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J.P.E Hartmann 88226103_04_outer_wrap.indd 1 2 2 6 1 0 perspectives 3 _ 0 4 _ o u t e r _ w PE r a . Hartmann p . J i THE KEY MASTERPIECES n , d d 1 CD 1 1 Hakon Jarl op. 40 (1844) . 9:20 Little Kirsten was greatly Danish National Symphony Orchestra; d ame the prime in among other Th omas Dausgaard, cond. c d es an be 2 d ism. Hartmann took ism. Hartmann d Andantino and Eight Variations in C major (1839) . 8:42 c a the opera c d e Tre Musici d an be foun 3 - 6 Piano Sonata in D minor, op. 34 (1843) . 28:39 c Nina Gade, piano Kuhlau an Kuhlau d 7 Fantasia for Organ in F minor, op. 20 (1837) . 8:11 Hans Fagius, organ national romanti c i d 8 12 throughout eight - Suite for Violin and Piano in A minor, op. 66 (1864) . 18:38 c Elisabeth Zeuthen Schneider, violin; Bohumila Jedlickova, piano musi nest examples of this d fi CD 2 e of Danishness. e c Th . c 1 4 ompose Danish masters Weyse an Danish masters Weyse - Liden Kirsten (1849) – Act II (beginning) . 14:35 c d inspiration for Nor inspiration for c Inger Dam-Jensen, soprano; Poul Elming, tenor; Danish National Symphony Orchestra; Michael Schønwandt, cond. 1900) - 5 - 8 Symphony no. 1 in G minor, op. 17 (1835, rev. c. 1850) . 31:24 a stylisti d 9 13 (1805 - Vølvens spådom, op. 71 (1870-72) . 16:41 Lunds Studentsångförening; Danish National Symphony Orchestra; Th omas Dausgaard, cond. RTMANN by Grieg, an by d at the time to be the very essen at the time to be the very DACAPO 8.226103-04 d For more information on works, artists and composers, ge mire d d entre stage in the wake of the ol entre stage in the wake please visit our website www.dacapo-records.dk J.P.E HA ju works the remarkable piano sonatas, the masterly theatre overtures an the remarkable piano sonatas, the masterly theatre overtures works exponent of Danish ‘national’ musi a c Made in Italy and distributed by NGL Naxos Global Logistics 1991-2006 © 2009 Dacapo Records GmbH, Hürderstraße 4, D-85551 Kirchheim, Germany J n Hartman . 04 - 6103 22 8. E P THE KEY MASTERPIECES KEY THE perspe c tives J . P . E THE KEY MASTERPIECES MASTERPIECES KEY THE Hartman 222/09/09 14:41:21 n 2 / 0 2 cd 9 / 0 9 1 4 s : 4 1 : 2 1 n .P THE KEY MASTERPIE 88226103_04_booklet.indd226103_04_booklet.indd 1J 222/09/092/09/09 114:54:424:54:42 CD 1 Hakon Jarl op. 40 (1844) 1 Allegro non troppo - Poco più moderato - Allegro molto . 9:20 Danish National Symphony Orchestra; Th omas Dausgaard, conductor (from 8.226061, Vølvens spådom and Overtures) 2 Andantino and Eight Variations in C major (1839) . 8:42 Tre Musici (from DCCD 9310, Danish Golden Age Piano Trios) Piano Sonata in D minor, op. 34 (1843) . 28:39 3 Allegro passionato . 9:46 4 Romance: Andantino quasi allegretto . 5:01 5 Scherzo: Allegro molto assai . 5:49 6 Finale: Allegro . 8:03 Nina Gade, piano (from DCCD 9112, Piano Sonatas) 7 Fantasia for Organ in F minor, op. 20 (1837) . 8:11 Hans Fagius, organ (from 8.226026, Works for Organ) Suite for Violin and Piano in A minor, op. 66 (1864) . 18:38 8 Moderato - Allegro moderato . 5:05 9 Moderato non troppo . 2:54 10 Scherzo: Allegro vivace assai - Un poco meno vivace - Tempo I . 3:50 11 Moderato . 3:10 12 Allegro con moto . 3:39 Elisabeth Zeuthen Schneider, violin; Bohumila Jedlickova, piano (from 8.224021-22, Works for Violin and Piano) Total: 73:29 88226103_04_booklet.indd226103_04_booklet.indd 2 222/09/092/09/09 114:54:434:54:43 CD 2 Liden Kirsten (1849) Act II (beginning) . 14:35 1 Introduction and Recitative: “Ja, jeg er hjemme” (Sverkel) . 3:26 2 Romance: “Langt, langt fra hjemmets kyst” (Sverkel) . 2:58 3 Recitative: ”Ser du, jeg er her alt og festligt smykket” (Sverkel, Kirsten) . 4:12 4 Duet: ”Hør ungersvend, sig ikke nej” (Sverkel, Kirsten) . 4:00 Inger Dam-Jensen, soprano; Poul Elming, tenor Danish National Symphony Orchestra; Michael Schønwandt, conductor (from 8.224106-07, Liden Kirsten) Symphony no. 1 in G minor, op. 17 (1835, rev. c. 1850) . 31:24 5 Introduction: Moderato - Allegro assai, con passione . 10:05 6 Andante . 5:35 7 Menuetto . 5:50 8 Finale: Allegro molto assai . 9:54 (from 8.224042, Th e Symphonies) Vølvens spådom, op. 71 (1870-72) . 16:41 9 I Moderato . 4:47 10 II Allegro moderato . 2:55 11 III Allegro . 1:41 12 IV Marsch: L’istesso tempo . 2:19 13 V Slutningschor: Moderato . 4:59 Lunds Studentsångförening; Danish National Symphony Orchestra; Th omas Dausgaard, conductor (from 8.226061, Vølvens spådom and Overtures) Total: 62:40 Dacapo is supported by the Danish Arts Council Committee for Music 88226103_04_booklet.indd226103_04_booklet.indd 3 222/09/092/09/09 114:54:444:54:44 J.P.E. HARTMANN it in the following terms in celebration of Hartmann’s eightieth anniversary in 1885: When Danish composer Johan Peter Emil- Th e best and deepest thoughts, indeed ius Hartmann was born in 1805, Napoleon thoughts that have nourished a suc- had just been crowned as Emperor and cession of more or less distinguished Haydn was being hailed for his new orato- younger minds – who but Hartmann was rios, Th e Creation and Th e Seasons. the fi rst to express them and make them When Hartmann died in 1900, a tele- echo in us? He is the poet, the vision- phone had been installed in his apartment ary who looks ahead into the future. We and electric lamps illuminated Copen- are the Nordic youth, and we have our hagen, the city of his birth. In Vienna, dreams – but generations ago already, Mahler and Schönberg now ruled supreme those dreams were Hartmann’s too. within the world of music. And towards the Hartmann fi rst made an impression on east, young Stravinsky and Bartók were on Danish audiences in the 1830s, when the the rise. old masters Weyse and Kuhlau were bowing Growing old is an art in itself, but lead- out. Hartmann then became the principal ing a full life requires a master. And in this exponent of a Danish national tone, which respect Hartmann was quite special. He is prominently exemplifi ed in his overtures dominated most of the nineteenth century to historically themed plays and not least his and naturally became a beacon within Nor- opera Little Kirsten (1848), which at the time dic music. He worked as a composer for of its creation was seen as embodying the eight decades and held a position as organist essence of ‘Danishness’. Th e libretto drew until he was 76 years of age (!). He took on on Danish folksongs and had been created all kinds of teaching, administrative and or- by his good friend Hans Christian Andersen. ganisational tasks within the Danish music Hartmann’s score also refl ected the realm scene, and over the 43 years of his career of folksong. And in the 1860s, Hartmann, also pursued a career as a civil servant. As a along with choreographer August Bournon- composer he became the leading proponent ville, created a series of ballets based on of Nordic “National Romanticism”. His Nor- Norse mythology, which in 1872 was fol- wegian admirer, Edvard Grieg, expressed lowed by Vølvens spådom (‘Th e Prophesy 4 88226103_04_booklet.indd226103_04_booklet.indd 4 222/09/092/09/09 114:54:454:54:45 of the Seeress’) – scored for male choir and took in Europe, rendering old prejudices re- orchestra, it was received in the spirit of a dundant. Strange as it may seem, Hartmann’s divine message. Th e setting of the Norse two symphonies have been performed only verse made a profound impact and aff orded rarely, even in the half-century during which Hartmann status as national hero. Hartmann the composer chaired the Copen hagen Music was approaching the ‘age of dust’, which Association. Maybe this has to do with the fact they used to call the age around 70, and he that Hartmann’s infl uential son-in-law, Niels was considered an oracle of wisdom. Poet W. Gade, wrote eight symphonies that not Christian Richardt expressed in verse the only held their own but were actually seen to perception of Hartmann as a seer who en- embody an exemplary new symphonic style. joyed privileged access to ancient sources: One, however, that was diff erent from that of Hartmann, who had written his Symphony Hartmann listens – tones resound, No. 1 in 1835. First performed in Copenha- Hartmann commands – sources surge, gen in 1836, it was revised around 1850, and he has discovered the words of wizardry. Hartmann notably wrote an entirely new He makes powerful sounds resonate music for the opening Moderato. Hartmann’s from rock. Second Symphony dates from 1848 and Sweet songs, garlands of fl owers, likewise met with scant success – indeed one he weaves for us from Denmark’s land. could say that Hartmann as a symphonist suf- Th e National Romantic perception of Hart- fered the same fate as his Swedish peer, Franz mann endured after his death. Unfortunately, Berwald, whose symphonies only achieved so did the notion that Hartmann was a ‘lo- recognition after his death. cal’ phenomenon whose music never would become international in scope. During such Hartmann wrote four remarkable piano times, during which the sentiments of Na- sonatas. Th e earliest, Piano Sonata No.
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