The Inextinguishable Carl Nielsen
Once quite popular, then nearly forgotten, Carl Nielsen’s music is enjoying a comeback on today’s orchestral scene. As more and more conductors consistently program his music, orchestras and audiences alike are taking another listen to this composer’s unique and endearing style.A native of Denmark, he has long been considered that nation’s favorite musical son, and like many Scandinavian composers of his era, Nielsen combined a unique sense of melody and drama with a penchant for raw orchestral power and bombast. Among Nielsen’s most admired works are his six symphonies, and three concertos (The Phoenix Symphony performed his too-long neglected Violin Concerto last season).
His Symphony No. 4, “The Inextinguishable,” which we will hear on this weekend’s Classics concerts, is perhaps his best-known work, and a characteristic piece to get acquainted with his dramatic, larger-than-life music.
7 Comments:
Hooray for Bombast! Any symphony that starts out with a Tuba Blast is fine with me. And the Inexplicable Timapani Duel at the end just topped it off. "The Inextinguishable" showed off Carl Nielsen's style well; that he was a post-romantic symphonist seemingly not bound by any rules.
It must have felt good for our musicians to be allowed to just let go and blow as loud as possible. Although there were moments of what seemed to be utter chaos, it all came together in the end.
This was a daring performance led by guest conductor Hannu Lintu. From the opening moments in the Brahms Tragic Overture, we knew he was going to be extremely dramatic. The orchestra responded well. Heart-pounding excitement in the air. Presto loved his hairdo! Let's invite him back for more Nielsen.
On the other hand, week-after-week of this type of hyper-drive could get old, too. That's why I believe the LA Philharmonic has made a mistake in hiring Dudamel.
Thrilling concert. I've never heard the Brahms played better. The Nielsen was tremendous. Not to everyone's taste, to be sure. The Republic reviewer sure doesn't like it. But very well done by orchestra and conductor.
The Beethoven was...well, sentimental. Leon Fleisher made a historic recording 50 years ago. This performance was a shadow of that.
The conductor: HIRE HIM! Much more musical and exciting than what we usually get. He knows how to propel the music and understands the big picture. I'd love to hear him do Sibelius, Rautuvaara, or Tchaikovsky.
Nielsen is an awesome symphony and is really hard for the strings. Great job!
The Arizona Republic's arts critic Richard Nilsen gave his subjective "musicologist's" opinion
that the works of composer Carl Nielsen are "an anomoly... without the memorable tunes." He described guest conductor Hannu Lintu as "especially distracting" as he "spun his arms like twin propellars... as if he were trying to become airborne." Moreover, he made a sarcastic remark about the Phoenix audience's tendency of
"leaping out of their seats at the final cadence yelling Bravo!"
What should be the role of an arts critic, whether it be Nilsen or Sonny the Cat? Should we superimpose our own "academic" or "historic" knowledge to criticise a performance?
Should we compare this concert to one in New York 30 years ago?
What's the relevancy of that?
The Arizona Republic fulfills its duty to the public when it "previews" a symphony concert.
Get more people interested in going to Symphony Hall. I, for one, don't think there's much
served by publishing a "review" on Sunday, after all available concerts have already been played.
Shouldn't we simply accept the fact that the audience loved a particular performance? If Phoenix audiences want to stand up and cheer, so be it. If I want to "boo," then so be it.
After all, a symphony concert is supposed to be entertainment, right?
The real question should be: Was that a fun time? Did it move me? Do I want more of it? If the answer to any of the above is "No," then suggest what can be done or undone to better your concert experience.
For one, Presto and I loved the fact that the grand piano was already on stage for the overture
so there wasn't the usual 10-minute intermission to raise it from the basement. That's customer service!
Secondly, I thought I would miss the intermission interview with the artists. But, Presto and I enjoyed the quiet time to prepare ourselves for the second half.
We also had a few minutes to find and chat with out friends inside the hall.
So, we both had an enjoyable and fulfilling night last Saturday.
Just in response to Sonny's comment:
"The Arizona Republic fulfills its duty to the public when it "previews" a symphony concert.
Get more people interested in going to Symphony Hall. I, for one, don't think there's much
served by publishing a "review" on Sunday, after all available concerts have already been played."
In this day and age where more and more newspapers are cutting back on reviews and reviewers (there have been posters on this bolg who have complained about lack of newspaper coverage), I think the symphony needs as much print space as it can get no matter when it is. Who knows, maybe the Sunday review might interest someone in the future to buy tickets to another concert.
"Moreover, he made a sarcastic remark about the Phoenix audience's tendency of
"leaping out of their seats at the final cadence yelling Bravo!"
Phoenix does have a habit of doing this, as does the audiences of some other smaller orchestras/cities that I've visited. Not to take away from the orchestra or soloists performance, but what is the audience going to do if they ever hear something truly spectacular? Climb to the ceiling? Shoot off their guns? Storm the stage and carry the soloist off on their shoulders? Riot and loot Symphony Hall?
Anonymous asked: "What is the audience going to do if they ever hear something truly spectacular? Climb to the ceiling? ...Storm the stage and carry the soloist off on their shoulders?"
Why not? Or at least have a "Green Room" where we can meet the conductor and soloist, shake their hands, and talk about what just happened. I love it when I can find one of the musicians right after a concert and laugh about it over a beer.
Does The Phoenix Symphony even have a "Green Room" any more? There certainly isn't anything posted. I remember years ago walking down to the basement level on the east side of the lobby and meeting Captain Kangaroo after a Family Pops concert.
I know you can't afford to pay the musicians overtime to stay and chat, but let's make the symphony experience more and more audience friendly. Members of other Valley orchestras and their conductors have been known to feast right after their concerts to celebrate. Now that's living!
Sonny- Anonymous here again.
I obviously was being a little tongue in cheek when I suggested enthousiastic audience memebers shoot off their guns, or storm the stage (although I have great mental images of these things happneing), but agree that in the interest of public relations, from time to time a handful of musicians could be available for a certain amount of time afterwards to meet anyone who might be interested in chatting about the concert afterwards. My only concern about this, is that most of these musicians (as you know as you are one yourself) have been on the go since early in the morning (especially if they teach or have children) and after playing an exhausting concert, there is nothing more than one wants to do than go home, pay the babysitter, and relax. And then it isn't fair to dump the "meet and greet" duties on those who don't teach, or don't have children. (Several of these orchestra members who have school aged children must pay for childcare which is a huge expense, and it is hard to find a good, reliable babysitter. However, that is a different topic for a different day. Back to the point...) I just think that sometimes Phoenix is too quick to give a standing ovation, often for less than stellar performances. But I guess that is the great thing about music and our country- to each his own.
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