere en eller flere lukkede dette ensemble ved en koncert på sin Kronprins Frederik, om han ville gange. I juni opførtes således Beet- koncerter. Hermed fik han mulighed fødselsdag. Også med Flådens Musik­ overtage protektoratet for Pensions- hovens 5. symfoni, og i oktober gjaldt for at pleje det repertoire, der nok korps optrådte han, men der skulle gå kassekoncerterne, og ved samme det Webers Euryanthe-ouverture. stod hans hjerte nærmest: Beetho- en lang årrække, før Kronprinsen fik lejlighed tilbød man ham at lede en Samarbejdet fortsatte i juni 1943, vens symfoniske værker og orkester­ chancen for at indtage dirigentrollen af prøverne forud for den kommende hvor Kronprinsen havde valgt at stykkerne fra Wagners operaer. over for et symfoniorkester. kapelkoncert. Kronprinsen accep- indstudere Sibelius’ 2. symfoni – et af Således nåede han sammen med Det Kronprins Frederik besøgte første terede tilbuddene og dirigerede så- de få værker fra det 20. århundrede, Kongelige Kapel og DR Symfoniorke- gang Festspillene i Bayreuth i 1927. ledes for første gang Det Kongelige som blev optaget i hans overvejende stret at opføre ikke færre end syv af På rejsen var han ledsaget af sin Kapel den 9. marts 1938. Program- wienerklassiske og tyskromantiske Beethovens symfonier. Man kan her mor, og ved opholdet mødte han dels met omfattede sidste sats af Tjajkov- repertoire. notere sig, at Pastorale-symfonien sin moster, Kronprinsesse Cecilie af skijs 6. symfoni, Pathétique, og var på programmet ikke mindre end Preussen, og sin morbror, Storhertug forspillet til Wagners opera Die fire gange, og i 1959 opførtes den

32 33 9. symfoni, dog med udeladelse den afveg markant fra Tangos. Om af korfinalen. forestillingen, som fandt sted den 14. Kort tid efter besættelsen skulle marts 1946, kunne man i Dagbladet Kronprins Frederik få sin hidtil, hvis Politiken læse: “Forestillingen fik et ikke overhovedet mest krævende smukt Forløb. Kronprinsen viste sig dirigentopgave, som skulle blive som en meget kyndig Operadirigent højdepunktet i hans arbejde som diri- med en interessant og personlig gent. Fra teaterchef Cai Hegermann- Opfattelse af Mascagnis Værk.” Lindencrone havde Kronprinsen fået tilbud om at lede en operaopførelse Forenede Nationer ved en eftermiddagsforestilling på Det er nævnt, at Frederik IX helt fra Det Kongelige Teater, og Kronprin- sin tid som kronprins havde ønsket sens svar skal være kommet prompte: at holde sin musikalske virksomhed “Så skal det være Cavalleria­ !” inden for privatlivets rammer. Kun en Allerede i 1909 havde han nemlig enkelt gang blev dette grundlæggen- over­været en opførelse af Pietro de princip for alvor fraveget. I 1948 Mascagnis opera i én akt Cavalleria stod de Forenede Nationer i spidsen rusticana på Det Kongelige Teater, for en stor indsamling til fordel for og siden havde den indtaget “en stor flygtninge efter verdenskrigens op- plads i hans musikerhjerte”. hør, og her stillede Kong Frederik og Operaen var i teatrets repertoire, Det Kongelige Kapel sig til rådighed, hvor Egisto Tango havde vare­ idet det grammofonpladesæt, ofte taget den musikalske indstudering, kaldt TONO-pladerne, som findes men det er tankevækkende, at det genudgivet i denne cd-boks, blev efter nogle få klaverprøver samt en indspillet og bortloddet som lotteri- The programme cover of the symphony concert with the Danish National general­prøve lykkedes Kronprinsen præmier til fordel for flygtningeind- Symphony Orchestra and King Frederik IX, on 21 February 1954, CD II 3-6 at præge opførelsen i en grad, så samlingen. Det bør dog understreges,

34 35 at selv om Kongen på denne måde var även på dirigentpulten en utomor- Kongens repertoire Koncertsals Orkester i 1945 og med trådte offentligt frem som dirigent, dentligt charmerande uppenbarelse.” Kong Frederiks repertoire afspejler DR Symfoniorkestret og Det Konge­ skete det alligevel under en form Kronprinsen dirigerede flere helt klart hans musikalske smag. Ved lige Kapel i 1948. Lumbyes Salut for for inkognito, da Kongens navn ikke koncerter med Tivolis Koncertsals 62 registrerede koncerter blev der August Bournonville har Kongen ­figurerer på pladerne; kun det kro- Orkester i løbet af 1940’erne, lige- opført 107 programpunkter med i alt efter alt at dømme kun dirigeret i nede kongemonogram på etiketterne som Kongen i 1955 ved en enkelt 51 forskellige værker af 18 komponi- december 1948 i forbindelse med lader forstå, hvem dirigenten er. koncert stod i spidsen for Aarhus ster. Ud af det samlede opførelses- indspilningen af TONO-pladerne. De I 1952 deltog Kong Frederik IX By-Orkester. Men så langt de fleste antal dækker værker af Beethoven øvrige værker på pladesættet blev i festlighederne i anledning af sin koncerter foregik i samarbejde med og Wagner alene næsten halvdelen, indspillet samme måned. svigerfars, Kong Gustav VI Adolfs, enten Det Kongelige Kapel eller DR idet disse to komponister er repræ- Kongens repertoire var hoved­ 70-årsdag. Ved en koncert på Kungl. Symfoniorkestret. Med disse to orke- senteret med henholdsvis 36 og 17 sagelig koncentreret om musikvær- Teatern i Stockholm dirigerede stre arbejdede Kongen så sent som i opførelser. Herefter følger Tjajkovskij ker komponeret i 1800-tallet, ja, Kongen som en fødselsdagsgave til marts 1971 – trekvart år før sin død. med ni opførelser og Schubert og faktisk opviser repertoirelisten kun den svenske konge et program med Rækken af solister, som har spillet Weber med hver seks. Af Beethoven to værker fra 1700-tallet: udvalg lutter Wagner-kompositioner og med under Kongens taktstok, omfatter fremførte Kongen som nævnt de fra W.A. Mozarts Figaros bryllup og solisterne Brita Hertzberg og Joel danske kunstnere som pianisterne ni symfonier med undtagelse af nr. hans Symfoni nr. 40 i g-mol. Kun Berglund. Selv om festen og der- Johanne Stockmarr og Elvi Henrik- 4 og sidste sats af den 9. Wagner-­ tre værker stammer fra 1900-tallet: med koncerten havde en vis privat sen og violinisten Charles Sendero- værkerne udgjordes af orkesterstyk- Jean Sibelius’ 2. symfoni komponeret karakter, blev den overværet af flere vitz samt de internationale solister ker fra de dramatiske værker med 1901-1902, Giacomo Puccinis opera svenske musikkritikere, som i deres pianisten Edwin Fischer og violinisten Forspil og Isoldes Kærlighedsdød Gianni Schicchi fra 1918 og Hakon omtale af koncerten betonede den Wolfgang Schneiderhan. En ganske fra Tristan og Isolde som en absolut Børresens forspil til operaen Den danske konges åbenlyse kærlighed til særlig begivenhed var det, da Kon- favorit. Schuberts Ufuldendte sym- kongelige gæst fra 1919. musikken og hans fortrolighed med gen den 8. marts 1970 dirigerede Det foni spillede Kronprins Frederik med partituret. I Morgontidningen kunne Kongelige Kapel i mellemsatsen fra Tivolis Koncertsals Orkester i 1943 Medbragte et bånd man bl.a. læse: “Hans ledning av orke- Beethovens 3. klaverkoncert med sin og med Det Kongelige Kapel i 1947. Afslutningsvis skal kort omtales den stern var säker, och hans uppfattning svigersøn Prins Henrik som solist. H.C. Lumbyes Drømmebilleder di- procedure, der gik forud for ­Kongens av det han spelade var personlig. Han rigerede Kronprinsen med Tivolis orkesterprøver og koncerter. Prøver­

36 37 ne med DR Symfoniorkestret afhold- private koncerter med Det Kongelige Fra grammofonplade var blandet op med gamle omsmelte- tes i reglen på lørdag formiddage Kapel og DR Symfoniorkestret, har de grammofonplader, der dels bestod mellem kl. 10 og 13 med en kaffe­ kunnet berette om en ganske særlig til CD af mindre finkornet lak og dels var pause på 20 minutter, hvor Kongen stemning præget af intimitet og forurenet af snavs og støv samt ofte var sammen med orkestrets direktion, musikglæde. Det var her, Kongen for rester af etiketter. Det betød overfla- koncertmestrene og musikchefen. alvor fik afprøvet sine fortolkninger af Claus Byrith der med megen støj og ofte blister, Koncerten afvikledes normalt samme i et professionelt regi, og hvor han dannet af urenheder, der under og dags eftermiddag. Et notat om Kon- samtidig kunne opleve musikernes I dag er det almindelig antaget, at efter presningen svulmede op. Kong gens koncerter med Det Kongelige engagement og modtage deres sym- den hårdt trængte situation, som Frederik IX’s TONO-grammofonplader Kapel viser, at også her foregik prø- pati. Det er udvalgte optagelser fra pladeselskaberne befandt sig i under med Det Kongelige Kapel (CD I) er verne gerne på lørdag formiddage kl. en række af disse koncerter, cd’erne i de sidste år af 2. Verdenskrig, ret ingen undtagelse. 9.30-12 efterfulgt af koncert kl. 14. dette bokssæt videregiver. hurtigt normaliseredes. Det er kun Matricerne til presning af gram- Ved prøverne kunne det hænde, at delvis rigtigt. Udgivelsernes antal mofonplader som findes i Det Konge- Kongen medbragte et bånd: voksede hurtigt, men kvaliteten af de lige Biblioteks samling er imidlertid af “[Foruden sin dirigentstok] med- enkelte pressede grammofonplader metal og kan opfattes som stempler, bringer den kongelige dirigent parti- var meget svingende på grund af rå- der trykkes ned i den varme lak, turet og stålbåndet, som bringes op stofsituationen, der endnu adskillige hvorved grammofon­pladens riller i teknikerrummet til wire-recorderen. år var præget af mangel. Tilførsler dannes. Det vil altså sige, at rillerne I morgen, når den egentlige koncert fra udlandet af pressemateriale var på matricen ikke er fordybninger, finder sted, bliver hele koncerten underlagt hårde restriktioner gennem men ‘bjergrygge’. For at kunne afspille optaget, og kongen får båndet med Varedirektoratet, der vogtede på en sådan matrice, må man derfor sig hjem. Han har gengiverapparater landets valutareserver, som var små anvende en nål, som ikke går ned både på Amalienborg, i Fredensborg og hårdt trængte. i en rille, men derimod kan ride på og Gråsten.” Dette kunne man læse i Først efter 1950 kan forholdene nævnte ‘bjergkam’. Samlingen bestod Aftenbladet 17. maj 1952. betegnes som normale. Denne situa- af matricer fra pladeselskaberne His De få tilhørere, der var indbudt tion betød, at nyudgivne grammofon- Master’s Voice og Columbia, alle til at overvære Kong Frederik IX’s plader blev presset i et materiale, der uudgivne. Efter overførslen af alle

38 39 disse dukkede der imidlertid en lille passager er uklare, mens de kraftige Fremgangsmåden var, at mikro- de kan nu kun anes i et par tilfælde. stabel TONO-presse­matricer op. Det passager klinger rimelig godt. Det fonsignalet samtidig blev ført til to Ved overgangen til båndteknikken viste sig at være det komplette sæt til er dog naturligt, at de er med her, skæreapparater. Man startede så forsvandt dette problem, idet spil- presning af Kong Frederik IX’s TONO- deres mangler til trods, fordi det er maskine 2 i god tid før maskine 1 løb letiden nu blev cirka en halv time pr. indspilninger fra 1948. Når disse blev de tidligste optagelser med Kong ud. Det var almindeligt med et over- spole. Optagelserne belyser således afspillet, fik man et resultat, der langt Frederik IX og DR Symfoniorkestret, lap på et halvt til et trekvart minut. den tekniske revolution, som magnet- overgik det tidligere – næsten al støj vi har adgang til. De repræsenterer Når optagelserne skulle afspilles til båndet bevirkede omkring 1950. var væk og klarheden i lydbilledet var således et vigtigt skridt i Frederik IX’s udsendelsesbrug, anvendte man langt mere tilfredsstillende, selvom udvikling som dirigent. på samme måde to grammofoner matricerne også bar præg af opbeva- Optagelserne med DR Symfoni- og satte grammofon nr. 2 i gang på ring under mindre heldige forhold. orkestret (CD II-III) er alle foretaget det sted, hvor skæreapparat nr. 2 Et par ord om de to Weber-ouver- i Radiohusets Koncertsal (i dag var blevet startet. Dette kan aflæses turer fra 1942 og 1946 (CD IV) synes Konservatoriets Koncertsal). De er på pladen, som fik et synkro­ni­se­ også nødvendige i denne sammen- alle af høj kvalitet, når man betænker rings­mærke mellem rillerne på dette hæng. Mens ouverturen til Euryanthe optagelsestids­punk­tet. Men de er sted. Når begge grammofoner kørte, fra 1942 er i en kvalitet, som meget imidlertid ikke alle lavet på samme kunne man så blænde over fra nr. 1 godt svarer til det bedst mulige på måde: Før 1950 var båndteknikken til nr. 2, således fik man musikken tidspunktet for indspilningen, måske ikke almindelig, og derfor er Wag- gengivet uden pauser eller overlap. med undtagelse af midterdelen, ners Tann­häuser-ouverture, Gades Det er imidlertid ikke så lige til en hvor baggrundsstøjen er højere end Efterklange af Ossian og Griegs sag at foretage denne manøvre helt i yderdelene, er kvaliteten af Der Våren ikke først indspillet på bånd, præcist, og på de båndoverspilninger Freischütz en del ringere, end hvad men derimod skåret direkte på gram- af de oprindelige grammofonplader, man kunne forvente. Årsagen er, at mofonplader, der kørte 78 omdrej- som udgør grundlaget for fremstil- indspillestyrken er særdeles lav, så ninger pr. minut og havde en spilletid lingen af de foreliggende cd’er, er der er en tendens til, at støjen så at på maksimalt 4,5 minutter. Det betød side­skiftene i mange tilfælde hørbare. sige blandes op i de svage passager. naturligvis, at værkerne fyldte adskil- I nærværende form er disse korrigeret Det høres tydeligt, at disse svage lige pladesider. overalt, hvor det har været muligt, og

40 41 King Frederik IX conducting the Royal Danish Orchestra at Odd Fellow Palæet, December 1948 (CD I).

42 Royal Danish Orchestra43 Det Kongelige Kapel er verdens Ud over Kapellets uvurderlige ind- Alexander Vedernikov, Det Kongelige Sydamerika, Japan, Kina og de fleste ældste orkester, og orkestrets sats ved opera-, ballet- og teaterfore- Kapels nuværende chefdirigent. europæiske lande og optrådt på historie hænger uløseligt sammen stillinger på Det Kongelige Teater har www.kglteater.dk prestigefyldte scener som Carnegie med udviklingen af Danmark som Det Kongelige Kapel siden 1880’erne Hall, Royal Albert Hall, Suntory Hall, moderne, kulturel nation. Oprindeligt på eget initiativ spillet offentlige DR Symfoniorkestret blev grundlagt Berliner Filharmonien, Amsterdams blev orkestret grundlagt helt tilbage symfonikoncerter – de berømmede i 1925 som del af Danmarks Radio Concertgebouw og Musikverein. i 1448 som trompeterkorps for Kong Kapel­koncerter, der, dengang som – dengang kaldet Statsradiofonien. DR Symfoniorkestret spiller alt fra Christian I (1448-1481), og under de nu, præsenterer orkestrets symfoni- I dag er det et af Europas førende klassiske symfonier af Beethoven og følgende regenter var det Det Kon- ske formåen. Det har bragt Kapel- symfoniorkestre, som optræder sam- Brahms til romantiske tonedigte, mo- gelige Kapel, der slog stemningen let vidt omkring i verden på turné: men med verdens førende dirigenter derne mesterværker og nye klange an, når kongefamilien havde brug for senest på anerkendte steder som og solister. Siden 2016 har orkestrets af helt unge komponister. Samtidig særlig pomp og pragt. Som århund- Berlinerfilharmonien, Tjajkovskij- chefdirigent været italienske Fabio har orkestret en særlig fornemmelse rederne skred frem, blev instrument- koncertsalen i Moskva og Hamborgs Luisi, som efterfulgte den spanske for dansk musik – fra klassikere som grupper tilføjet, og en musikalsk stil nye Elbphilharmonie. Maestro Rafael Frühbeck de Burgos. Carl Nielsen og Niels W. Gade til åbenbarede sig. Kapellet formåede Blandt de senere års store inter- Tidligere chefdirigenter og gæstediri- de nye danske komponisttalenter. at gå fra et være et renæssance­ nationale succeser kan også nævnes genter tæller bl.a. Herbert Blomstedt Hvert år oplever mere end 100.000 orkester brugt ved særlige lejligheder Det Kongelige Kapels anmelderroste (æresdirigent), Thomas Dausgaard, musikelskere magien i den levende, til et moderne symfoniorkester i sin turné i 2015 til Berlin Musik Festi- Gerd Albrecht, Leif Segerstam, Dmitri symfoniske musik med DR Sym- egen ret – og bestod også efter, at val og Birmingham Concert Hall. Kitajenko og Yuri Temirkanov. DR foniorkestret. Orkestrets klassiske enevældens afskaffelse i Danmark Derudover tiltrækker Det Kongelige Symfoniorkestret har optrådt sam- Torsdags­koncerter følges hver sæson i 1849 gjorde et kongeligt orkester Kapel hver sæson store dirigent- og men med bl.a. Anne-Sophie Mutter, af 500.000 danskere på radio, TV overflødigt. Orkestret blev overdraget komponistnavne fra hele verden. I de Leonidas Kavakos, Renée Fleming,­ og internettet, og millioner lytter til staten, men beholdt sit kongelige seneste år har Det Kongelige Kapel Yo-Yo Ma, Leif Ove Andsnes, Lang med, når koncerterne transmitteres navn og har gennem sit fortsatte samarbejdet med Sir Simon Rattle, Lang, Anna Netrebko, Daniel internationalt. store virke for dansk musik og scene- Mariss Jansons, Marek Janowski, Barenboim, Vladimir Ashkenazy, www.drsymfoniorkestret.dk kunst aldrig mistet sin anseelse som Hartmut Haenchen, Michail Jurow- Yehudi Menuhin og Itzhak Perlman. kulturel institution i Danmark. ski og Bertrand de Billy, såvel som Orkestret har turneret flittigt i USA,

44 45 CD I: New transfer direct from metal masters. Previously released on Dacapo Records 8.224100 and TONO FN 1-2, FN 3-4 and FN 5-7 Recorded at Odd Fellow Palæet in December 1948 CD II-III: Remastered version of Dacapo Records 8.224158-59. Recorded at the Danish Radio Concert Hall 1949-54 CD IV: Recorded at the Radiohusets Koncertsal in 1969 (Symphony No. 1, The Flying Dutchman, Götterdämmerung), December 1946 (Der Freischütz), and Stærekassen in October 1942 (Euryanthe) Digital editing and CEDAR processing: Claus Byrith Liner notes: Claus Røllum-Larsen English translation of liner notes: James Manley, John Irons Proofreader: Svend Ravnkilde Cover design: Studio Tobias Røder Photos pp. 19, 42: Hans Fulling, © Det Kongelige Kapels Forening ℗ 1948, 2000, 2020 Dacapo Records, Copenhagen © 2020 Dacapo Records, Copenhagen This box set has been released in cooperation with the Royal Danish Library, the Royal Danish Theatre and DR (Danish Broadcasting Corporation)

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Dacapo Records, Denmark’s national record label, was founded in 1989 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards.

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