The Nielsen Nexus

[vandermolen]

A pity you'll miss it, Jeffrey!

Thanks Karl - me too 

[bhodges]

I was supposed to be going to the Prom Concert tomorrow night featuring 'The Inextinguishable' Symphony. However, the national rail strike has scuppered that plan. My daughter and her husband, who live in London and can get there by bus are going.

Rats! That's a shame, since based on today, it promises to be wonderful. I mean, who opens a concert with the Sibelius 7?

Possible plan B: if BBC3 broadcasts it (can't really tell from the website), you might hear it live, at least on the radio?

--Bruce

[vandermolen]

Rats! That's a shame, since based on today, it promises to be wonderful. I mean, who opens a concert with the Sibelius 7?

Possible plan B: if BBC3 broadcasts it (can't really tell from the website), you might hear it live, at least on the radio?

--Bruce

Thanks Bruce yes, BBC Radio 3 broadcast all the concerts so I'll try to listen in tomorrow night - not quite the same as being there though .

[vandermolen]

I'm sorry to hear about that.  It's happened to me a couple of times this year, and it really sucks.   I hope at least you were able to get a refund for your tickets.  The Barbican were very good about stretching the time limits for claiming refunds when a strike was announced with less than 24 hours notice.

The refund business has been a nightmare as my brother bought the tickets through an agency not the RAH box office - but let's not go there (actually, I'm not going anywhere!) 

[vandermolen]

My daughter and her husband, being computer savvy managed to sell all the unused tickets. They are at the Albert Hall now. It has been less of a financial disaster than I anticipated. Thanks for the kind thoughts.

[vandermolen]

My daughter and her husband really enjoyed hearing Nielsen's 4th Symphony live at the Proms (and Sibelius's 7th Symphony). I listened in on the radio from home and I thought that Thomas Dausgaard's performance of 'The Inextinguishable' was terrific - very urgent and powerful. Apparently the second kettle drum was in the Arena with the promenaders. Apparently he marched through the audience wearing a green T shirt with a backpack to get to the timpani set! It sounded fun. My daughter initially thought that he was a poorly behaved member of the audience!

[Irons]

My daughter and her husband really enjoyed hearing Nielsen's 4th Symphony live at the Proms (and Sibelius's 7th Symphony). I listened in on the radio from home and I thought that Thomas Dausgaard's performance of 'The Inextinguishable' was terrific - very urgent and powerful. Apparently the second kettle drum was in the Arena with the promenaders. Apparently he marched through the audience wearing a green T shirt with a backpack to get to the timpani set! It sounded fun. My daughter initially thought that he was a poorly behaved member of the audience!

Sounds great. Your loss is your daughter's gain.

[Symphonic Addict]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

[brewski]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

Happy to hear the comments (and want to hear the recordings). I was a big fan of Luisi when he was guest-conducting the Met Orchestra at Carnegie Hall (don't recall the ensemble in any Nielsen—actually with anyone), and am glad that he is getting recognition elsewhere.

-Bruce

[Symphonic Addict]

Happy to hear the comments (and want to hear the recordings). I was a big fan of Luisi when he was guest-conducting the Met Orchestra at Carnegie Hall (don't recall the ensemble in any Nielsen—actually with anyone), and am glad that he is getting recognition elsewhere.

-Bruce

Actually, these are the first recordings/works I hear under his baton and I must say the result is terrific. I hope you also enjoy these stellar performances.

[vandermolen]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

I was tempted by the forthcoming hard-copy release of this set but then read an otherwise very enthusiastic review which commented that the side-drummer's free cadenza (in Symphony No.5) was not as manic as it could be. This rather put me off. I'll stick with Horenstein and Barbirolli.

PS I found this old thread which might be of interest:
https://www.good-music-guide.com/community/index.php/topic,14887.20.html

[Karl Henning]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

Luisi did a great job in a guest appearance with the BSO some years ago (don't ask me what the program was, though ....)

[Lisztianwagner]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

Sounds very promising, I would be curious to listen to this cycle too; so far the only Nielsen Cycle I know is the Blomstedt.

[Daverz]

I'm not much keen on listening to new recordings of works I am familiar with, but this new Nielsen cycle has received nothing but invigorating raves by many that I can't ignore their positive reactions. It's formidable indeed, the performances are bold, confident and they benefit from stunning sound quality (with slight resonance). I've left the best coupling (Nos. 4 and 5) for later.

The Fanfare review of 4 & 5 by Steven Kruger complains about the recording balances:

"It isn't just percussion balances that are off here. Some of the brass resolutions of suspended harmonies come through poorly in both symphonies, even though the catharsis of tension depends on them. I hesitate to blame the performances, though. I think they are fine. But it would have been nice if DG had arranged for one actually to hear them better balanced."

(Huntley Dent (AKA Santa Fe Listener) is more enthusiastic overall, but I consider him a charlatan.)

[Symphonic Addict]

I was tempted by the forthcoming hard-copy release of this set but then read an otherwise very enthusiastic review which commented that the side-drummer's free cadenza (in Symphony No.5) was not as manic as it could be. This rather put me off. I'll stick with Horenstein and Barbirolli.

PS I found this old thread which might be of interest:
https://www.good-music-guide.com/community/index.php/topic,14887.20.html

Just listened to the missing CD and yes, the side-drummer in the 5th is not frenetic enough. In fact, I didn't feel the climax significantly special. Otherwise, I believe it's a good performance overall.

[Symphonic Addict]

Luisi did a great job in a guest appearance with the BSO some years ago (don't ask me what the program was, though ....)

So he did in this cycle methinks. These recordings won't displace any favorites of mine, but it was nice to revisit these magnificent symphonies.

[Symphonic Addict]

Sounds very promising, I would be curious to listen to this cycle too; so far the only Nielsen Cycle I know is the Blomstedt.

As a whole I think it's very good, although I do have some reservations regarding the sonics.

[Symphonic Addict]

The Fanfare review of 4 & 5 by Steven Kruger complains about the recording balances:

"It isn't just percussion balances that are off here. Some of the brass resolutions of suspended harmonies come through poorly in both symphonies, even though the catharsis of tension depends on them. I hesitate to blame the performances, though. I think they are fine. But it would have been nice if DG had arranged for one actually to hear them better balanced."

(Huntley Dent (AKA Santa Fe Listener) is more enthusiastic overall, but I consider him a charlatan.)

Some tutti and loud passages felt congested, that was a flaw I perceived. Moreover, some crucial moments in both symphonies weren't taken as succesful as I wanted, but the excitement and fine playing was there.

[Symphonic Addict]

Whereas in the realm of cello concertos the one by Dvorák (in B minor) reigns supreme and deservedly so IMO, when clarinet concertos are concerned it is the masterpiece by Nielsen that holds the honour I reckon (in the case of other instruments, though, the "competition" for picking the best is tougher). I was revisiting it on this stellar recording and I couldn't help being utterly flabbergasted once again by how brilliant it is. It sounds to me like a blend between concerto and tone poem, it has a sense of storytelling that makes it even more interesting and fun. From the very opening the music hooks with that theme on the cellos and basses, the composer's trademark in full display. This is music that resonates with me very much and makes me smile and even laugh (in a good way, of course) because of its quirkiness, moodiness and witty character I find so irresistible. Another element I consider alluring is its singular orchestration: two horns, two bassoons, snare drum and strings. You don't really miss any other instrument in the orchestral palette, sounds perfect as it is scored. I can just imagine what Nielsen would have done with tentative concertos for oboe, horn and bassoon had he lived longer.

[Karl Henning]

Whereas in the realm of cello concertos the one by Dvorák (in B minor) reigns supreme and deservedly so IMO, when clarinet concertos are concerned it is the masterpiece by Nielsen that holds the honour I reckon (in the case of other instruments, though, the "competition" for picking the best is tougher). I was revisiting it on this stellar recording and I couldn't help being utterly flabbergasted once again by how brilliant it is. It sounds to me like a blend between concerto and tone poem, it has a sense of storytelling that makes it even more interesting and fun. From the very opening the music hooks with that theme on the cellos and basses, the composer's trademark in full display. This is music that resonates with me very much and makes me smile and even laugh (in a good way, of course) because of its quirkiness, moodiness and witty character I find so irresistible. Another element I consider alluring is its singular orchestration: two horns, two bassoons, snare drum and strings. You don't really miss any other instrument in the orchestral palette, sounds perfect as it is scored. I can just imagine what Nielsen would have done with tentative concertos for oboe, horn and bassoon had he lived longer.

A superb piece!