Vagn Holmboe (1909-1996)

[Madiel]

Symphony No.13 op.192 (1993-94)

[asin]B0000016MM[/asin]

Three Allegros in a row, although none of them stay at a constant tempo. What I tend to like a lot about Holmboe is his sense of line and of flow. I think that is why I personally struggle with the opening of this work, which is quite choppy and even a bit aggressive. However, I like it more and more as it goes on.  The solo cello passage at the end of the first movement is a moment of magic. In later movements the mood continues to lighten - the third movement finally gives a touch of major keys, and it has several lovely spots where the music slows down and expands.

Holmboe's sense of motivic organisation is certainly apparent. Very large chunks of the symphony are built on only a couple of figures. While I wouldn't rate this as one of my favourite works, it's still interesting music that's worth hearing.

[Christo]

Symphony No.12 op.175 (1988)
I can't believe I haven't picked this up before, but I guess I wasn't expecting it. None of the other later symphonies feel like this. Just brilliant, vital music from a 79-year-old composer.

Am enjoying it to the full at this moment, as I played this CD - coupling symphonies Nos. 11, 12 and 13 - a couple of times over the pas few days.   By sheer coincidence. :-) I hear little Tudor in it, but all of your other qualifications - dances, vitality, brilliance - certainly apply. 
BTW, I saw the score of his Symphony No. 13 on the piano in early August 1995, when I visited the elderly couple in their country home in the North of Sealland for an interview, a year before the composer's death. For Holmboe, it was directly related to his illness and I'm certain he knew it was to be his last symphony.

[Madiel]

Symphony No.6 op.43 (1947)

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Sigh. That wonderful opening of the Adagio. How can anyone make something so magical out of just a couple of notes?

Although really it's not just those couple of notes, it's knowing how it develops after that. The opening of the first movement is a perfect demonstration of Holmboe's ability to logically build a structure out of his opening idea. I love the feeling of open space and large scale here. At 18 minutes, it's longer than some of the works I'm going to listen to in this sequence.

The second movement makes a great contrast, yet at the same time feels entirely like it's made from the same stuff. Lots of action and drama. I think one of the most memorable things is the way the music grumbles to a halt halfway through the movement, and then goes back to the start. It's like all the energy drained out and then there's a jolt of electricity.

Overall it's a very balanced and satisfying work, and I've always found it one of the more readily memorable symphonies.

[Madiel]

BTW, I saw the score of his Symphony No. 13 on the piano in early August 1995, when I visited the elderly couple in their country home in the North of Sealland for an interview, a year before the composer's death. For Holmboe, it was directly related to his illness and I'm certain he knew it was to be his last symphony.

There's a rather fascinating claim in the liner notes for the 2 CDs of the preludes for sinfonietta, that Holmboe considered subtitling the 13th symphony Sarajevo. I've not seen that claim anywhere else.

[Madiel]

Symphony No.3, 'Sinfonia Rustica' op.25 (1941)

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Well, Mirror Image described it as 'earthy', and he's absolutely right. The folksong feel of this is very apparent, and it's one of Holmboe's most readily approachable compositions as a result. In some ways it's very simple compared to the other symphonies, but it's still expertly constructed with just the right balance of repetition and variation. I love the steady, tick-tocking rhythm of the first movement, and the finale just skips along. That second movement set of variations is pretty large scale, but it still has the melodies.

[Mirror Image]

Symphony No.3, 'Sinfonia Rustica' op.25 (1941)

[asin] B0000016JI[/asin]

Well, Mirror Image described it as 'earthy', and he's absolutely right. The folksong feel of this is very apparent, and it's one of Holmboe's most readily approachable compositions as a result. In some ways it's very simple compared to the other symphonies, but it's still expertly constructed with just the right balance of repetition and variation. I love the steady, tick-tocking rhythm of the first movement, and the finale just skips along. That second movement set of variations is pretty large scale, but it still has the melodies.

Absolutely agree. I really love this symphony.

[cjvinthechair]

I consider myself a complete novice when it comes to classical since I've only been listening for 5 years or so. Anytime I can read a well-considered post from someone who actually knows how to get their points across and, in the process, give others an idea about the music, then I'm all for it. I, of course, don't claim I know anything about this music and listen to what my mind and heart enjoy without any explanation as to why. I hope to be able to get the whys, but, again, I just don't have enough experience or really even the know-how to explain why I enjoy something without coming across as a total moron, which, in most cases, I end up doing anyway. All of this said, it's best I leave these kinds of things for people who do have an idea of what their talking about.

With you, as usual, Mr. MI. Know what I like, but why ?

[Mirror Image]

With you, as usual, Mr. MI. Know what I like, but why ?

Well I just can't come say why I enjoy something so much. I mean, you know, without sounding like a total ignoramus.

[cjvinthechair]

Well I just can't come say why I enjoy something so much. I mean, you know, without sounding like a total ignoramus.

Fine - we'll be 'ignorami' together, then !

[Madiel]

Symphony No.10, op.105 (1970-71, revised 1972)

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You know something? I think I rate this as one of the most satisfying symphonies of the lot these days. It's got a tremendous grandeur in its expression. The first movement has a very long and expansive slow introduction, full of drama, and then the Allegro just gets more dramatic. There are these upward rushes towards the end that I find exciting and satisfying.

The second movement begins with an emphatic descending string tune which is joined by a wonderful brass chorale. The combination is starkly beautiful. Actually I'd say the use of brass is a highlight of the whole symphony. And then, in one of those typically Holmboe moments, the biggest change of mood doesn't occur between movements but within one. There's a greater peace in the latter stages of the second movement, which carries on into the beginning of the finale. Mind you, while the finale does have a lot of symphony's most delicately scored moments, it also has some thumping climaxes.

Very, very satisfying to my ears.

[Karl Henning]

Today, I am going to start revisiting the string quartets . . . your survey has got me hankering to do the same with the symphonies . . . .

[Christo]

There's a rather fascinating claim in the liner notes for the 2 CDs of the preludes for sinfonietta, that Holmboe considered subtitling the 13th symphony Sarajevo. I've not seen that claim anywhere else.

I know I recorded my 'interview'  (long afternoon talk) with Holmboe, but I never listened to the tape of it since 1995. Perhaps he mentioned some more details about his most recent symphony than I remember by now. I'll keep you informed if there's something more to add to this, because the 'Sarajevo' connection is an intriguing one and I think I remember he was very much concerned about the war in Bosnia in those years indeed. Mrs. Holmboe, Meta May Graf, was from Romania after all and both had been living there in the 1930s. BTW, I really enjoy your listening review of a series of the symphonies and they inspired me to play them again. Please, continue! 

[calyptorhynchus]

<amusing story>

Before Xmas I was in a shopping centre in Canberra./ I was looking for an iPod Dock for my son for Xmas. I went into a shop and saw a model that looked good, but I wanted to try it out. As usual I was listneing to my iPod via headphones and had got up the last five minutes of Holmboe's 2nd Symphony.

When the assistant said I could try the dock out I plugged in my iPod and last five minutes of the symphony duly played. The assistant was astonished, she hadn't expected that. When it finished I said "It won a prize for the best Danish Symphony of 1938".

Then I bought the dock.

</amusing story>

[Madiel]

Epilog, Op.80 (1961-62)

[asin]B0000268PM[/asin]

The first of the 'symphonic metamorphoses' to turn up in my list...

I am still coming to terms with this piece. I know quite a few people like it a great deal, but initially I reacted against it. I think that's because in some key respects it isn't typical Holmboe. Most of all it doesn't develop in what I would regard as typical Holmboe fashion. In fact, it's almost about failure to develop - the music seems for a long time to be hopelessly pinned to that opening tune, and the crises get louder and more and more aggressive until, about 9.5 minutes in, the music collapses into an enormous series of timpani rolls.

And there's still nearly 15 minutes to go. I think this must be one of Holmboe's longest single movements. It's also one of his darkest and, frankly, noisiest pieces. Not entirely surprising as it's from that 1960s period where he seemed to be pushing the boundaries of his music.

Which makes the final resolution all the more surprising, and to me a little disconcerting. Effective and memorable, yes, but I didn't hear it coming. Which is probably the point!

This isn't a personal favourite at this stage (this was the last of the 'symphonic' discs that I purchased, so it's relatively new for me), but I can certainly understand why people are impressed by this piece.

[Madiel]

Symphony No.5, op.35 (1944)

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The first Holmboe symphony that I ever listened to, because the Penguin Guide said it was a good entry point. They're kind of right. As I've said recently, I think this has quite a few similarities to the 3rd symphony and is very approachable.

It's also obsessively rhythmic. I've probably said this before as well, but the first movement somehow makes me think of the first movement of Beethoven's 5th. These days I sometimes think that Holmboe carries on the obsession for just a tiny bit too long, but... the opening and closing passages are both absolutely wonderful and in truth I'm pretty happy with everything that happens in between as well. It just depends on my mood I think.

The second movement is fairly serious and sombre as well, with some passages that take on the form of a funeral march, with drum rhythms that echo the first movement... and perhaps the third movement of Beethoven's 5th? And then the finale is one of the more playful of Holmboe's movements. It's still got the obsession with rhythm, but the rhythm is often comically jerky and syncopated. When the piccolo starts skipping along you know this is supposed to be light-hearted.

It's probably not the deepest of Holmboe's symphonies, but it's a pretty good listen. I'm sure it would be popular on concert programs!

[Karl Henning]

Symphony No.1, op.4/M.85 (1935)

In the first place, this strikes me as a first symphony every bit as strong as Nielsen's, Shostakovich's or (technically a special case) Prokofiev's.  The modal, rhythmic profile of this one makes me think (in an entirely flattering way) of The Lion in Winter.

[Madiel]

Epitaph, op.68 (1956)

[asin]B0000268PM[/asin]

Again, as this disc is a relatively recent purchase I don't know this piece so well yet, but I'm finding I like it a great deal. It seems a very varied and colourful score. It certainly has some big dramatic moments but I wouldn't say this was a dark work. To me it feels like it is constantly flowing and changing, so living up to the 'metamorphosis' name.

If I'm interpreting the CD liner notes correctly, it appears to be officially in a single movement, but the points where it has been split into tracks certainly feel apt as there are clear pauses (especially between the first and second sections). It could be somewhat like Symphony No.7, in being one movement but quite sectional.

In any case I find it to be a very engaging and interesting piece of music, well up to Holmboe's usual standards. In fact I'd be inclined to point to this as a pretty good example of his 'typical' mature style.

[Madiel]

Chamber Symphony No.1, op.53 (1951)

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Well, the first chamber symphony does manage to sound smaller in size and scale at least some of the time, unlike the second one!

To me this music is... I was going to say simpler, but that sounds like it could be a bad thing. It's clearer and cleaner than a lot of works, with more readily discernible lines. There's still a lot going on at times, for example the second movement is a whirling scherzo. But on the whole it feels like a work that's easier to grasp than some.

One of the things that strikes me is the use of pedal points. Most prominently in the first movement, but there are many spots where there are long, static bass lines over which the other parts move.

A very nice, enjoyable work. Not as grand as many others on this listening survey, but grand isn't the only effect to aim for!

Also... how good are these recent Da Capo recordings!

[Madiel]

Symphony No.4, 'Sinfonia Sacra', op.29 (1941, revised 1945)

[asin]B0000016IQ[/asin]

Well, a small miracle happened tonight. I put the symphony on in my headphones (as I've been doing with all of this listening project), and made a point of doing things while listening (which actually tends to work for me better than just sitting/standing and listening)...

...and I wasn't thoroughly bored by the first movement.

Which I was yesterday. I still wouldn't say "wow, you've got to listen to this", but I stayed engaged.

For me, this remains a rare instance of Holmboe not hitting the mark. I just saw an Amazon review that says this symphony is bombastic, and I think that's a good description, certainly of that first movement. The 4th symphony is audibly cut from similar cloth to the 3rd and 5th, with the same sense of rhythmic pulse, but in the 4th there isn't enough variation in the details and it tends to push into being unattractive. I think that's partly because the 4th is wanting to say "look how serious I am". Look, I'm wartime and filled with angst. Or something. It tends to be the louder and angstier passages that are the least successful. I also don't know if some it is caused by wishing to fit the vocal parts in.

I'm making it sound horrible. It's not, and it gets better as it goes. The 4th movement, where the mood of the words turns to peace, is good, and the 5th movement 'Gloria' is bright and catchy and extremely approachable.

But on the whole I think this is one of Holmboe's lesser works. Oh well. Not even my favourite composers are perfect.

[Madiel]

Symphony No.9, op.95 (1967-68, revised 1969)

[asin]B0000016JU[/asin]

It's the semi-officially 'difficult' symphony.

This is eerie, unsettling and richly complex music. It probably isn't all that strange for those of you with more avant-garde tastes, but it's another one of those 1960s works where Holmboe is pushing his language about as far as he ever pushed it. And the results have a mesmerising quality.

There's a translucency to the first movement, and a weirdly pulsing quality. The first intermezzo is just ghostly. The music virtually stops, which makes the opening of the following Allegro con fuoco all the more effective as a release of pent-up energy. And every now and then those strange pulses come back. The second intermezzo is warmer and more lyrical, but still not entirely settled. It's also delicately scored with string solos.

The final Andante austero starts with another one of Holmboe's excellent pieces of brass-writing. It sounds like we're going to get on firmer ground here, but there are deviations along the way. Pulsing figures reappear again, but they're steadier and more insistent. Eventually the symphony does end on firm ground and in emphatic fashion.

This is wonderful stuff. I'd strongly urge people to explore this one. Yes, it's probably one of Holmboe's less approachable works but I think it also has rich rewards. In fact I'm beginning to think that the 1960s delivered not only some of his most complex works but also his most satisfying. Pieces like this, the 7th string quartet and the 3rd violin sonata have all made me eager to hear from this period of Holmboe's work because I think they're some of his very best.