Continue the journey…
We suggest works to explore after Nielsen’s Fourth Symphony
From the timpanists at war in the last movement of Nielsen’s Fourth Symphony, the obvious next step to take is the same composer’s angular, angsty
Fifth of 1922. Here, the snare drum is cast in the role of antagonist, a willfully disruptive influence against an orchestra that strives determinedly to have its own way. It’s Nielsen at his most unpredictable and most thrilling. (BBC Scottish Symphony/osmo Vänskä BIS-CD 1289)
So unique is Nielsen’s style, however, that rather than suggest works ‘indistinguishable’ from his Fourth, it is better to search out ones similar in spirit. Perhaps surprisingly, one is by Dvorûák: his 1883 Hussite Overture is very far from the gentle ruminations of his well-loved New World Symphony or indeed his Cello Concerto. Rather, it is in his most defiantly nationalistic vein: though it begins in pastoral calm, the Overture soon works up in surprisingly virile and belligerent style. (Polish National Radio Symphony/wit; Naxos 8.553005)
Of Nielsen’s compatriots, the one who perhaps comes closest to his spirit if not quite his style is Vagn Holmboe (1909-96). The Dane wrote 13 full-scale symphonies, mostly in what might be called muscular neoclassical style, often with tremendous use of brass and percussion. Of these, the Fifth Symphony, composed in
1944 and so in the shadow of the Second World War, is not a million miles from the hard-driven conclusion of Nielsen’s mighty Fourth. (Aarhus SO/ Owain Arwel Hughes; BIS-CD 572)
Even closer to Nielsen’s style, perhaps surprisingly, is England’s
Holst. The Scherzo he wrote in his final year (1933-34), all that he completed of a projected symphony, shares the pithy neo-classical style of the Danish composer, as well as bursting with one idea after another which yet all has its place in a greater scheme. (London Symphony Orchestra/richard Hickox; Chandos CHAN 9420)
And heading over to France,
Roussel’s Third Symphony offers the same punchy neo-classicism at full symphonic length. Written in 1931 to celebrate the Boston Symphony Orchestra’s 50th anniversary, it is a work of considerable excitement balanced with emotional depth. Well worth investigating. (Rsno/stéphane Denève; Naxos 8.570245)
Roussel’s Third balances considerable excitement with emotional depth