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Nielsen: Symphonies Nos.1 & 6

Live, Hybrid SACD

Colin Davis (Artist, Conductor), Carl Nielsen (Composer), London Symphony Orchestra (Orchestra) Format: Audio CD

4.6 10 ratings

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Product Description

The second release in Sir Colin Davis' acclaimed Nielsen cycle with the London Symphony Orchestra features the first and sixth symphonies.

Review

CD of the Week: ''Davis and the LSO triumph in this recording... In this gripping performance, [Symphony No 6] emerges as one of the 20th century's most beguilingly original works.'' --The Sunday Times (UK)

''This second CD lives up to the high standard set by its predecessor.'' --Financial Times

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 5.56 x 4.96 x 0.39 inches; 3.52 ounces
Manufacturer ‏ : ‎ Lso Live
Original Release Date ‏ : ‎ 2012
SPARS Code ‏ : ‎ DDD
Date First Available ‏ : ‎ December 22, 2011
Label ‏ : ‎ Lso Live
ASIN ‏ : ‎ B006M51FNI
Number of discs ‏ : ‎ 1

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Barry Guerrero

a very instightful look into Nielsen's not so "Semplice" symphony

Reviewed in the United States on February 18, 2012

Wow! What an incredibly sensitive look into Nielsen's masterful "Sinfonia Semplice" (6th symphony). In contrast to what the title might suggest, Nielsen's sixth and last symphony is an amazingly complex look at life and the coming onslaught of modern music. In fact, the second movement is a tounge-in-cheek parody of modern musical trends. The symphony ends humorously enough alright (tuba and contra-bassoon farting away in their lowest registers), but it spans the entire gambit of human moods and emotions along the way. You could almost think of it as Kierkegaard in musical form. It encapsulates that great Scandinavian talent for contemplation and introspective thinking. Yet, Davis captures the perfect tempo for the totally unexpected 'clog dance' that suddenly appears in the finale. I love this work, and I guess it should come as no great surprise that such a dedicated conductor of Sibelius' works should also become a fine conductor of Nielsen - the other truly great 20th century composer from up north. The sound quality strikes me as better than usual from this particular source (LSO Live from London's acoustically challenged Barbican hall).

I would love to comment on Davis' performance of Nielsen's first symphony, but I have a terrible confession to make: I just don't like the piece. Therefore, I just don't have the knowledge to make a fair comparison. As a performance, it certainly sounds plenty good. But for me, Nielsen made huge improvements over his first three symphonies. His third, fourth and fifth symphonies are as profound and artful as any you'll hear, anyplace. The sixth is a great 'autumnal' work. But again, Nielsen's first symphony just doesn't stand comparison to Sibelius' first (however, I'm not so sure that Sibelius always improved his craft). Regardless, if you're not already familiar with it, get this for the incredible "Sinfonia Semplice".

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Steen Mencke

A work of youth - and a work of contemplation

Reviewed in the United States on March 19, 2012

As the music of Carl Nielsen gradually spreads to the rest of the world, and more and more foreign conductors take up the challenge of interpreting his symphonies, it must in the nature of things be the particular duty of his compatriots - of whom I am one - to sample and weigh such endeavours, weaned on these national edifices as one is. As expressed in my earlier review of the first disc of symphonies, the now octogenarian Sir Colin Davis certainly digs into Nielsen con gusto, hitting the all-embracing fifth very close to the mark while I still find the fourth to be precipitate and lacking in concentration and detail.

The coupling of the symphonies Nos. 1 and 6 is a popular but fiendishly difficult one, as the works are all but diametrically opposite in nature. The first, begun when the composer was only 25, is a real barnstormer, fearless and impetuous as only youth can be, and much more so than the early works by Sibelius, an exact contemporary to whom Nielsen is often compared. No doubt Nielsen took much of his inspiration from Brahms, whose fourth symphony (of 1885) he greatly admired, but there the common ground sort of ends. Unfortunately Davis' grasp - of the orchestra undisputedly second to none - doesn't quite extend to the post-adolescent excesses of the great Dane. Though the music is very well played it comes over as way too ponderous and marinated in a late-romantic "Weltschmerz" entirely alien to pre-WWI Nielsen. When taking in this recording of the G minor symphony I couldn't help wondering if Sir Colin had perhaps Mahler's first - or Rachmaninov's second even - in slightly too fresh a memory; and that is not suitable company for the care-free Nielsen. One of the early promoters of the symphonies, the conductor Erik Tuxen (1902-57), was once asked what he felt the first symphony was about, particularly compared to the warlike image of the fourth. Tuxen dramatically put a hand to his forehead, closed his eyes and said: "I see before me a dog, not a very big one, mind you, running along the fence of a chicken yard". He may have been joking (probably was), but somehow the picture to me is closer to the essence of early Nielsen than Davis' rather grey-faced one. For a performance brimming with the Champagne-sparkle required one must turn elsewhere, and Michael Schønwandt (Dacapo), Jukka-Pekka Saraste (Warner) - and Esa-Pekka Salonen (Sony), in particular - can be trusted to find the right atmosphere of jovial invincibility. For sure-footed navigation through the emotional minefield of the Nielsen symphonies in general, Herbert Blomstedt is still well-nigh unequaled.

The sixth symphony, on the other hand, is a work right up Sir Colin's alley, technically tortuous and minimalistic at the same time. Nielsen was equally horrified and morbidly fascinated by the musical expressions of the Second Vienese School; in the "Sinfonia semplice", however, he does take us for a stroll through the zoo - never too close to the cages, though. Trough a finely ballanced combination of normal and extended tonality, plus the odd unexpected dissonance - not infrequently interpreted (probably correctly) as vitriolic stabs at Schoenberg - he presents us with a work that is both new, exciting, puzzling ... AND securely anchored in the traditional musical ideom. At the time of composition Nielsen was already a marked man due to congestive heart failure, and there is a certain frailty and perseverance - an almost desperate reluctance to let go - in the music along with the occasionally rather brash statements. Sir Colin never recorded much of the early 20th century avant-garde himself, and his insistence on a basically romantic sound succeeds in highlighting the scattered instances of modernity that keep the symphony rather unevenly suspended - much like the poles of a circus tent. Others like Blomstedt and Salonen have made fine recordings of the sixth, but Davis provides a certain old-school charm that I personally find very appealing. In the field of Nielsen six'es you need look no further.

The sound of the recordings is fine - slightly better in SACD, without the mind-blowing effect of recordings such as Osmo Vänskä's recent Beethoven and Sibelius symphonies (BIS) - and as usual the cooperation of the LSO and its illustrious conductor is a wonder in and of itself.

Again we have a disc that should rightfully be cut in half, but as that tends to result in a somewhat inferior sound reproduction, I'll keep the first symphony as a reminder that most things conceived by the young are perhaps best handled by the young. Being youthful isn't always enough. Sorry, Sir Colin.

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Ein Rezensent

Eine Wiedergabe, bei der die Musik wie von selbst und in einem Stück verläuft

Reviewed in Germany on September 7, 2016

Verified Purchase

Die Einspielung der Nielsen-Symphonien Nr. 1 und 6 durch das London Symphony Orchestra und den Dirigenten Colin Davis basiert auf Konzertmitschnitten aus der Londoner „Barbican Hall“. Von Seiten des Publikums sind, anders als bei der Aufnahme der Dritten von Nielsen mit dem LSO unter Davis, gar keine Störgeräusche zu vernehmen (so bei der 6. Symphonie) oder nahezu keine (so bei der 1. Symphonie). -- Es ist schon sinnvoll, Konzerte, die für die Veröffentlichung mitgeschnitten werden sollen, auf die winterfernen Monate zu legen, was hier geschehen ist.

Die Aufnahme kenne ich lediglich in ihrer Stereo-Version für die klassische CD, nicht in der SACD-Fassung, doch bereits in jener stellt sie sich tontechnisch sehr erfreulich dar: Die Klangfarben der Instrumente sind natürlich, die verschiedenen Instrumentalgruppen klar und fest verortet und stapeln sich mitnichten am Bühnenrand, sondern sind, ihrer Position entsprechend, nicht bloß von links nach rechts, sondern ebenso von vorne nach hinten verteilt. Der virtuelle Hörplatz für den häuslichen Zuhörer weist einen gewissen Abstand zum Orchester auf, ist also nicht der des Dirigenten, sondern der eines Konzertgängers, der sich in der Mitte des (ansteigenden) Parketts niedergelassen hat. Die tiefen Frequenzen, wie sie von den Tuben, Kontrabässen oder der großen Trommel ausgehen, schallen mächtig und im wahrsten Sinne des Wortes bewegend wie bei einem echten Konzertbesuch.

Das Spiel der Londoner Symphoniker unter Davis klingt leicht verwaschen, ohne hierbei fehlerhaft zu wirken. Liegt dies an der Akustik des Saales oder an einem weichen Ansetzen der Töne oder an beidem? Wie auch immer, entscheidend ist vielmehr, wie unprätentiös, frei von allem Demonstrativen, mit großer Spielfreude, gelöst, beschwingt und ohne den Charakter des Berechnenden man musiziert. Die Übergänge und Verläufe bei den Kompositionen werden organisch in einem Stück in den Raum gestellt, was vor allem bei der sechsten Symphonie für den musikalischen Zusammenhalt wichtig ist. Das zentrale Moment der ersten Symphonie ist der lange melodische Atem, und auch dieser findet mit Davis' Interpretation eine ganz natürliche, unspektakuläre, obschon vorzüglich durchgeführte Realisation.
Gerade für einen ersten Zugang scheint mir wegen der genannten Vorzüge diese Einspielung der beiden Symphonien sehr geeignet. In meinem Falle konnte ich dank des LSO und Davis' überhaupt einen Sinn für die doch seltsame Sechste entwickeln, die mir zuvor bereits über die Interpretation des Dirigenten Bryden Thompson mit dem Royal Scottish National Orchestra bekannt gewesen, aber in meinen Ohren Stückwerk geblieben war.
Ein ganz spezielles Lob möchte ich zum Schluss dem ersten Fagottisten zukommen lassen. Seine Stimme tönt wunderbar sonor, was sich freilich insbesondere bei seinen Solopassagen in der sechsten Symphonie bemerkbar macht.

**********************
Falls Sie meine Rezension lesenswert fanden und sich gerne weitere von mir anschauen würden, so können Sie dies tun, indem Sie auf das oberhalb des Artikels stehende Pseudonym „Ein Rezensent“ klicken. Dann werden Ihnen alle übrigen meiner bei amazon.de eingestellten Musik-Besprechungen angezeigt.
Kommentare sind willkommen (auch falls Sie die Rezension nicht hilfreich fanden, damit ich um die Gründe dafür weiß und daraus lernen kann).

3 people found this helpful

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Steen Mencke

A work of youth - and a work of contemplation

Reviewed in the United Kingdom on March 19, 2012

Verified Purchase

As the music of Carl Nielsen gradually spreads to the rest of the world, and more and more foreign conductors take up the challenge of interpreting his symphonies, it must in the nature of things be the particular duty of his compatriots - of whom I am one - to sample and weigh such endeavours, weaned on these national edifices as one is. As expressed in my earlier review of the first disc of symphonies, the now octogenarian Sir Colin Davis certainly digs into Nielsen con gusto, hitting the all-embracing fifth very close to the mark while I still find the fourth to be precipitate and lacking in concentration and detail.

The coupling of the symphonies Nos. 1 and 6 is a popular but fiendishly difficult one, as the works are all but diametrically opposite in nature. The first, begun when the composer was only 25, is a real barnstormer, fearless and impetuous as only youth can be, and much more so than the early works by Sibelius, an exact contemporary to whom Nielsen is often compared. No doubt Nielsen took much of his inspiration from Brahms, whose fourth symphony (of 1885) he greatly admired, but there the common ground sort of ends. Unfortunately Davis' grasp - of the orchestra undisputedly second to none - doesn't quite extend to the post-adolescent excesses of the great Dane. Though the music is very well played it comes over as way too ponderous and marinated in a late-romantic "Weltschmerz" entirely alien to pre-WWI Nielsen. When taking in this recording of the G minor symphony I couldn't help wondering if Sir Colin had perhaps Mahler's first - or Rachmaninov's second even - in slightly too fresh a memory; and that is not suitable company for the care-free Nielsen. One of the early promoters of the symphonies, the conductor Erik Tuxen (1902-57), was once asked what he felt the first symphony was about, particularly compared to the warlike image of the fourth. Tuxen dramatically put a hand to his forehead, closed his eyes and said: "I see before me a dog, not a very big one, mind you, running along the fence of a chicken run". He may have been joking (probably was), but somehow the picture to me is closer to the essence of early Nielsen than Davis' rather grey-faced one. For a performance brimming with the Champagne-sparkle required one must turn elsewhere, and Michael Schønwandt (Dacapo), Jukka-Pekka Saraste (Warner) - and Esa-Pekka Salonen (Sony), in particular - can be trusted to find the right atmosphere of jovial invincibility. For sure-footed navigation through the emotional minefield of the Nielsen symphonies in general, Herbert Blomstedt is still well-nigh unequaled.

The sixth symphony, on the other hand, is a work right up Sir Colin's alley, technically tortuous and minimalistic at the same time. Nielsen was equally horrified and morbidly fascinated by the musical expressions of the Second Vienese School; in the "Sinfonia semplice", however, he does take us for a stroll through the zoo - never too close to the cages, though. Trough a finely ballanced combination of normal and extended tonality, plus the odd unexpected dissonance - not infrequently interpreted (probably correctly) as vitriolic stabs at Schoenberg - he presents us with a work that is both new, exciting, puzzling ... AND securely anchored in the traditional musical ideom. At the time of composition Nielsen was already a marked man due to congestive heart failure, and there is a certain frailty and perseverance - an almost desperate reluctance to let go - in the music along with the occasionally rather brash statements. Sir Colin never recorded much of the early 20th century avant-garde himself, and his insistence on a basically romantic sound succeeds in highlighting the scattered instances of modernity that keep the symphony rather unevenly suspended - much like the poles of a circus tent. Others like Blomstedt and Salonen have made fine recordings of the sixth, but Davis provides a certain old-school charm that I personally find very appealing. In the field of Nielsen six'es you need look no further.

The sound of the recordings is fine - slightly better in SACD, without the mind-blowing effect of recordings such as Osmo Vänskä's recent Beethoven and Sibelius symphonies (BIS) - and as usual the cooperation of the LSO and its illustrious conductor is a wonder in and of itself.

Again we have a disc that should rightfully be cut in half, but as that tends to result in a somewhat inferior sound reproduction, I'll keep the first symphony as a reminder that most things conceived by the young are perhaps best handled by the young. Being youthful isn't always enough. Sorry, Sir Colin.

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